Which British athlete won the 100 metres gold medal at the 1924 Olympics?

Video of Eric Liddell at the 1924 Olympics Video of Eric Liddell Winning Gold at the 1924 Olympics (This video is copyright of the International Olympic Committee and used with their permission.) For other videos about Eric Liddell please click here . Recollections of Eric Liddell By Sir Arthur Marshall The Cambridge University Athletics Club had an invitation from Pennsylvania to take a team of seven to the Pennsylvanian Games in March 1924, and I was one of the seven. Eric Liddell, the Scot from Edinburgh University, the 1923 AAA 100 yards Champion, had been personally invited and travelled with us. We stayed at the very comfortable Pennsylvanian Cricket Club. I am afraid none of, including Eric Liddell, managed to win an event at the Pennsylvanian Games. We travelled back in a small slow ship of the American United Line called 'The Republic' - a ten day crossing. Eric Liddell entered in the fun and games on the boat, including the Fancy Dress Dance. Whilst he was very strict about religion. Eric and I became good friends and saw much of two American sisters, Freddie and Edith, who were travelling to 'do Europe', including the UK. They said they were going to be in Paris for the Olympic Games, and we said if we were there at the same time we hoped we could meet. Harold Abrahams had set his whole life on winning the Olympic 100 Metres - it had become and obsession with him. Liddell's achievement in winning the 1923 AAA 100 Yards in the record time of 9 7/10 seconds was a devastating blow to Abrahams and shook him to the core. To date Abrahams had been a consistent 10 seconds 100 yards winner but had only slightly broken 10 seconds on one or two occasions. He knew in the Olympics he would be up against overseas competition, particularly from the Americans, but this new and very serious opposition out of the blue and on his doorstep had come at a time when Harold had established his 100 yards supremacy in the UK. To achieve level pegging with Eric Liddell's new record time, Harold had to improve his performance by two or three yards with the help of his trainer Sam Mussabini. It must have been a tremendous relief to Harold when it became known early in 1924 that Eric had decided to concentrate on the 400 metres and, because of his religious principles, would not compete in the Olympic 100 metres as first heats were always run on Sunday. Eric had in turn become completely dedicated to winning an Olympic Medal within the restrictions of his faith. He was a famous Scottish international rugger player, and gave up his rugger to enable him to concentrate on his Olympic ambitions, which became very deep-rooted, and his work suffered. Winning an Olympic Gold Medal became a priority, second only to his religion, and the ambition to win this event became part of his religion. The team travelled to Paris days before the Olympics started and had a big send-off at Victoria Station. The silence at the start of the 100 metres and 400 metres was quite electric. Harold Abrahams won the 100 metres in a new Games record time. In spite of all that has been said about Abrahams' 100 metres, the 400 metres in some way provided the greatest thrill of the meeting with the world record being broken by Eric Liddell three times in two days. It was thought that Liddell had some chance of winning, but nobody thought Liddell capable of the amazing performance he achieved in the final. As far as the crowd were concerned they were well informed about Liddell's dedication to his religion and his refusal to run in the first round of the 100 metres on the Sunday; they also knew of his determination to win this event. The occasion was enlivened by the support given to Liddell by the pipes and drums of the Cameron Highlanders. The silence and pent-up excitement at the start of the race could be felt. Liddell went ahead at the start and maintained his pace throughout, finishing in what at the time was described as 'a most lion-hearted manner' winning by three yards from Fitch, an American. This was probably the greatest achievement of the VIIIth Olympiad, and


Which palace in Spain takes its name from the colour of its sun-dried red bricks?

Alhambra | fortress, Granada, Spain | Britannica.com Alhambra list of Spanish monarchs Alhambra, palace and fortress of the Moorish monarchs of Granada , Spain . The name Alhambra, signifying in Arabic “the red,” is probably derived from the colour of the sun-dried tapia, bricks made of fine gravel and clay, of which the outer walls are built. The Alhambra, Granada, Spain. Alhambra, Spain, designated a World Heritage site in 1984. Encyclopædia Britannica, Inc. Overview of the Alhambra, Granada, Spain. Contunico © ZDF Enterprises GmbH, Mainz Constructed on a plateau that overlooks the city of Granada, the palace was built chiefly between 1238 and 1358, in the reigns of Ibn al-Aḥmar , founder of the Naṣrid dynasty , and his successors. The splendid decorations of the interior are ascribed to Yūsuf I (died 1354). After the expulsion of the Moors in 1492, much of the interior was effaced and the furniture was ruined or removed. Charles V , who ruled in Spain as Charles I (1516–56), rebuilt portions in the Renaissance style and destroyed part of the Alhambra in order to build an Italianate palace designed by Pedro Machuca in 1526. In 1812 some of the towers were blown up by the French during the War of Independence , and in 1821 an earthquake caused further damage to the structure. Restoration of the building was undertaken in 1828 and continued through the 20th century. Gardens of the Partal Palace and the Torre de las Damas (Tower of the Ladies), the Alhambra, … © Toniflap/Fotolia Islamic arts: Western Islamic art: Moorish The Moorish portion of the Alhambra includes the Alcazaba, or citadel, which is the oldest part—only its massive outer walls, towers, and ramparts are left. Beyond the Alcazaba is the Alhambra palace, and beyond that the Alhambra Alta (Upper Alhambra), which was originally tenanted by officials and courtiers and was part of a royal city constituting a seat of government. Alicatado in the Tower of Comares, the Alhambra, Granada, Spain. Archivo Mas, Barcelona Retiro Park The principal courts of the palace are the Patio de los Arrayanes (Court of the Myrtles) and the Patio de los Leones (Court of the Lions), so named because in the centre is the Fuente de los Leones (Fountain of the Lions), an alabaster basin supported by the figures of 12 white marble lions, emblems of strength and courage. The most important rooms of the Alhambra are the Salón de los Embajadores (Hall of the Ambassadors), a spatially grand reception room; the Sala de los Abencerrajes (the name of this hall, also spelled "Abencerrages," was derived from a legend in which Boabdil , the last king of Granada, having invited the Abencerraje chiefs to a banquet in this room, there massacred them); and the Sala de las Dos Hermanas (Hall of the Two Sisters), with its outstanding example of stalactite work . Fuente de los Leones (Fountain of the Lions) in the centre of the Patio de los Leones (Court of the … © Rafael Ramirez/Fotolia Patio de los Arrayanes (Court of the Myrtles), one of the principal courts at the Alhambra, … © Sillycoke/Shutterstock.com To the east on the Cerro del Sol (“Hill of the Sun”) is the Generalife (from the Arabic Jannat al-ʿArīf [“Garden of the Builder”]), constructed in the early 14th century as a summer palace. The complex is centred on picturesque courtyards such as the Patio del Ciprés de la Sultana (Court of the Sultana’s Cypress). Terraced gardens, pools, and fountains combine to enchanting effect in La Acequia Courtyard, named for the canal that supplies its water. A theatre within the Generalife is the site of international performances of music and dance. The Alhambra and the Generalife were collectively designated a UNESCO World Heritage site in 1984 (expanded in 1994). The Patio de la Acequia at the Generalife, the summer palace of the Moorish sultans, in Granada, … ToniFlap—iStock/Thinkstock


Who was the only English King to be crowned on the field of battle?

Unnecessary Knowledge | Henry VII was the only British King to be crowned on the field of battle. Henry VII was the only British King to be crowned on the field of battle. (2) Comments 'crowned'.. that's some kind of sexual euphemism, right? like 'pegged' or 'figged' or even 'rimmed'.. yeah. those kings man, they were always stopping in the heat of battle and calling for some pageboy to come and 'crown' them.. Name:


Which work by Berthold Brecht and Kurt Weil is based on a work by John Gay?

Bertolt Brecht and Kurt Weil's The threepenny opera (VHS tape) [WorldCat.org] Find more libraries Librarian? Claim your library to Bertolt Brecht and Kurt Weil's The threepenny opera Author: [Place of publication not identified] : [publisher not identified] ; Public Media, Home Vision (distributor), 1995, ©1931. Edition/Format: WorldCat Summary: "Reconstructed in the sixties- years after the original negative was destroyed by the Nazis- G.W. Pabst's Threepenny opera remains a deliciously dark film adaptation of Bertolt Brecht and Kurt Weil's brillant musical. A master of atmosphere, Pabst combines realism and expressionism for a biting satire of 'respectable' society. Foggy sets by Andre Andreiev and Fritz Arno Wagner's stunning cinematography pull us down into the seedy underworld of 1890's London. There a dashing thief called 'Mack the Knife' gets away with robbery on a daily basis until he marries the daughter of Soho's 'Beggar King.' When the outraged King sends a force of crooked cops after Mack, the bandit must run for his life."--Box.  Read more... Rating: You are connected to the University of Washington Libraries network Hide local services for this item OCLC FirstSearch Add library to Favorites Please choose whether or not you want other users to be able to see on your profile that this library is a favorite of yours. Allow this favorite library to be seen by others Keep this favorite library private Find a copy in the library We were unable to get information about libraries that hold this item. Details Visual material All Authors / Contributors: German; In German with English subtitles. Notes: Title on cassette label: G.W. Pabst's The three penny opera. Based on the Beggar's opera by John Gay. Participants: Rudolph Forster, Carola Neher, Lotte Lenya and Fritz Rasp. Originally released in 1931. 1 videocassette (VHS) (113 min.) : sound, black and white ; 1/2 in. Other Titles: Threepenny opera; G.W. Pabst's The three penny opera; Three penny opera; Beggar's opera Responsibility: a film by G.W. Pabst. Directed by G.W. Pabst ; screenplay by Leo Lania, Ladislav Vajda and Bela Balasz ; music by, Kurt Weil ; adapted by, Bertolt Brecht. Abstract: "Reconstructed in the sixties- years after the original negative was destroyed by the Nazis- G.W. Pabst's Threepenny opera remains a deliciously dark film adaptation of Bertolt Brecht and Kurt Weil's brillant musical. A master of atmosphere, Pabst combines realism and expressionism for a biting satire of 'respectable' society. Foggy sets by Andre Andreiev and Fritz Arno Wagner's stunning cinematography pull us down into the seedy underworld of 1890's London. There a dashing thief called 'Mack the Knife' gets away with robbery on a daily basis until he marries the daughter of Soho's 'Beggar King.' When the outraged King sends a force of crooked cops after Mack, the bandit must run for his life."--Box. Reviews Add a review and share your thoughts with other readers. Be the first. Add a review and share your thoughts with other readers. Be the first. Tags Add tags  for "Bertolt Brecht and Kurt Weil's The threepenny opera". Be the first. Similar Items     schema:contributor < http://viaf.org/viaf/17432619 > ; # Rudolf Forster     schema:description ""Reconstructed in the sixties- years after the original negative was destroyed by the Nazis- G.W. Pabst's Threepenny opera remains a deliciously dark film adaptation of Bertolt Brecht and Kurt Weil's brillant musical. A master of atmosphere, Pabst combines realism and expressionism for a biting satire of 'respectable' society. Foggy sets by Andre Andreiev and Fritz Arno Wagner's stunning cinematography pull us down into the seedy underworld of 1890's London. There a dashing thief called 'Mack the Knife' gets away with robbery on a daily basis until he marries the daughter of Soho's 'Beggar King.' When the outraged King sends a force of crooked cops after Mack, the bandit must run for his life."--Box."@ en ;


