Which cricketer, who retired from first class cricket in 2008, scored 135 centuries although he had limited success at Test level?

The Student Cricketer by A W Hopkins - issuu issuu APRIL 2014 £1.95 Student CRICKETER GARY BALLANCE PLUS University of Sunderland South Yarra CC Tom Craddock Swanny’s Freshers Week WIN A PLACE FOR YOUR TEAM AT SALOUFEST 2014 I LOVE TOUR UNI DROPOUT TO ENGLAND BATSMAN The Student CRICKETER There was a time when I thought I would be the one written about in cricket magazines, not the one writing in them. Had it not been for an elbow injury sustained as a 16-year-old in my days as a youth player at Yorkshire this may well have been the case. While this injury may have caused me to lose the ability to bowl my left-arm wristspin with the consistency and promise that once saw me represent the North of England, make my Bradford League first team debut for Pudsey St Lawrence CC at 15 and even cause a (possibly delusional) spectator to bet my former Yorkshire Under-13s manager that I would one day play Test cricket, it did not cause me to lose my love for the game. My cricketing career (if you can call it that) has seen me meet lots of great people and travel the world. I have played and trained alongside players such as Joe Root, Ben Stokes and Jonny Bairstow who have made it to the highest level and many other players who have been lucky enough to make cricket their career. As a coach I have worked alongside retired internationals such as Anthony McGrath and Richard Blakey and even a former World Cup winner in Nathan Bracken. On my gap year I coached professionally at the well renowned Caulfield Grammar School in Melbourne, Australia as well as getting to have a taste of Australian Grade cricket at South Yarra CC along with getting to see a Boxing Day Ashes Test at the MCG. I even once queued behind Andrew Flintoﬀ at a Nandos in Leeds. He only went for medium spice; the big softy! Cricket has been very good to me and my life would have been very diﬀerent without it. It influenced me to do my study abroad semester Down Under rather than in America and was the biggest factor in me going into sports writing in the first place. I have made lifelong friends thanks to this great sport and despite my aﬃliation with the game not ending up how I once thought it would; I am still very passionate about it and hope that this comes across in this magazine. While my path to professional cricket was cut short, my path to university wasn’t. I had always known I would go to university, but this is mainly because my mum told me from a very young age that I had to... At a time when the cricket seemed more important than the education, I had aspirations of joining the MCCU centres of excellence at universities such as Durham or Loughborough (Oxford and Cambridge were naturally always out of the question). There was even a time when I considered studying Biological Anthropology at the University of Kent just so I could apply for the university’s cricket scholarship in conjunction with the Kent CCC Academy. However, a combination of my cricketing decline along with failing Psychology in my AS year due to being taught the wrong syllabus and only obtaining an E in A-Level Biology soon put an end to these dreams. Perhaps I should have revised more... After leaving sixth form with A-Levels in PE, Applied ICT and Biology (and not getting into the University of Central Lancashire) I somehow ended up studying Sports Journalism at the University of Sunderland. I like sport and I like writing so it seemed like a no-brainer! However, I was originally accepted to study Sports Science and Journalism combined but this was because I applied for the wrong course on UCAS. But that’s by the by... Three years, six semesters, three student flats, one student house, 29 house/flatmates, dozens of assignments, countless nights out, less women than I hoped but unfortunately more hangovers than I hoped later and here I am happy to have produced this as my final university project, my brainchild; The Student Cricketer. This magazine gives student cricket the recognition it deserves. Hopefully it will give a real insight into the life of the modern day student cricketer as h


Which group had a hit in the 1970's with 'Love Grows Like My Rosemary Grows'?

Edison Lighthouse - Love Grows (Where My Rosemary Goes) - YouTube Edison Lighthouse - Love Grows (Where My Rosemary Goes) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Aug 25, 2014 Edison Lighthouse was an early 70s British pop-rock group that was primarily devised by songwriters and record producers Barry Mason and Tony McCaulay as a showcase for veteran session singer Tony Burrows' pleasant, soothing vocals. The other original band members were: Stuart Edwards (lead guitar), David Taylor (bass), George Weyman (drums), and Ray Dorey (guitar). Edison Lighthouse scored a massive hit in 1970 with the infectiously bouncy, catchy and upbeat bubblegum pop gem "Love Grows (Where My Rosemary Goes)," which peaked at #1 on the UK pop radio charts for five weeks straight and sold 250,000 copies in Britain. Moreover, the song sold a million copies in America and peaked at #4 on the Billboard charts in March, 1970. Burrows subsequently left the band to pursue other projects and was replaced by singer/actor Paul Vigrass. The rest of the group line-up was also changed with members from the band Greenfield Hammer. This particular incarnation of Edison Lighthouse barely cracked the UK Top 50 with the bubbly and charming single "It's Up to You, Petula" and eventually broke up in 1971. In 2001 guitarist, songwriter and record producer Les Fradkin obtained the rights to the group name and formed a new version of Edison Lighthouse for touring and recording.- IMDb Mini Biography By: woodyanders PLEASE NOTE: I divided my uploads among multiple channels, Bookmark this link in your browser for instant access to an index with links to all of John1948's oldies classics.  LINK: http://john1948.wikifoundry.com/page/... Category


Bavarian lederhosen are traditionally made from the hide of which animal?