Who was World Heavyweight Boxing Champion from 1978-1985, defending his title 20 times before losing to Michael Spinks?

stumbleupon Email Comment For better or for worse, the little guys and gals in combat sports can’t seem to catch a break compared to their larger counterparts. Historically, in boxing and now in MMA, the biggest draws have always been the heavyweights. Why? Well that’s the million-dollar question isn’t it? Larger fighters, generally speaking, aren’t usually as swift or technical as the smaller ones. Which is not to say the heavyweight fights aren’t a showcase of skill and technique, because they still are, just not at the sometimes-dizzying pace the lighter weight classes are home to. However, there’s one aspect of the fight game that is emblematic of the heavyweight division; the knockout. The bigger fighters walk around with knockout power that smaller ones could only dream of possessing. There’s just more power behind each hit, and a correctly placed punch, snuck in behind a blitz of jabs, can mean lights out. Nowhere is the heavyweight division more glorified than in boxing. Although the most famous boxer of the moment, Floyd Mayweather Jr. , fights far below the heavyweight division, nearly all of the big names of the past can be found among the heavyweights. Ali , Tyson , Hollyfield , Foreman , Frazier , Marciano, all of them competed at heavyweight. There’s just something about watching these titans duke it out that holds more appeal to the general public than normal sized fighters. Maybe it’s the realities of the real world imposed onto the ring by the fans; if you put a heavyweight and a bantamweight – both trained and highly skilled – into a boxing ring, there’s no doubt who the winner would be. For that reason the heavyweight division is considered, implicitly or explicitly, the domain of the best fighters in the world. Compare that to the lighter weight classes, which used to simply be regarded as the ‘best of the rest’. The kings of heavyweight boxing were the men who were able to become a champion and then cement a legacy by defending that championship. It’s possible to sneak in a fluke victory and become a champion; there are lucky champions. There are no lucky legends. The next 10 men fall into the legend category. These are the 10 longest reigning heavyweight champions in boxing history. 10. James J. Corbett – Championship Reign: 4 Years, 6 Months, 10 Days We begin with a man some call the ‘father of boxing’. Corbett, an American, competed in the late 19th century and the early 20th century, a time when boxing was still known as ‘prizefighting’. His use of bobbing, weaving, and other standard boxing movements of the modern game was innovative at the time. His artistic approach to the sport was a precursor to what we watch today, and it allowed him to build a large following. He won the Heavyweight Championship from John L. Sullivan in 1892, using feints and jabs to wear him down until knocking him out in the 21st round. Boxing was illegal in many states at the time, and no athletic commissions existed, so organizing championship defenses was a tedious affair. He defended the belt only once during his 4 ½ year reign, before eventually losing the championship to Bob Fitzsimmons. 9. Joe Frazier – Championship Reign: 4 Years, 10 Months, 18 Days ‘Smokin’ Joe Frazier was an American heavyweight boxer who was one of the most famous boxers of the 60s and 70s. He defeated Buster Mathis by TKO in 1968 to become a Heavyweight Champion, a title he successfully defended 9 times before losing it to George Foreman in 1973. One of Frazier’s successful defenses was against the then undefeated Muhammad Ali , who had been stripped of the title in 1967 for his refusal to fight in the Vietnam War. The build-up to the Frazier/Ali fight was huge, and it became a cultural event that transcended boxing. Ali was looking to regain the title he had never lost, and Frazier was eager to prove to the world that Ali was not invincible. Frazier proved his point by defeating Ali by unanimous decision and winning ‘The Fight of the Century’. 8. Vitali Klitschko – Championship Reign: 5 Years, 2 Months, 4 Days Ukrainian heavyweight Vitali Kl


What is the name of the mongoose in Rudyard Kipling's 'The Jungle Book'?

The Jungle Book : Rudyard Kipling : 9781481945981 The Jungle Book By (author)  Rudyard Kipling , Edited by  Richard S Hartmetz Share Add to basket Add to wishlist Description Rudyard Kipling's classic tale of Mowgli, the boy raised by wolves in the jungles of India. Mowgli is taught the language and laws of the jungle, with help from Baloo, the bear and Bagheera, the panther. He also has to deal with enemies such as Shere Khan, the tiger and Kaa, the snake. Also included in this book are other classic stories, such as "Rikki-Tikki-Tavi," the heroic mongoose. Join us for the original, timeless adventure. show more Product details 152.4                   x 228.6                   x 12.45mm                                   | 385.55g Publication date Classics About Rudyard Kipling Joseph Rudyard Kipling was born on December 30, 1865 in Bombay, India. He was one of the most famous writers in Great Britain, and was known for his great intelligence, being the first English-language writer and youngest recipient ever to receive the Nobel Prize in Literature in 1907. He and his younger sister, Alice were sent to live in a boarding house with a family named Holloway from 1871 to 1877, and experienced cruelty and neglect. In 1878, Kipling was sent to United Services College to prepare him for the British Army. That didn't work out however, and his father got him a job in Pakistan at a local newspaper, taking nearly a month by ship. Working at the newspaper awakened his writing talents and he began to publish at an amazing pace. In 1889, he was dismissed from the paper and traveled the United States for seven months, ending up in London, where he published his first novel. In 1891, he left to travel the world. Just before returning, he proposed to Caroline Starr Balestier by telegram and they were married on January 18, 1892, in London. They settled in Vermont, where he wrote the two Jungle Books. He became friends with Mark Twain, Arthur Conan Doyle and many others, but still managed to live a fairly private life. In 1896, his wife's brother became violent toward him, and the case drew unwanted publicity, causing the Kiplings to return to England. He encouraged his son to enlist in the British Army during World War I, but he was killed by an exploding shell upon his arrival in France. After that incident, he kept writing, but at a much slower pace, dying of a perforated ulcer on January 18, 1936, in London, at the age of 70. show more Follow us


What product is obtained form the tree 'Hevea Braziliensis'?

Rubber Tree (Hevea brasiliensis) | Rainforest Alliance Mexico & Central America South America Fact First discovered by the ancient Olmec, Maya, and Aztec, the latex sap from the rubber tree was once used to make rubber balls, to waterproof clothes and even to form homemade shoes. Botany In the wild, the rubber tree will grow to heights of 100 to 130 feet, and can live up to 100 years. Its most famous feature is the milky white sap, known as latex, which flows freely from the tree when a sliver of bark is removed. A rubber tree, also referred to as rubberwood, can be tapped for latex once it reaches approximately six years of age. In order to reproduce, the fruit of the rubberwood burst open when ripe, scattering its many seeds in an area spanning up to 100 feet from the tree. Habitat Hevea brasiliensis is a species of rubberwood that is native to rainforests in the Amazon region of South America, including Brazil, Venezuela, Ecuador, Colombia, Peru, and Bolivia. These trees are generally found in low-altitude moist forests, wetlands, riparian zones, forest gaps, and disturbed areas. It is a quick growing tree, often the first to establish itself when a gap in the canopy is produced but may be shaded out as more trees fill in the canopy opening. Today, commercially-produced rubber can also be found throughout much of Southeast Asia and Western Africa. Significance to Humans First discovered by the ancient Olmec, Maya, and Aztec, the latex sap from the rubber tree was once used to make rubber balls, to waterproof clothes, and even to form homemade shoes. Today, the latex sap from the rubber tree is still used in the modern processing of rubber and is often a substantial source of income for indigenous populations. Did you know? Historically, cattle ranchers and rubber tappers have disagreed over the rights to clear forest land. Cutting down the forest is not only detrimental to the species that depend on that land, but also damaging to the people that earn a living by sustainably harvesting what the forest provides. Many indigenous people depend on these sources of income to provide for their families and communities. Chico Mendes, a Brazilian rubber tapper, became famous when he organized the National Council of Rubber Tappers in Brazil to help protest against the clear cutting of land for cattle grazing. Thanks to his efforts, the union gained the support of the Brazilian government and was able to set aside crucial "extractive reserves" within Brazil. These reserves allow for the sustainable harvest of goods, such as rubber or nuts, and protect against the clear cutting of trees. In 1988, Chico Mendes was murdered for his work to create extractive reserves and protect the rainforest. His efforts have been carried on by his coworkers and supporters across the world. Sources


Who played 'First Voice' in the original BBC radio production of 'Under Milk Wood' (and also in the film version)?

BBC - Radio 4 - Under Milk Wood UNDER MILK WOOD PROGRAMME INFO Friday, 24 December, 8.00-9.30pm Another opportunity to listen to Richard Burton star in a new production of UNDER MILK WOOD by Dylan Thomas. The new production originally marked the 50th anniversary of the author's death. The drama is no longer available online. Possibly the most famous radio play ever written is given a fresh lease of life in a new production of the classic drama originally broadcast in 1954. The inimitable performance of Richard Burton as First Voice has been digitally remastered and mixed with new performances of all the other parts to create a magical, fresh visit to the unique but universal world of Llareggub. Touching, eerie and very funny, the play tells the story of a day in the life of the inhabitants of a small Welsh seaside town, their dreams and routines, their loves and regrets. With characters and phrases that have entered daily parlance, the play opens with, 'To begin at the beginning', and features No Good Boyo, Lily Smalls, Polly Garter, Organ Morgan and Captain Cat in its castlist of more than 50. Sian Phillips joins Richard Burton to play Second Voice. Also featured in the all-Welsh cast are Matthew Rhys, Glyn Houston, Lisa Palfrey, Catrin Rhys and Steven Meo, among others. And there's a special guest appearance by John Humphrys. A new musical score has been composed by John Hardy. Meet the cast . The play stems from a talk given by Thomas on the Welsh Home Service in 1945 called Quite Early One Morning. BBC producer Douglas Cleverdon spent seven years persuading Thomas to write the play and Under Milk Wood was eventually broadcast on the Third Programme in January 1954 just two months after the author's death. Thomas himself was originally going to play First Voice but Burton's voice truly brings the poetry to life. Cleverdon produced a new version of the play in 1963, again featuring Richard Burton as the narrator and now in 2003 Burton's voice is used to play the same role on this latest production by Alison Hindell. Dylan Thomas described Under Milk Wood as 'a play for voices' and its heightened style makes it the ideal vehicle for an alternative mix in 5.1 Dolby Surround Sound. In addition to the standard Radio 4 broadcast, this surround sound version will be streamed for listeners with surround sound facilities. This is the first BBC radio drama to be broadcast using this technology. Audio Book Under Milk Wood is available from BBC Audiobooks in the CD collection A Season of Dylan Thomas. RELATED LINKS


The dialect of which Semitic language was spoken by Jesus Christ?