Traditional German lederhosen Traditional German Lederhosen TRADITIONAL GERMAN LEDERHOSEN: Want to catch a few eyes at your next social event? Slap on a pair of traditional German lederhosen and you’ll be the life of the party. Love it or laugh at it, the leather pants worn by Bavarian men (and sometimes women) are one of the world’s most striking costumes. Lederhosen is traditionally southern Bavarian and Austrian clobber. Up until a few years ago Germans from Berlin or Cologne wouldn’t have been seen dead in a pair except at the Munich Oktoberfest, where they’re manly de rigueur. But how did lederhosen become so popular? Let’s look at the story behind the shorts. Lederhosen history READY TO PARTY: A group of guys in traditional lederhosen at a beer festival, pretty similar to the the Munich Oktoberfest. Note: Lederhose is the singular form, which Germans use to refer to one pair of Lederhosen. Pic: avarty The history of using fur or animal hide for pants goes all the way back to Otzi the Iceman, the 5,300-year-old frozen mummy of whom was found near the Alpine Austro-Italian border in 1991. But lederhosen as we know and love it today first took shape in the 1700s. It had been reasonably common across Europe for peasants to wear leather pants for farm work, horse riding and hunting. But it was the Bavarians who invented the drop-down flap at the front. The French even dubbed it à la bavaroise, meaning in “in the Bavarian style”. In those days Europe’s aristocracy liked to dress up as peasants for fun, and so lederhosen became popular across all strata of society. Poorer folk dyed goat or sheep skin black for their pants, which were either short or full length “Bundhosen” style. It was the nobility who started wearing the soft, brown lederhosen made from deer or chamois skin that’s the most common variety today. Revival lederhosen. Pic: joe.schloz Lederhosen fell out of fashion for a while in the 1800s as pants made from cotton or cloth started to take over. An upstart called Joseph Vogel led a revival in 1883, when he and his mates from the pub gathered to protest a decline of Bavarian values. The six of them started the first Tracht preservation society and even wore their short-length lederhosen to a church service in the town of Bayerischzell. The priesthood condemned the shorts as an affront to decency and tried to have them banned. But Bavarian King Ludwig II professed he was a fan and that was that. Farmers and aristocrats alike started donning lederhosen again. But it was another Bavarian who really dealt the death blow to lederhosen being widely worn in everyday life. His name was Levi Strauss. Strauss hailed from a town near Nuremburg in northern Bavaria (a staunchly non-lederhosen wearing area) and migrated to San Francisco during the California Gold Rush. His blue “jeans” took over as the world’s most popular pant and the rest is history. Among the most memorable lederhosen advocates in the 1900s was Bavarian writer Okskar Maria Graf who fled to New York during the Third Reich days. Graf wore his lederhosen around Manhattan until his death in 1967. Lederhosen today Pic: aktivioslo These days lederhosen are usually reserved for beer festivals like Oktoberfest and other cultural events. But you can still see Bavarians wearing lederhosen as everyday garb in über-traditional towns like Garmisch-Partenkirchen. Lederhosen are being worn by more and more women as well. They’re cut differently to men's lederhosen, are often short and are often very appealing. Some people think women wearing lederhosen are just being trendy and they should get back into their Dirndl dresses. But that's not fair, because although girls in leather shorts are a new addition to the Oktoberfest, female farmhands and milkmaids have worn lederhosen for centuries. Different styles of lederhosen That's me in my lederhosen at the Munich Oktoberfest. Many styles of lederhosen have a long history so there's no one type that could be considered really traditional German lederhosen. Lederhosen in Germany can cost anywhere from €100 for the chea


In Greek mythology, who was the legendary King of Troy?

Ancient Troy: The City & the Legend Ancient Troy: The City & the Legend By Owen Jarus, Live Science Contributor | July 16, 2013 02:54am ET MORE The name Troy refers both to a place in legend and a real-life archaeological site. In legend, Troy is a city that was besieged for 10 years and eventually conquered by a Greek army led by King Agamemnon. The reason for this “Trojan War” was, according to Homer’s "Iliad," the abduction of Helen, a queen from  Sparta . This abduction was done by Paris, the son of Troy’s King Priam. Throughout the "Iliad" the gods constantly intervene in support of characters on both sides of the conflict. Troy also refers to a real-life ancient city located on the northwest coast of Turkey which, since antiquity, has been identified by many as being the Troy discussed in the legend. Whether the Trojan War actually took place, and whether the site in northwest Turkey is the same Troy, is a matter of debate. The modern-day Turkish name for the site is Hisarlik.  The idea that the city was Troy goes back at least 2,700 years, when the ancient Greeks were colonizing northwest Turkey. In the 19th century, the idea again came to popular attention when a German businessman and early archaeologist, Heinrich Schliemann, conducted a series of excavations at Hisarlik and discovered treasures he claimed to be from King Priam.  Troy the legend The Trojan War is believed to have taken place near the end of the Bronze Age. That is around or before 1200 B.C. It took place around the time that a civilization that we call Mycenaean flourished in Greece. They built great palaces and developed a system of writing.  The earliest accounts of this war come from Homer, who lived around the eighth century B.C., several centuries after the events took place. They do not appear to have been written down until even later, likely during the sixth century B.C., when a tyrant named Peisistratus ruled Athens. Homer’s "Iliad" is set in the 10th year of the siege against Troy and tells of a series of events that appear to have taken place over a few weeks. The story makes clear that the siege had taken its toll on the Greek force sent to recover Helen. The “timbers of our ships have rotted away and the cables are broken and far away are our wives and our young children,” the poem reads (translation by Richmond Lattimore).  The war had essentially become a stalemate with the Greeks unable to take the city and the Trojans unable to drive them back into the sea. We “sons of the Achaians [Greeks] outnumber the Trojans — those who live in the city; but there are companions from other cities in their numbers, wielders of the spear to help them,” the "Iliad" reads.  A number of key events happen in the poem, including a duel between Menelaos or Menelaus), the king of Sparta and husband of Helen, against Paris. The winner is supposed to receive Helen as a prize, ending the war. However, the gods intervene to break up the duel before it is finished and the war continues.  Another important duel occurs nears the end of the poem between Achilleus (or Achilles) and a great Trojan warrior named Hektor (or Hector). The Trojan knows that he’s no match for the Greek warrior and initially runs three laps around Troy, with Achilleus chasing him. Finally, the gods force him to face the Greek warrior and he is in turn killed.  Contrary to popular belief, the "Iliad" does not end with the destruction of Troy but with a temporary truce after which the fighting presumably continues. Another Homeric work called  the "Odyssey"  is set after the destruction of the city and features the Greek hero Odysseus trying to get home. That poem briefly references how the Greeks took Troy using the famous “Trojan Horse,” a gift concealing warriors within.  “What a thing was this, too, which that mighty man wrought and endured in the carven horse, wherein all we chiefs of the Argives were sitting, bearing to the Trojans death and fate!” reads part of the poem (Translation by A.T. Murray through Perseus Digital Library).  The city’s origin The site of Hisarlik, in nor


Who was the grandfather of Queen Victoria?

Queen Victoria Queen Victoria The Life & Issue of Queen Victoria    by Ilana        Miller In 1817, a great calamity befell        the British Royal Family. The heir to the throne, Princess        Charlotte, was dead after giving birth to a stillborn child. The        daughter of the infamous Prinny, soon to be George IV, Charlotte        was the hope of the nation. She was married to a handsome prince,        Leopold of Saxe Coburg Saalfeld (later King Leopold I of Belgium),        and she was extremely well-liked. This kind of popularity was a        major accomplishment for the Royal Family, and, unfortunately, the        same could not be said for Prinny's eleven other brothers and        sisters. More importantly none of these siblings, including seven        brothers, had had legitimate issue to succeed to the throne after        the death of Charlotte. The race was on. George's        middle-aged brothers scrambled to make legitimate alliances, and        thence, to produce - mostly so that Parliament would pay their        overwhelming debts. Two years later, the race was just barely won        by Edward, Duke of Kent, who, married to Victoria of Saxe Coburg        Saalfeld (the sister of Leopold), finally give the nation the much        desired heir -- little Alexandrina Victoria, in 1819. Drina, as she was known, grew up        in a fatherless household, (Edward died before she was two.) where        she was smothered and bullied by her mother, the duchess, but        brought up lovingly by Baroness Lenhzen, her nanny/governess. In 1820, George III (The Madness        of King George) finally died after a long and tumultuous reign.        His son, George succeeded him. Very little marks George's tenure.        He was far more interesting when he was the Prince Regent. He is        best known for his mistresses, his social life, and his        tremendously disastrous marriage (which produced Charlotte) rather        than for his governance. The nation actually drew a sigh of relief        when George died in 1830. George was succeeded by his        brother, William. William IV was an ignorant, tactless, but good        natured man, who had spent most of his life in the navy and had        the tattoos and vocabulary to prove it. He also had a mistress,        Mrs. Dorothy Jordan (the Mrs. was honorary), and with her, ten        little Fitzclarences. In the race to produce an heir, Mrs. Jordan        was summarily jettisoned, and William was able to convince        Adelaide of Saxe Meiningin, to marry him. Considering the thirty        year age difference, the illegitimate children falling out of the bushes, and William's recorded unattractiveness, Adelaide must        have been someone more imbued with a sense of royal duty than,        even, Queen Mary. Be that as it may, Adelaide tried desperately to        have living children - all those Fitzclarences seemed to be a        living reproach to her. She never succeeded. Adelaide was a good aunt to Drina.        She thought her a nice little girl, and would have loved to see        more of her. The Duchess of Kent, however, would have none of        this. She was determined to keep sweet little Drina away from the        dissolute Hanoverians . . . . William, whose reign began with        great promise (any reign after George's could start with nothing        but), ended ignominiously, and without fanfare. He died in 1837,        with the country, again, relieved. It was now over and the sons        and daughters of King George III, would no longer be the primary        worry of the nation. Little Drina, now Victoria, became        Queen, and celebrated this milestone by taking her bed out of her        mother's r