What Language Did Jesus Speak? Why Does It Matter? - Mark D. Roberts Mark D. Roberts What Language Did Jesus Speak? Why Does It Matter? What Language Did Jesus Speak? Why Does It Matter? by Rev. Dr. Mark D. Roberts Copyright © 2010 by Mark D. Roberts Note: You may download this resource at no cost, for personal use or for use in a Christian ministry, as long as you are not publishing it for sale. All I ask is that you acknowledge the source of this material: http://www.patheos.com/blogs/markdroberts/ . For all other uses, please contact me at mark@markdroberts.com . Thank you. Some of My Other Writings on Jesus: Why Did Jesus Have to Die? Introduction Six years ago, people all of a sudden became interested in the language spoken by Jesus. The occasion for this burst of curiosity was the release of Mel Gibson’s film, The Passion of the Christ. Although responses to this movie varied widely, just about every viewer was struck by the fact that not one word of English was spoken in the film. All dialogue was in one of two ancient languages: Aramaic or Latin. Without the English subtitles, most of us wouldn’t have been able to understand a word in The Passion of the Christ. (Photo: A statue of Jesus in his passion, from a church on the Mediterranean island of Menorca.) Many who saw this movie wondered about its antique languages. What is Aramaic, anyway? Was this really the language spoken by Jesus? Didn’t he speak Hebrew, the primary language of the Hebrew Scriptures? And, since the New Testament Gospels are preserved in Greek manuscripts, is it possible that Jesus also spoke Greek? In February 2004, the month when The Passion of the Christ was released, I wrote a short blog series on the language(s) of Jesus. Drawing from my background in New Testament studies, I tried to explain in non-technical terms the issues associated with the language or languages spoken by Jesus. My answer to the question “What language(s) did Jesus speak?” was representative of what most scholars of the New Testament believe, and was based on key passages from the New Testament itself, as well as an understanding of life in Judea during the first century A.D. In a nutshell, I showed that it’s most likely that Jesus spoke Aramaic as his primary language, and that he almost certainly knew Hebrew and perhaps Greek as well. It was unlikely, I argued, that Jesus spoke Latin, as envisioned in The Passion of the Christ. During the past six years, thousands of people have visited my series on the language(s) of Jesus, thanks to the power of Google and similar search engines. The vast majority of readers did not contact me, which is just fine. They had no particular reason to do so. A few dozen people emailed me to thank me for what I had written. And then there were the others, those who were not happy with me and what I had written. Sometimes they wrote nasty notes, criticizing my scholarship and even my Christian character. Sometimes they wrote extensive treatises, arguing at length for a position different from the one I had taken in my series. Among those who wrote, a few referred to credible scholars who have argued that Hebrew and/or Greek were commonly used by Jews in Judea during the time of Jesus. Some who contacted me seemed to believe that because the Old Testament was written in Hebrew, Jesus must have spoken Hebrew, otherwise somehow his mission as the Messiah would have been deficient. Some were worried that if Jesus spoke Aramaic, this would contradict passages in the Gospel of John that refer to Hebrew being spoken (though not by Jesus, actually). In the last couple of years, I have run into a new reason why some people dispute the notion that Jesus spoke Aramaic. It has to do with the passion among some Muslims for an Aramaic-speaking Jesus. Presumably, and I have not followed these arguments carefully, certain Muslims use the idea that Jesus spoke Aramaic as a support for the truth of Islam. In response, some Christians have taken up arms in favor of the Hebrew-speaking Jesus. Those who fight this battle have accused me of giving aid and


Which solo instrument features in the Largo from Dvorak's New World Symphony?

Dvorak's Symphonic Journey to the 'New World' : NPR Dvorak's Symphonic Journey to the 'New World' Dvorak's Symphonic Journey to the 'New World' Hear Alsop discuss Dvorak on 'Weekend Edition Saturday' Embed Embed April 18, 200811:43 AM ET Marin Alsop Hear Dvorak's Symphony Marin Alsop conducts the Baltimore Symphony Orchestra in excerpts from Dvorak's Symphony No. 9: "From the New World." 1. 'Adagio -- Allegro molto' (excerpt) Toggle more options Embed Embed <iframe src="https://www.npr.org/player/embed/89758808/89836362" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> 2. 'Largo' (excerpt) Embed Embed <iframe src="https://www.npr.org/player/embed/89758808/89836371" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> 3. 'Molto vivace' (excerpt) Embed Embed <iframe src="https://www.npr.org/player/embed/89758808/89836372" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> 4. 'Allegro con fuoco' (excerpt) Toggle more options Embed Embed <iframe src="https://www.npr.org/player/embed/89758808/89836396" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> The complete symphony is available from the Baltimore Symphony Orchestra . The CD will be issued by Naxos records on June 1st, 2008. Czech composer Antonin Dvorak crossed the Atlantic in September 1892 to direct the National Conservatory of Music in New York. During his stay, he composed the "New World" Symphony. Getty Images hide caption toggle caption Hear examples from Dvorak's symphony noted by Alsop in her essay. As the symphony opens, Dvorak's French horn blast signals the unknown Toggle more options Embed Embed <iframe src="https://www.npr.org/player/embed/89758808/89738874" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> A "main theme" emerges in the first movement Toggle more options Embed Embed <iframe src="https://www.npr.org/player/embed/89758808/89738875" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> The haunting melody from the "Largo" was turned into the song "Goin' Home" Toggle more options Embed Embed <iframe src="https://www.npr.org/player/embed/89758808/89738919" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> Newfound urgency in the finale Toggle more options Embed Embed <iframe src="https://www.npr.org/player/embed/89758808/89738920" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> The symphony's melodies are transformed at the end Toggle more options Embed Embed The Brooklyn Bridge, as Antonin Dvorak would have seen it when he lived and worked in New York in the 1890s. Getty Images hide caption toggle caption Getty Images The Brooklyn Bridge, as Antonin Dvorak would have seen it when he lived and worked in New York in the 1890s. Getty Images Dvorak's Symphony No. 9, the New World Symphony, is played so often that it runs the risk of sounding hackneyed. That fact became painfully obvious to me during a recent visit to Japan, when I heard the symphony's beautiful English horn melody in a cheesy, electronic rendition, signaling "all clear to walk" at a bustling Sapporo intersection. As I returned to Dvorak's popular symphony recently, I was struck by how incredibly fresh the music really is. I was reminded of how Johannes Brahms was moved by Dvorak's melodic gifts, as well as his ability to spin a seemingly infinite number of variations on a tune. This, combined with Dvorak's Bohemian heritage, results in music unlike any other composer's. Symphony No. 9 is nicknamed New World because Dvorak wrote it during the time he spent in the U.S. in the 1890s. His experiences in America (including his discovery of African-American and Native-American melodies) and his longing for home color his music with mixed emotions. There's both a yearning that simmers and an air of innocence. The music, for me, evokes images. As the symphony ope


Grandpa Frost is the equivalent of Father Christmas in which country?

1000+ images about Father Frost- Russia on Pinterest | Ded moroz, Father and Father christmas Forward In Russia, Ded Moroz plays a role similar to that of Santa Claus. The literal translation of the name would be "Old Man Frost", although the name is often translated as "Father Frost". Ded Moroz is said to bring presents to children at New Year's Eve parties and other New Year celebrations. See More


During WW2, which building was the headquarters of Fighter Command?

Fighter Command - History Learning Site Fighter Command Citation: C N Trueman "Fighter Command" historylearningsite.co.uk. The History Learning Site, 20 Apr 2015. 16 Aug 2016. Fighter Command was established in July 1936 under the command of Sir Hugh Dowding. During World War Two, Fighter Command’s finest hour was in the Battle of Britain. Sir Hugh Dowding From 1936 on, tension in Europe grew as Hitler became more expansionist. This led to the RAF reorganising itself and Fighter Command, as a specific entity within the RAF, was established with its headquarters at Bentley Priory, at Stanmore, Middlesex. The other components of the RAF were Bomber Command and Coastal Command. Fighter Command was organised into a number of groups, each of which was responsible for a specific geographical area of Britain. 10 Group covered Wales and the south-west of England. It was commanded by Air Vice-Marshall Sir Quintin Brand. 11 Group covered London and the south-east and did great deal of the fighting in the famous battle. 11 Group was commanded by Air Vice-Marshall Keith Park. 12 Group, commanded by Air Vice-Marshall Trafford Leigh-Mallory, controlled the Midlands, East Anglia and northern England up to Yorkshire and Lancashire 13 Group covered parts of northern England not covered by 12 Group and southern Scotland and Northern Ireland. It was commanded by Air Vice-Marshall Richard Saul. Each group itself was subdivided in an effort to make it easier to have tactical control. These subdivisions were called sectors and each one had a main fighter air base and a number of other satellite fighter bases attached to it. Each main fighter base had an operations room with maintenance and repair facilities for the planes attached to its sector. At the heart of each sector and group was Bentley Priory. Information on incoming German attacks received from the Royal Observer Corps and radar stations was sent to Bentley Priory. The commanders there decided on what group to involve and once activated, the group commander would then have control of his geographic sector and would decide on which sectors to use. The success or otherwise of this command structure was tested to the limit during the Battle of Britain. The fact that Britain won this battle is indicative of how effective the command structure was – regardless of how close the battle was. Though Fighter Command continued to play its part in World War Two, it was never to have such a vital role as in the autumn of 1940 – hence Winston Churchill’s tribute to the men in Fighter Command: “Never in the field of human conflict was so much owed by so many to so few”


Which boxing Champion was known as 'The Fighting Marine'?

Gene Tunney - BoxRec Gene Tunney Hall of Fame bio: click World Boxing Hall of Fame Inductee Name: Gene Tunney Birth Name: James Joseph Tunney Born: 1897-05-25 Birthplace: New York (Greenwich Village), New York, USA Died: 1978-11-07 (Age:81) 5 Links Career Overview Dethroning a legendary heavyweight champion sometimes is not all it is cracked up to be. Gene Tunney, one of the most skilled of all heavyweight champions, received little more than begrudged respect from sports fans after his two signature performances against Jack Dempsey . Fast, powerful, resilient, intelligent and virtually flawless in technique, Tunney had all the tools for greatness in the ring, but lacked the ferocious style and rugged charisma of the man from whom he wrested the championship. But even Tunney's detractors couldn't deny that he was a first class fighter, one who had risen from middleweight to heavyweight and fought a generation of quality opponents on the way. Like Dempsey, he cast his own unique shadow over the sport as an accomplished student of the sweet science and one of the greatest athletes of his generation. The Fighting Marine Born James Joseph Tunney, the son of an Irish immigrant longshoreman, Tunney grew up on the mean streets of New York City, where he learned to fight. He became affectionately known in his family as "Gene" because his baby sister had trouble pronouncing his given name. Tunney quit school when he was 15 years old and went to work as a typist for a steamship company to help support his family. It was during this period that he gravitated toward boxing, venturing nightly to the Greenwich Village Athletic Club to train, spar and make valuable connections with people involved in the sport. It soon became his ambition to compete professionally, and he made his pro debut in July 1915 as a middleweight against Bobby Dawson , whom he stopped in eight rounds. During Tunney's career, official decisions in boxing were outlawed in numerous states, including New York, as a means to avoid corrupt influences in the sport. Fans relied upon newspaper reporters to give them accurate accounts as to who deserved to win the fights. According to the International Boxing Hall of Fame, 19 of Tunney's fights officially resulted in a no-decision. On April 6, 1917, the United States declared war on the German Empire and entered World War I. Tunney enlisted in the United States Marine Corps on May 2, 1918, 23 days before his 21st birthday. Though he never saw action during his tenure in the Marines, his enlistment would later serve as a source of patriotic pride for many fans and would become a successful promotional tool for his future career. Tunney continued to box while he was stationed in France during the war. He won a four-round decision against Fighting Bob Martin , the heavyweight champion of the American Expeditionary Forces, and defeated 20 opponents in an elimination series to win the American Expeditionary Forces light heavyweight title. With the end of World War I in 1919, Tunney returned to civilian life. Between December 1919 and October 1920, he scored eleven consecutive knockout victories. Ten of bouts were in New Jersey and one was in New York. Although Tunney's opposition was mediocre at best, the success led to his appearance on the undercard of the highly anticipated fight between World Heavyweight Champion Jack Dempsey and World Light Heavyweight Champion Georges Carpentier at Boyle's Thirty Acres in Jersey City, New Jersey, on July 2, 1921. The fight, which attracted a crowd of more than 80,000, was boxing's first $1 million gate. Tunney's opponent was Soldier Jones , an overmatched light heavyweight whom Tunney dominated for seven rounds until the referee stopped the fight. Another six consecutive wins led to a fight with former World Light Heavyweight Champion Battling Levinsky —Tunney's first internationally known opponent—at Madison Square Garden in New York City on January 13, 1922. Levinsky, who entered the fight as the American Light Heavyweight Champion, was a veteran of more than 200 bouts and, like Tunn


Jean Valjean is the central character in which classical novel?

Guide to Les Miserables: Classic Literature by Victor Hugo - TeacherVision Discussion Questions Introduction The book which the reader now holds in his hands, from one end to the other...treats the advance from evil to good, from injustice to justice, from falsity to truth, from darkness to daylight, from blind appetite to conscience, from decay to life, from bestiality to duty, from Heaven to Hell, from Limbo to God. Matter itself is the starting point, and the point of arrival is the soul. Victor Hugo, Les Misérables Twenty years in the conception and execution, Les Misérables was first published in France and Belgium in 1862, a year which found Victor Hugo in exile from his beloved France. Enemies and admirers throughout the world devoured his workspoetry, political tracts, and fictionand the effect of these works upon the public was always sensational. On the morning of 15 May, a mob filled the streets around Pagnerre's book shop, eyeing the stacks of copies of Les Misérables that stretched between floor and ceiling. A few hours later, they had allthousands of booksbeen sold. Hugo's critics were quick to condemn him for making money by dramatizing the misery of the poor, while the poor themselves bought, read, and discussed his book in unprecedented numbers. True to Hugo's political stance, he had written a book about the people that was for the people, a book that demanded a change in society's judgement of its citizens. The story is set between 1815 and 1832, the years of Hugo's youth. The descriptions of Paris, the characterizations of Gavroche and other Parisian stock characters, and such statements as, "To err is human, to stroll is Parisian" all attest to Hugo's unswerving adoration of his home city. Exile no doubt encouraged the romantic meanderings of Hugo's prose. The protagonist of Les Misérables, Jean Valjean, is also in exile from the world of men because of the desperate crime he committed in his youth. Liberated from prison, Valjean hides his identity and becomes a successful man, as charitable as he is rich and powerful. His altruism leads him to promise Fantine, a dying prostitute, that he will seek out her exploited young daughter Cosette after her death. The ensuing love between "father" and "daughter" (Cosette) is miraculous, redeeming Valjean and bestowing happiness on his otherwise grim life. To some extent, Hugo also was seeking redemption, having, for much of his youth, ignored the populist concerns of Republican France. He sacrificed his lifestyle in Paris for justice, and Les Misérables, "the Magna Carta of the human race," is a testament of this humanitarian awakening. The Revolution and Republic of France had failed to redress the unconscionable social conditions in which many French citizens languished. Les Misérables became an expression of and an inspiration for that attempt. Hugo initially entitled his work, Les Misère ("the poverty"), but changed it to Les Misérables, which, in Hugo's time, denoted everyone from the poor to the outcasts and insurrectionists. In Hugo's lifetime, the schism between "haves" and "have-nots" was vast; an unbalanced economy made jobs scarce for those who earned their living by work. This was an era without a welfare system, unemployment benefits, or worker's compensation. The closest thing to a homeless shelter was prison, a macabre dungeon where inmates slept on bare planks and ate rancid food. To this place the disabled, insane, hungry, or desperate citizens of France eventually found their way. The one hope of the poor for relief was charity from those who were, if not indifferent to their plight, outright hostile to it. Les Misérables vindicates those members of society forced by unemployment and starvation to commit crimesin Jean Valjean's case, the theft of a loaf of breadwho are thereafter outcast from society. It is fairly common parlance today to suggest that prison creates more hardened criminals than it reforms, but the idea was radical to Hugo's contemporaries. "Perrot de Chezelles, in an 'Examination of Les Misérables,' defended the exce


Where, on the Baltic coast, was the German missile site where V1 rockets were designed and built?

German V-1 Rocket   German V-1 Rocket      The V-1 was         an unmanned, un-guided, flying bomb.  Although primitive by         today's standards, it was the first of what we now call a "cruise missile."  It was designed by the Fiesler company         and designated the FZG-76.  The Germans called it "Vergeltungswaffe" or "retaliation weapon."  Since it was the first such weapon, it was designated the V-1.       The V-1 was a liquid fuelled, pulse-jet drone aircraft         that could carry a 2,000 lb warhead.  There was no         navigation system, so it was simply pointed in the direction of         it's target.  Simple gyrocompasses kept it level and range         was controlled by the fuel supply.  It's typical target was         a city in southern England.      The first V1        flew in 1942 at Peenemunde on the southern Baltic coast. A series        of fixed launching sites  were constructed in        France, Holland, Denmark and Germany to allow the Germans to        shower V-1s on any part of southern England.  However, German        planning did not take into account a strong bomber and        fighter-bomber offensive against the V1 launch sites. This forced        the Germans into creating mobile launch sites and launching some        from Heinkel 111 bombers.      The first offensive launch was on June        12, 1943. Once the Germans got their stride they launched an        average of 190 V1 rockets a day. The British quickly became expert        at spotting and shooting them down and only some 25% of the V1s hit        their target.  They English established defensive zones, first were the        fighters (Mosquitoes, Spitfires and Typhoons) over the English        channel, then came a thick zone of heavy AA guns equipped with the        first radar proximity fuses, then a zone of light AA guns and        rocket projectors and finally barrage balloons. Once the Allies        captured the launching sites the target of choice switched to        Antwerp, the main Allied port. It received a pounding by 11,988        V1s and most of the 1,766 V-2 missiles launched. Fortunately, for        the Allies they overran the launch sites that could have deluged        the Normandy beachhead with these high explosive bombs, interfering        greatly with the supply and logistics of an army in Europe. German V-1 Rocket


The opera ' Beatrice and Benedict' by Berlioz is based on which Shakespeare play?

Opera reviews: Beatrice et Benedict and The Barber Of Seville | Theatre | Entertainment | Daily Express Opera reviews: Beatrice et Benedict and The Barber Of Seville 4 / 5 stars Beatrice et Benedict HECTOR Berlioz was inspired by Shakespeare from the moment he saw an English company’s production of Romeo And Juliet in Paris in 1827 and his final opera, Beatrice Et Benedict, written in 1862, was based on Shakespeare’s Much Ado About Nothing. PUBLISHED: 00:01, Sun, Jul 31, 2016 PH Beatrice et Benedict is rarely performed, but it is ideal for Glyndebourne At just under two hours without an interval, it is rarely performed, but it is ideal for Glyndebourne as a before and after dinner entertainment. Berlioz gutted Shakespeare’s play when he wrote the libretto, throwing out the drama of Don John’s plot to disgrace the young bride Hero on her wedding day. Instead we have Hero and her Claudio (Philippe Sly) simply acclaiming the joys of love, while at the same time edging the reluctant Beatrice and Benedict towards matrimony.  PH Director Laurent Pelly sees the opera as an elegant treatise on love Director Laurent Pelly sees the opera as an elegant treatise on love and music designed in shades of grey with 1950s era costumes. Designer Barbara de Limburg’s set of pop up boxes from which the flag waving citizens of Messina hail the returning conqueror of Africa, Don Pedro (Frederic Caton), are amusing, though the plethora of boxes are intended to illustrate Pelly’s contrived thesis about Beatrice and Benedict as rebels “who refuse to fit into a mould and live in a box”.  Star of the show is mezzo-soprano Stephanie d’Oustrac whose edgy Beatrice exists in a state of constant irritation with confirmed bachelor Benedict, American tenor Paul Appleby while the London Philharmonic Orchestra under conductor Antonello Manacorda gives a spirited account of this gem.  PH Rossini would have loved the anarchic vigour of Glyndebourne’s The Barber Of Seville Rossini would have loved the anarchic vigour of Glyndebourne’s The Barber Of Seville at its one night Proms appearance in the Albert Hall.  Athletic young baritone Bjorn Burger’s energised Figaro leapt up the steps to give the revered sculpted head of Sir Henry Wood a quick shave while singing the Largo Al Factotum.  PH Athletic young baritone Bjorn Burger’s energised Figaro Danielle de Niese, in cracking form as a provocative Rosina, trounced her bullying guardian Dr Bartolo, played by that master of comic buffoonery, Alessandro Corbelli. Tenor Taylor Stanton looked and sounded good as Count Almaviva, and Janis Kelly made the most of housekeeper Berta while baritone Huw Montague Rendall made a promising Proms debut as Fiorello. VERDICT: 4/5 Berlioz’s Beatrice et Benedict at the Glyndebourne Festival Opera Nr Lewes, East Sussex (Tickets: 01273 815000/ glyndebourne.com ; £80-£230) Rossini’s The Barber Of Seville BBC Prom 14 Royal Albert Hall, London SW7 (Tickets: 0845 401 5040/ bbc.co.uk/proms ) Related articles


What collective name is given to Jews dispersed around the world?

The 7 Wonders of Jewish History CLICK HERE for the MP3 on this That the Jewish nation—such a tiny group of people—survived two thousand years of exile and persecution was nothing short of a supernatural phenomenon. Pascal wasn’t the only one who was so amazed by the survival of the Jewish people. Other thinkers, philosophers and historians have noticed something unusual about the Jews. Mark Twain, an agnostic and self-acknowledged skeptic, penned this in 1899 in Harper’s Magazine: “The Egyptian, Babylonian, and the Persian rose, filled the planet with sound and splendor, then faded to dream-stuff and passed away. The Greek and Roman followed, made a vast noise and they are gone. Other peoples have sprung up, and held their torch high for a time, but it burned out and they sit in twilight now or have vanished. The Jew saw them all, beat them all, and is now what he always was, exhibiting no decadence, no infirmities of age, no weakening of his parts, no slowing of his energies, no dulling of his alert and aggressive mind. All things are mortal, but the Jew. All other forces pass, but he remains. What is the secret of his immortality?” Why were Pascal, Mark Twain and many others so amazed by the survival of the Jews against all odds? The Seven Wonders of Jewish History (TOP) It has been prophesied in the Torah that Jews would be an eternal nation: “And I will establish My covenant between Me and you, and your descendants after you, throughout the generations. An eternal covenant to be your God, and the God of your descendants after you” (Genesis 17-7). This promise is repeated many times throughout the Torah (Leviticus 26:43, Deuteronomy 4:26-27, Deut. 28:63-64). And it has come true. Even though Jews did not have a homeland, a common language or a shared history (the factors that historians use to define a nation), they have remained a distinct people. 2) Exile and Dispersion (TOP) It has been prophesied in the Torah that Jews would be exiled and dispersed: “And you, I will scatter among the nations, at the point of My drawn sword, leaving your country desolate and your cities in ruins” (Leviticus 26:33). Jews have remained a people despite exile and dispersion. In all of human history, there have been less than ten exiles of an entire people out of their country. It’s a highly unusual phenomenon to take a whole people and throw them out of their country. Multiple exiles are unheard of, since after the first one the people generally disappear—they simply become assimilated among other peoples. In human history, multiple exiles and dispersion are unique only to the Jewish people. The dispersion of the Jewish People to the four corners of the globe is a completely unique phenomenon in human history. Jews have wandered and settled in almost every land on earth -while somehow managing to maintain their distinct national identity. The Jewish people were exiled from Israel by the Babylonians in 586 BCE. They survived, returned to Israel after 70 years, and then built the Second Temple. Then in 70 CE, the Romans destroyed the Second Temple, causing the Jews to go into exile once again. Therefore, we see two different uniquenesses: A. The only nation exiled twice from their own land B. The only nation to ever survive and return from a previous exile The Torah goes on to spell out one final uniqueness within this phenomenon—amongst these nations within which the Jews will be scattered, there will be a continual wandering. Immediately after Deuteronomy 28:64 (“And G-d shall scatter you among all the peoples from one end of the earth to the other…”), the prophesy continues—“Among those nations you shall find no repose, not a foot of ground to stand upon, for there the L-rd will give you an anguished heart and wasted eyes and a dismayed spirit.” (Deuteronomy 28:65). This prophesy of the “Wandering Jew” has remarkably not only characterized our ancient history, it continues to identify us as a unique people right up until and including the present day. When we scan the diaspora of Jewry over the entire globe and throughout the entire


In a children's' book, if Elphaba is the wicked witch of the west, who is the good witch of the South?

Wicked Witch of the West (Character) - Comic Vine Wicked Witch of the West The Wicked Witch of the West wiki last edited by fables87 on 12/24/14 11:37AM View full history Origin The Wicked Witch of the West (or simply The Wicked Witch) was the ruler of the Winkie Country in the Land of Oz . She had only one eye, but it was as powerful as a telescope, and could see everywhere. She always carried an umbrella with her, and made a point to avoid contact with water. It was said that she was so wicked, the blood in her had dried up many years ago. Creation The Wicked Witch of the West is most significant antagonist in L. Frank Baum 's children's book The Wonderful Wizard of Oz in 1900. In Baum's subsequent Oz books, it is the Nome King who is the principal villain; the Wicked Witch of the West is rarely even referred to again after her death in the first book. Major Story Arcs The Wonderful Wizard of Oz Long ago, the Wicked Witch conquered the Winkie Country with the help of the Winged Monkeys . She was a tyrannical ruler and made the Winkies her slaves. Once the Great Oz tried to recapture the Winkie Country, but with the help of the Winged Monkeys, she was able to fight him off. After she had ruled the Winkies for many years, the Wizard of Oz sent Dorothy Gale and her companions to destroy the Witch. In self defense, she sent every creature she commanded. First she used the whistle around her neck to summon 40 wolves to kill Dorothy and her friends. Scarecrow and Tin Woodman saw them coming and the Tin Woodman slew them with his axe. Then the Wicked Witch of the West blew her whistle twice and summoned 40 crows to peck out the eyes of Dorothy and her friends. The Scarecrow defeated them by grabbing them and breaking their necks. Angered, the Wicked Witch blew her whistle three times and summoned a swarm of black bees to sting them to death. While Dorothy, Toto , and the Cowardly Lion were covered in Scarecrow's straw, the black bees died when their stingers broke on the Tin Woodman. Then she sent a troop of Winkie slaves wielding spears to kill the group. They were scared away by the Cowardly Lion. Finally, she used the Golden Cap to call the Winged Monkeys a final time. They captured Dorothy and the Cowardly Lion, and destroyed the Scarecrow and Tin Woodman. With Dorothy as her slave, the Witch tried to steal the powerful Silver Shoes from the girl. Dorothy became so angry that she threw a bucket of water on the Witch, which melted her into a brown, shapeless mass putting an end to her wickedness. Other Versions The Wizard of Oz In the 1939 version of The Wizard of Oz , the Wicked Witch, played by actress Margaret Hamilton, was stooped, green-skinned, and dressed entirely in black. In many people's minds, this representation of The Wicked Witch has become an archetype for human wickedness. While this relationship is not mentioned in Baum's books, in the movie, the Witch is the sister of the Wicked Witch of the East , who is killed when Dorothy arrives in Oz. The Witch asks aloud, "Who killed my sister?" (albeit with more calculation than sorrow). As a result, The Wicked Witch of the West's role is made more prominent as she seeks revenge against Dorothy for killing her sister. When Dorothy claims the death was an accident, the Witch of the West replies, "Well, my little pretty, I can cause accidents too." It is from this movie that popular culture gets the oft-quoted phrase, "I'll get you, my pretty, and your little dog too!" Her other motivation is to get the powerful Ruby Slippers (changed from the Silver Shoes of the book). She often, but not always, flies on a broomstick, and has a crystal ball through which she can see happenings elsewhere. When Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion are sent to kill her and bring her broomstick back, she captures them and tries to take Dorothy's slippers, threatening to drown Toto if she doesn't give them to her. She is unable to take them while Dorothy is still alive, so locks her in a room for an hour to figure out the best way to kill her without damaging the sl


In the title of the detective story by Dorothy L.Sayers, what are the 'Nine Tailors'?

The Nine Tailors (Lord Peter Wimsey Mysteries): Amazon.co.uk: Dorothy L Sayers: 9780450001000: Books The Nine Tailors (Lord Peter Wimsey Mysteries) Add all three to Basket Some of these items are dispatched sooner than the others. Show details Buy the selected items together This item:The Nine Tailors (Lord Peter Wimsey Mysteries) by Dorothy L Sayers Paperback Â£8.99 Sent from and sold by Amazon. FREE Delivery on orders over Â£10. Details Only 13 left in stock (more on the way). Sent from and sold by Amazon. FREE Delivery on orders over Â£10. Details Only 3 left in stock (more on the way). Sent from and sold by Amazon. FREE Delivery on orders over Â£10. Details Customers Who Bought This Item Also Bought Page 1 of 1 Start over Page 1 of 1 This shopping feature will continue to load items. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Apple To get the free app, enter your mobile phone number. or Don't have a Kindle? Get your Kindle here , or download a FREE Kindle Reading App . Product details Publisher: Hodder Paperbacks; New Impression edition (1 Sept. 1959) Language: English Product Dimensions: 11.3 x 2.4 x 17.7 cm Average Customer Review: Review She brought to the detective novel originality, intelligence, energy and wit. (P.D. James) Dorothy L Sayers is one of the best detective story writers. (E. C. Bentley Daily Telegraph) I admire her novels ... she has great fertility of invention, ingenuity and a wonderful eye for detail. (Ruth Rendell) A truly great storyteller. (Minette Walters) Book Description By B. Bennetts on 15 Mar. 2011 Format: Paperback Verified Purchase This, the ninth of Sayers's eleven full length Wimsey novels, is the one that lifts her above the category of twentieth-century female detective novelist, and places her among the literary greats. It is a thoroughly satisfying mystery - sophisticated, complex, intellectually challenging. Everything in the plot is there for a reason; and the final explanation is ingenious and unexpected. It is Sayers, so there is more than just a plot. The characters have a depth and realism far beyond the caricatures of Agatha Christie. They have individuality and weaknesses and baggage and unexpected strength in the face of adversity. They are, in short, people. Wimsey himself appears more relaxed in this than in most of the other books. A far cry from the self-conscious man-about-town of 'Whose Body?' or the nervy war veteran of 'The Unpleasantness at the Bellona Club', this is the Wimsey hinted at in 'Five Red Herrings': the born and bred countryman, at ease with himself, almost classless at times, an incomer who at once instinctively understands and is accepted by this tiny community. The community itself is minutely and deftly drawn too - partly through its supporting characters, partly through Sayers's own narrative voice, stronger and more distinctive in this book than in the others, and often taking on the cadence and the overtones of a local character to remarkable effect. And then there are the most powerful and enduring characters of all: the bells of Fenchurch St Paul and the place itself. `The Nine Tailors' is to the Fens what `The Return of the Native' is to the heathlands of Dorset. Read more › 57 people found this helpful. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again By Playwright on 17 July 2010 Format: Paperback No word of a lie; this really is one of my all time favourite novels. I think that Dorothy Sayers was head and shoulders above all the other Queens of the Golden Age of Crime and even now only P D James and Ruth Rendell come close. This is one of her best novels; not just a detective story but a touching portrait of rural England between the wars and a


'Behind the Shades' is the autobiography of which controversial sports figure? -

Behind the Shades eBook by Duncan Fletcher - 9781847394972 | Kobo Show more Show less Before his resignation in April 2007, Duncan Fletcher had been the most successful England cricket coach of the modern era. In the glorious summer of 2005 Fletcher's management and coaching skills reached their apogee, as England regained the Ashes from Australia for the first time since 1985. Widely acclaimed as the greatest Test series in the history of the game, this five-match contest thrilled the nation with its extraordinary swings of fortune. It was a personal triumph for Fletcher, and the high point of his tenure as England coach. One of the most experienced and senior figures in the game, Fletcher now looks back over his life and career as he ponders his next step. What was it that drove him from a sporty and competitive Rhodesian farming family to the heights of international cricket? What lessons has he drawn from his successful business career in forging a winning team? Full of telling insights and frank assessments of the players and administrators he has had the pleasure and pain of working alongside, Behind the Shadesis the riveting and revelatory autobiography of the man who put the pride back into the England cricket team. Buy the eBook


"In 1922, who replied ""Wonderful Things"", when asked what he could see through a hole in a wall?"

Museum exhibit about the ‘Mysterious Dr. Glidden’ opens Saturday Museum exhibit about the ‘Mysterious Dr. Glidden’ opens Saturday   Fri May 10, 2013 06:58pm 20th century amatuer archaeologist remains controversial Story and photo From Catalina Island Museum In November of 1922, an archaeologist named Howard Carter drilled a small hole into a stone wall that appeared to be an entranceway into an ancient Egyptian tomb. He peered into the darkness, aided only by the light of a candle. When asked if he could see anything, he replied famously: “Yes, wonderful things.” He had found the 3,000 year-old tomb of the young pharaoh, King Tutankhamen. It was the most intact pharaonic tomb ever discovered, and during the next several years, Carter brought to light thousands of ancient Egyptian artifacts, including the magnificent funerary mask and sarcophagus of the king himself. It was a linchpin moment in the life of Ralph Glidden, a self-described archaeologist who had worked since 1915, excavating Native American sites in the interior of Catalina Island, and who serves as the subject of an exhibition, opening on Saturday at the Catalina Island Museum, entitled “The Strange and Mysterious Case of Dr. Glidden.” Glidden had uncovered hundreds of Native American burial sites and his excavations had been reported in newspapers across the United States. But by the time of Carter’s discovery, Glidden’s work had begun a slow slide into obscurity, and he was faced with dwindling support from foundations. Carter’s Egyptian discoveries caused a surge in popularity for archaeological exploration into ancient civilizations, and Glidden, hungry for respectability, pounced on the obsession. Hoping that public attention would help him win back funding, he attempted to draw a parallel between his own work and that of Carter’s. Fueled by interviews with Glidden, the L.A. Examiner asked: “How old are the American Indians? Did they exist with a civilization rivaling that of ancient Egyptians?” Glidden himself proclaimed: “The discoveries I have made are little short of remarkable, in the judgment of scientific men. This work could rival Egypt.”  The attempt did little good, and by the late 1920s, Glidden was desperate. Then, suddenly, he made a stunning discovery. He announced, in 1928, the excavation of a magnificent, austerely beautiful soapstone urn. Excavated at Empire Landing, this massive urn weighed 138 pounds and, without question, represented one of Glidden’s most extraordinary discoveries. But Glidden was not convinced that the urn alone could stimulate the kind of intense public attention he desperately needed to continue his research. He spun a sensational tale about his discovery. Newspapers across America reported the account. Glidden reported that when he found the urn it contained the skeleton of a small girl sitting upright, her fingers clenching its brim. Placed in a circle around the vessel were the bodies of sixty-four children, interred in tiers four deep, with each small head touching one another. Less than five feet below these children was the skeleton of a gigantic man that measured seven feet, eight inches tall. A spear had penetrated the man’s ribcage and was left in place. Speculation abounded about the meaning of the burial.  Many believed the small girl inside the urn was of royal lineage. The burial was a strange, royal funerary rite. Others suspected an epidemic swept through the island that killed many children, and the large male may have been sacrificed to appease the gods. But, curiously, Glidden could never provide evidence of the elaborate and bizarre burial. Although he often took a large number of photographs documenting his excavations, only one photograph exists of the uncovering of the urn, and this provides no evidence substantiating his claim. The urn today is one of the most treasured objects in the permanent collection of the Catalina Island Museum. It will be on view in the exhibition that opens Saturday: “The Strange and Mysterious Case of Dr. Glidden.” The exhibition will run from May 11 through Sept.


In which childrens' TV programme, narrated by Derek Jacobi, would you see Iggle-Piggle & Upsy-Daisy?

In The Night Garden: Who's Here? [DVD]: Amazon.co.uk: Derek Jacobi: DVD & Blu-ray Product Description Product Description Five episodes of the CBeebies pre-school series narrated by Derek Jacobi, which takes children on an imaginative journey through the night garden, encountering its funny and lovable residents including Upsy Daisy, Igglepiggle, Makka Pakka, the Tombliboos, the Pontipines and the Haahoos. From Amazon.co.uk Chances are there's barely a parent of a toddler in the country who hasn't encountered In The Night Garden in some form over the past few months. The latest BBC-hit from the CBeebies channel, and with a passing resemblance to Teletubbies, this debut DVD for the show brings together five episodes. And many parents already, we suspect, will have their credit cards ready. In true childrens' television tradition, In The Night Garden is often as alien to adults as it is compelling to its real target audience. But heck, do children love it. Accompanied by the gentle narration of Sir Derek Jacobi, it's billed a nursery rhyme picture book of sorts. This manifests itself in the shape of a wild mix of children and characters, who get up to a mixture of diverse and diverting activities. And this is one of the many areas where In The Night Garden strikes gold. Not only does it have a distinctive and warm collection of characters, but it does have an educational undercurrent to it all. In short, it engages its target audience particularly well, and teaches them a little in the process. The DVD is rounded off with special bonus footage and a parents' guide, but it's the five episodes that are set to be spun time and time again. And rightly so. Expect this to be the first DVD release of many, too, for a show with many, many years ahead of it. --Jon Foster --This text refers to an out of print or unavailable edition of this title. Customers Who Bought This Item Also Bought Page 1 of 1 Start over Page 1 of 1 This shopping feature will continue to load items. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading.


In art, Lisa Gherardini became better known as whom?

Who were Francesco del Giocondo and his wife Lisa Gherardini? - The Mona Lisa Foundation The Mona Lisa Foundation Who were Francesco del Giocondo and his wife Lisa Gherardini? Breadcrump Historical Evidence Who were Francesco del Giocondo and his wife Lisa Gherardini? Francesco del Giocondo emerges in history as the husband of the lady portrayed by Leonardo da Vinci in the world’s most famous painting. The confusion and speculation about both the lady and the painting is ongoing. But as to the man who commissioned the painting in the first place, the man who made it all happen? He seems to have been largely, and often deliberately, overlooked by so many scholars and historians. One of the critical reasons for this is that in order to believe that Leonardo painted only one version of Mona Lisa, Francesco would have to be dismissed as irrelevant, and simply swatted out of the historical records like an inconvenient fly. This would be supported by de Beatis observation that the Louvre ‘Mona Lisa’ was commissioned by Giuliano de Medici. This handsome edifice at 11 Via Sant Antonino, Florence, stands where Francesco del Giocondo had one of his workshops.   But Giorgio Vasari, in his great collection of biographies (the Vite), specifically introduces del Giocondo as the man for whom Leonardo undertook to paint the portrait. Vasari is unequivocal in connecting together the three main protagonists: Francesco, his wife Lisa, and Leonardo. These circumstances, and the fact that the painting was left unfinished, were detailed in Vasari’s First Edition, in 1550, and left unchanged in the revised Second Edition of 1568. (This episode was independently witnessed and confirmed by Agostino Vespucci during the painting’s execution in 1503).   Coat of Arms of the Silk Weaver’s Guild, by Luca della Robbia. To properly understand the real history of the Mona Lisa, it is important to recognize the relevance of del Giocondo and his place in society. In 1475, the Florentine Government affirmed an unwritten law that “Every Florentine-born adult is free to gain his living as he wills.” The caveat to this perceived benevolence was that any merchant, trader, craftsman, or anyone pursuing a profession in order to legally earn a living had to belong to a specific guild. During the 14th Century it seemed that there was a separate guild, or trade association for every conceivable activity: ‘vaginariai’ – scabbard-makers; ‘conciatelli’ – house-tilers; ‘cereriai’ – wax-moulders; ‘rivenditori’ – used-clothes dealers. To complicate matters further, some guilds had higher ranking than others, for no apparent reason. By the 15th Century however, arrangements became more streamlined. There were seven Greater Guilds – ‘Le Arti Maggiori’, which incidentally included the wool-manufacturers and the silk-manufacturers. Following these were fourteen Lesser Guilds, ‘Le Arti Minori’; and the numerous other trade associations managed to gain recognition by subordinating themselves to larger groups. Francesco del Giocondo, born in 1465, was only 24 years old when he was elected in 1489 as a Consul of the Silk Guild – ‘L’Arte della Seta’ – and it is clear that his ambition and business acumen were recognized at an early age. Earlier, in 1472, Benedetto Dei, a chronicler and business agent for the Medici family, reported that there were eighty-three major silk workshops in Florence. The Silk Guild, also known as the ‘Arte di Por San Maria’, was one of the city’s most powerful guilds: it oversaw production and ensured that all silk cloth manufactured in the city adhered to strict measurement and quality standards. Many types of silk cloth and velvets were produced in Florence, but the most famous were the ‘auroserici’, silk fabrics enhanced with gold thread, which dominated the world textile market during the Renaissance. Del Giocondo and his brothers owned two shops, and rented an additional one in the Por Santa Maria area, that since the 14th Century has been linked to the silk trade. Other Tuscan cities such as Siena and Lucca also had thriving silk industries, and th


In Australia, what is referred to as a 'brumby'?

Brumby Horse: Weird Facts/Did You Know? Brumby Horse: Weird Facts/Did You Know? View Full Pet Ad » Chocolates, Whites And Other Colors- … Puppies $950 to $10,000.00 WWW.PUPPIESFORSALESITE.COM  VISIT MY WEBSITE UNDER THE ï¿½CONTACT INFORMATIONï¿½ TO VIEW GORGEOUS TEACUP AND TOY PUPPIES. … Price: $950.00 - 10,000.00 (see my website) Location: Next The word Brumby has a few origins of where it may have come from; the name Brumby may have originated from the Aboriginal word "baroomby" which means wild. The other possibility may be from a James Brumby, who is said to have released these horses into the wild in the 1800s. It also said that he simply abandoned them when he left his home and went to Tasmania. One of these actions is believed to be the true origin of the name of the horses. Brumbies are typically found in large herds that are called mobs or bands. A mob or band of Brumbies is usually made up like a family, a leading stallion, a mare and younger colts. The lead stallion usually acts as a father. He is easy to point out because he will follow at the back of the group to watch over them and look out for danger. The mare acts as a mother, leading the younger ones to food and water. The Brumby has some screen time to its name such as in the 1993 film "The Silver Brumby." It is an adaptation of the series of children's books written by Elyne Mitchelle; she began writing the books in 1955 and finished in 1999 with 13 books that go into the detailed life of the Silver Brumby horses. In 1998, an animated series was made into the likeness of "The Silver Brumby". It lasted only 39 episodes, and was said to have captured the essence of the book more than the movie. In Australia in March of 2001, there was a slaughter of Brumbies which outraged animal lovers around the world. This horrible act was carried out by the Australian Government and the National Parks and Wildlife Service. To say the least it was handled in the poorest of fashions. Many Brumbies were taken out in a vicious aerial assault. Many did not die right away so they suffered for days before dying. In some cases after the assault was ceased, some were found weeks after alive and later put down. Needless to say the National Parks and Wildlife Service was sued, thus the formation of the Save the Brumbies Inc. A documentary and awareness film was made in 1990 "Brumby Horse Run Wild" that went over the history as well as the current pros and cons to this flourishing breed of wild horse. They are a horse of beauty but yet still pose as a pest in the eyes of some of the Australian outback. They are sometimes referred to as a pest to the outback because their hooves are so tough that they destroy and make unwanted paths in certain areas. Their droppings also contain the ingredients for diseases that are harmful to other breeds of horse and just their numbers are something of concern. There is still a group of dedicated people that want to see the Brumby Horse live on and never again see a repeat of the aerial massacre that took the lives of so many Brumby Horses. Puppies for Sale:


On what Saint's day was the Battle of Agincourt fought in 1415?

The Battle of Agincourt ? 25th October 1415   The Battle of Agincourt ? 25th October 1415 In the early morning of St Crispin's Day, 25th October, 1415 King Henry V?s dysentery ravaged and outnumbered English Army that had been marching since leaving Harflleur 17 days before found itself forced to give battle against the relatively fresh and numerically superior French Army commanded by the Constable of France, Charles d'Albret, near the small hamlet of Azincourt or AGINCOURT. This is the story of the battle that took place on that day. Henry V's claim to be King of France was based on the fact that his great-great-grandmother Isabella was the daughter of King Phillip IV of France. When the last surviving son of King Phillip IV, Charles IV, died childless the dowager queen Isabella claimed the throne of France on behalf of her son Edward III of England. As King Phillip IV's grandson Edward III of England was his sole surviving direct male descendant. The French however crowned Phillip of Valois, Phillip IV's nephew, and so began the "Hundred Years War". Two significant treaties conceded by the French after the English Kings pursued their birthright by force of arms confirmed the rights of the Kings of England to the French throne. The first was after the English victory at the Battle of Crecy on 26th August 1346 and the second after the Battle of Poitiers on 19th September 1356. A further treaty, the Treaty of Bretigny signed on 8th May 1360 confirmed Edward's rule of Aquitaine, Limousin, Gascony and Calais (among other territories), but the English King had to renounce his claim to the rest of France. Four years later in 1364 Charles V came to the French throne and the war restarted in 1369. In the eyes of the English this nullified the renunciation made as part of the Treaty of Bretigny. It was on this pretext that Henry V set sail from Southampton at the head of an English Army on 11th August 1415. King Henry V King Henry V landed at Chef-en-Caux in the Seine estuary on 13th August 1415 and attacked the 100-man garrison of the Port of Harfleur in Normandy with 2,000 men-at-arms and 6,000 archers. Two French knights the Sieur d'Estouteville and the Sieur de Goucourt took over the command of the defence of the town after coming to the garrison's aid bringing with them an additional 300-men. It is at Harfleur that Henry V makes his famous ?Once more into the breach, dear friends?? speech in Shakespeare?s play. Once more unto the breach, dear friends, once more; Or close the wall up with our English dead. In peace there's nothing so becomes a man As modest stillness and humility: But when the blast of war blows in our ears, Then imitate the action of the tiger; Stiffen the sinews, summon up the blood, Disguise fair nature with hard-favour'd rage; Then lend the eye a terrible aspect; Let pry through the portage of the head Like the brass cannon; let the brow o'erwhelm it As fearfully as doth a galled rock O'erhang and jutty his confounded base, Swill'd with the wild and wasteful ocean. Now set the teeth and stretch the nostril wide, Hold hard the breath and bend up every spirit To his full height. On, on, you noblest English. Whose blood is fet from fathers of war-proof! Fathers that, like so many Alexanders, Have in these parts from morn till even fought And sheathed their swords for lack of argument: Dishonour not your mothers; now attest That those whom you call'd fathers did beget you. Be copy now to men of grosser blood, And teach them how to war. And you, good yeoman, Whose limbs were made in England, show us here The mettle of your pasture; let us swear That you are worth your breeding; which I doubt not; For there is none of you so mean and base, That hath not noble lustre in your eyes. I see you stand like greyhounds in the slips, Straining upon the start. The game's afoot: Follow your spirit, and upon this charge Cry 'God for Harry, England, and Saint George!' Extract from Act III Scene I ? Henry V by William Shakespeare Henry's brother the 1st Duke of Clarence, Thomas of Lancaster, led part of the English Army to


What is name of the piece of leather on which a barber sharpens a cut-throat razor?

How To Sharpen And Maintain Your Cut Throat Razor. | Murdock How To Sharpen And Maintain Your Cut Throat Razor. James Uden Shaving   Cut throat razors are the real McCoy when it comes to shaving. With a single blade, a cut throat causes skin less irritation while also cutting sharper. This is because you are essentially cutting hair off your face with a knife - and as with any piece of cutlery, if it's rusty or blunt, it's practically useless. In order to craft a blade like ours that is ‘shave-ready’, it is first hot-forged from a piece of carbon steel. This is then hardened by heat treatment so that it will hold its edge. The blade then goes through a number of different machine and hand-grinding processes. At this point the different sides are added. The now complete razor is then hand-stropped in order to create the final sharp edge of the blade. A cut throat needs to be routinely cared for so that it will in turn take best care of your facial hair. So here are a few expert tips on how to keep your traditional razor in top condition at home.     How do I look after my straight razor? Once you have shaved with your razor, a light stropping on a proper leather strop will help to maintain it for many years of satisfying use. Straight razors must be properly cared for in order to ensure their performance longevity. While razors made of stainless steel are less demanding on this front, other types of razors have to be rinsed with clear water and thoroughly dried after each use to avoid rusting and stains on the blade. Remember not to store your razor in a damp and unaired state to minimise the chance of natural wear. When not in use for lengthy periods of time, it is also recommended that a razor be rubbed with a light oil to similarly avoid wear on the pivot mechanism.   Murdock London Cut Throat Razor & Strop   Why use a strop with my cut throat razor? After several shaves, your razor's cutting edge will become slightly more aligned with the head, which causes bluntness. If you use a strop correctly and treat your blade well, you will only need to hone once every month or even per year. Stropping serves to polish the edge of the blade and to re-align it at the correct angle for sharp, effective shaving.     Method of stropping: (Please read this information very carefully, in order to avoid any damage, either to your fingers or your strop.) Hang your strop on a hook and pull it towards you, with the leather side up. Now lay the fully opened razor flat. You should hold the razor at the part between the blade and the handle, just using your fingertips. This enables you to easily turn the razor when stropping. The blade must be laid flat on the strop, so that the cutting edge and the back both make contact. When using the strop, always move the razor towards the back of the blade, NOT towards the cutting edge, or else you will cut the strop to pieces. Pull the blade gently towards you. The blade should stand at approx. 30-40 degrees to the strop. Do not use too much pressure or else the blade will bend, which will alter the sharpening angle. When you reach the end of the belt, roll the blade over the back of the razor and push it back towards the hook. Remember to keep the blade flat on the strop. This sharpens the other side of the blade. Repeat this 4-5 times, and your razor should be ready for work again. It's important to remember that during the whole sharpening-process the back of the blade should never leave the belt. At the end of the belt, do not take the blade off, but simply roll it over.   Extra Tips: Strop only before shaving. If you strop your razor immediately after shaving, any loose metal parts can break off and penetrate the leather, effectively turning it into sandpaper. If you honed your blade just before stropping, clean it with water and soap and dry with a cloth without touching the edge; this too is to prevent small metal parts getting stuck into the strop, which can cause future damage. Always pull the belt tight, never let it bend. The movement of the blade should always direct towards the back, ne


What is the name of the theme park in Pigeon Forge, Tennessee?

Dollywood and Dollywood's Splash Country | Dolly Parton's Smoky Mountain Vacation Destination A Full Year of Fun Drop into more than 250 days of unlimited fun with a 2017 Season Pass. Learn More Love Every Moment. Dollywood is the complete Smoky Mountain destination getaway for families looking to disconnect from the world’s distractions and reconnect with each other. Parks & Lodging


Who patented the first revolver in 1836?

Samuel Colt - Inventions - HISTORY.com Samuel Colt A+E Networks Introduction In 1836, Connecticut-born gun manufacturer Samuel Colt (1814-62) received a U.S. patent for a revolver mechanism that enabled a gun to be fired multiple times without reloading. Colt founded a company to manufacture his revolving-cylinder pistol; however, sales were slow and the business floundered. Then in 1846, with the Mexican War (1846-48) under way, the U.S. government ordered 1,000 Colt revolvers. In 1855, Colt opened what was the world’s largest private armament factory, in which he employed advanced manufacturing techniques such as interchangeable parts and an organized production line. By 1856, the company could produce 150 weapons per day. Colt was also an effective promoter, and by the start of the U.S. Civil War (1861-65) he had made the Colt revolver perhaps the world’s best-known firearm. He died a wealthy man in 1862; the company he founded remains in business today. Google Early Years Samuel Colt was born on July 19, 1914, in Hartford, Connecticut , the son of textile manufacturer Christopher Colt and wife Sarah. By visiting his father’s mill in Ware, Massachusetts , and helping out at a nearby farm, the young Colt gained an interest in all things mechanical and often dismantled objects–including his father’s firearms–to discover how they functioned. At age 16, he enrolled at Amherst Academy in Massachusetts to study navigation; however, his youthful hi-jinks later got him expelled from the school. His father then gave the teen the opportunity to study navigation firsthand, sending him out to sea on the Corvo, a ship that embarked on a nearly yearlong voyage in 1830. Did You Know? Samuel Colt hired engravers and craftsmen to decorate special presentation pistols that were given to European kings, Russian czars and military officials, among other dignitaries. These firearms were often lavishly engraved and inlaid with gold. Aboard the Corvo, Colt became fascinated with the ship’s wheel, particularly the way it could alternately spin or be locked in a fixed position through the use of a clutch. He translated this controlled rotation to firearms and a means whereby a single-shot pistol could be adapted to fire multiple rounds in quick succession. During his time at sea, Colt carved a six-barrel cylinder, locking pin and hammer out of wood. Although this prototype for a pistol featured multiple rotating barrels, in later versions Colt would opt instead for a rotating cylinder containing multiple bullet chambers to reduce the gun’s weight and bulk. After returning from his adventure at sea, Colt spent two years traveling North America under the name Dr. Coult, hosting a road show during which he entertained and educated crowds on the uses of nitrous oxide (laughing gas). The profits he saved through his skill as a promoter enabled him to perfect his revolver mechanism, and he hired gunsmiths to create a series of prototypes. Patents for the Revolving Pistol Colt’s revolver mechanism is considered by some to be more innovation than invention because it improved upon a revolving flintlock (a firing mechanism used in muskets and rifles) already patented by Boston inventor Elisha Collier (1788-1856). The British patent for Colt’s mechanism was acquired in October 1835, and on February 25, 1836, the American inventor received U.S. Patent No. 138 (later 9430X) for his revolving-cylinder pistol. The enhancements listed in this patent include greater “facility in loading,” changes in “the weight and location of the cylinder, which give steadiness to the hand,” and “the great rapidity in the succession of discharges.” Colt’s Patent Arms Manufacturing Company began making the Paterson pistol in 1836 at its Paterson, New Jersey , factory using funds advanced by Colt’s family. Initially, Colt produced three “revolving” handguns–belt, holster and pocket pistols–and two rifles. All models incorporated a revolving cylinder into which gunpowder and bullets were loaded. Primer was placed on a strike plate outside the cylinder, and combustion was initi


Which of the Four Gospels is thought to be based on eyewitness information?

When were the gospels written and by whom? | CARM Christian Apologetics & Research Ministry When were the gospels written and by whom? by Matt Slick 12/08/08 Dating the gospels is very important.  If it can be established that the gospels were written early, say before the year 70 A.D., then we would have good reason for believing that they were written by the disciples of Jesus Himself.  If they were written by the disciples, then their reliability, authenticity, and accuracy are better substantiated.  Also, if they were written early, this would mean that there would not have been enough time for myth to creep into the gospel accounts since it was the eyewitnesses to Christ's life that wrote them.  Furthermore, those who were alive at the time of the events could have countered the gospel accounts and since we have no contradictory writings to the gospels, their early authorship as well as apostolic authorship becomes even more critical. Destruction of the temple in 70 A.D. , Luke and Acts None of the gospels mention the destruction of the Jewish temple in 70 A.D.  This is significant because Jesus had prophesied its destruction when He said, "As for these things which you are looking at, the days will come in which there will not be left one stone upon another which will not be torn down," (Luke 21:6, see also Matt. 24:1; Mark 13:1).  This prophecy was fulfilled in 70 A.D. when the Romans sacked Jerusalem and burned the Temple.  The gold in the Temple melted down between the stone walls and the Romans took the walls apart, stone by stone, to get the melted gold.  Such an obvious fulfillment of Jesus' prophecy most likely would have been recorded by the gospel writers if they had been written after 70 A.D.  Also, if the gospels were fabrications of mythical events then anything to bolster the Messianic claims -- such as the destruction of the temple as Jesus prophesied  -- would surely have been included.  But, it was not included suggesting that the gospels (at least Matthew, Mark, and Luke) were written before 70 A.D. Similarly, this argument is important when we consider the dating of the book of Acts which was written after the gospel of Luke by Luke himself.  Acts is a history of the Christian church right after Jesus' ascension.  Acts also fails to mention the incredibly significant events of 70 A.D. which would have been extremely relevant and prophetically important and naturally would have garnered inclusion into Acts had it occurred before Acts was written.  Remember, Acts is a book of the history of the early Christian church.  The fact that the incredibly significant destruction of Jerusalem and the Temple is not recorded is very strong evidence that Acts was written before A.D. 70.   If we add to this the fact that Acts does not include the accounts of "Nero's persecution of the Christians in A.D. 64 or the deaths of James (A.D. 62), Paul (A.D. 64), and Peter (A.D. 65)," 1 and we have further evidence that it was written very early and not long after Jesus' ascension into heaven. If we look at Acts 1:1-2 it says, "The first account I composed, Theophilus, about all that Jesus began to do and teach, 2 until the day when He was taken up, after He had by the Holy Spirit given orders to the apostles whom He had chosen."  Most scholars affirm that Acts was written by Luke and that Theophilus (Grk. "lover of God") "may have been Luke’s patron who financed the writing of Luke and Acts." 2 This means that the gospel of Luke was written before Acts. "At the earliest, Acts cannot have been written prior to the latest firm chronological marker recorded in the book—Festus’s appointment as procurator (24:27), which, on the basis of independent sources, appears to have occurred between A.D. 55 and 59." 3 "It is increasingly admitted that the Logia [Q] was very early, before 50 A.D., and Mark likewise if Luke wrote the Acts while Paul was still alive.  Luke's Gospel comes before the Acts (Acts 1:1).  The date of Acts is still in dispute, but the early date (about A.D. 63) is gaining support constantly." 4 For clarity, Q


In which Shakespeare play is the heroine called Rosalind?

Stage Rosalinds: The Trouble of Rosalind's Disguise in Shakespeare's As You Like It Stage Rosalinds From Studies in Shakespeare by Richard Grant White, Boston: Houghton-Mifflin. Most readers of Shakespeare have a very clear ideal of Rosalind. They may be in doubt as to the physical and mental traits of others of his women, Lady Macbeth, Beatrice, Portia, or even Juliet; but the heroine of "As You Like It" lives in their eyes as well as in their hearts and minds, a very firmly and deeply engraven personage. This is partly because Shakespeare himself has done so much more to help us in forming a conception of Rosalind than he has done in regard to any other of his women, except Imogen. For it is worthy of special remark that he has given us hardly a hint as to his own idea of the personal appearance, or even of the mental and moral constitution, of these prominent figures of his dramatis personae. We are left to make all this out for ourselves from their actions and their words, or from the impression which they make upon those by whom he has surrounded them. This, indeed, is the dramatic way. As the dramatist never speaks in his own person, he must needs describe by the lips of others; but those others are beings of his own creation, and he can make them say what he pleases, the one about the others. It would seem, then, that a poet could hardly fail to delight his own sense of beauty by putting into the mouth of some of his personages descriptions of the charms of the women around whom centres so much of the interest of mimic life upon the stage; that he would, as fitly he might, at least cause his lovers to tell us something of the womanly beauty and the womanly charm by which they have been enthralled. Many dramatists have done this, but not Shakespeare. He was content to show us his women as they lived, and loved, and suffered, and came at last to joy in their love, or to grief, one of them, in her ambition. And it would seem that he did this simply because he did not care to do otherwise; because he had not himself any very precise conception as to particular details of person, or even of character, as to most of his women. He took an old play, or an old story, the incidents of which he thought would interest a mixed audience, and this he worked over into a new dramatic form, making it, quite unconsciously, and altogether without purpose, scene by scene and line by line, immortal by his psychological insight and the magic of his style. If the action marched on well, and the personages and the situations were interesting, he was content; and he concentrated such effort as he made making very little, for he wrote his plays with a heedless ease which is without a parallel in the history of literature upon the scene immediately in hand, without much thought as to what had gone before or what was to come after. That was determined for him mostly by the story or the play which he had chosen to work upon; and the splendid whole which he sometimes, but not always, made, was the unpremeditated and, I am sure, the almost unconscious result of an inborn instinct of dramatic effect of the highest kind, and an intuitive perception of what would touch the soul and stir the blood of common healthy human nature. These were his only motives, his only purposes. For all that we know of his life and of his dramatic career leaves no room for doubt that, if his public had preferred it, he would have written thirty-seven plays like "Titus Andronicus" just as readily, although not just as willingly, as he wrote "As You Like It," "King Lear," "Hamlet," and " Othello." Therefore it was to return to our first point that he did not trouble himself to paint us portraits of his heroines. That he should do so was not down on his dramatic brief: his audiences were interested, and therefore he was interested, chiefly, if not only, in the story that was to be set forth in action. How bare his dramas are of personal description will hardly be believed by those who have not read them carefully, with an eye to this particular. He shows us,