Who directed the 2008 film 'Burn after Reading'?

View All Critic Reviews (229) Audience Reviews for Burn After Reading This film is just fun and funny. A Coen Bros classic that can't be missed. The characters are expertly drawn and the alluring, winding plot is enjoyable. Great performances from the entire cast. Possibly the least dark Coens' movie. _kelly .King Super Reviewer Another fantastic outing for the Coen Brothers whose quirks and kookiness add charm and additional laughs with repeat viewings. Featuring outstanding work from an all-star cast, the Coen Brothers craft memorable characters and situations that will stick with me forever. I haven't laughed as hard as I do at any other movie in recent memory. The plot is ludicrous and hysterical in equal measure and has the right amount of stupid and smart to work. It won't be everyone's cup of tea, but I consider Burn After Reading a dark comedy masterpiece. Josh Lewis Super Reviewer An insanely hilarious melange of comedy and thriller as one would imagine from the Coen Brothers, with a bizarre story full of characters who are stupid beyond comprehension and great performances by its whole cast, especially Brad Pitt stealing the scene. Carlos Magalhães Super Reviewer When it comes to Burn After Reading, it seems the Coens are just pulling things out of thin air. Guess what? It works just fine. Reading the plot-line is one thing, but watching 90 minutes of a lost disk is something else. There is so much intertwining going on, it is surprising how this film never gets as confusing as it sounds. Head-scratching perhaps, but not confusing. The banter from the characters is highly entertaining. In fact, this is one of the areas where this picture excels. The constant barrage of the F word is worth the price of admission. There are a number of noticeable faces. John Malkovich and Brad Pitt get a lot of points for their characters. J.K. Simmons makes the most of his minutes as well. Burn After Reading is an example of a recommendable comedic drama. "Report back to me when it makes sense." JY Skacto


Traditional wattle hurdles were made from the wood of which tree?

Make Simple, Beautiful Garden Fences and Trellises - Organic Gardening - MOTHER EARTH NEWS Video Make Simple, Beautiful Garden Fences and Trellises Have fun with sticks — transform them into useful, attractive wattle and wickets for a garden fence or trellis. By Barbara Pleasant Homemade garden trellises provide a perfect place to grow vining plants. The same woven twigs used to make wattle fences can be used to create rings that stabilize and beautify garden towers. Photo courtesy DAVID CAVAGNARO Print Email Whether you call them suckers, water sprouts or stump twigs, chances are you have a pretty low opinion of the long, skinny branches that grow from tree stumps or inhabit ditches and fencerows. But wait — instead of resenting woody whips that insist on regrowing year after year, why not turn them into an asset? Armed with an active imagination and a lopping pruner, you can transform green sticks into pretty trellises, fence panels and plant supports. These simple structures are easy to make, cost practically nothing, and give your garden a handcrafted look. Indeed, once you get the hang of making things with bent and woven wood, you might find yourself wanting to grow these useful branches on purpose. This is not a new idea. Beginning in the Bronze Age, when knives, saws and hatchets came into use, many Europeans and early residents of the British Isles developed wattle work, the art of weaving branches into walls, fences and roofs. Wattle fences are made by weaving flexible green sapling wood between upright posts, like a wooden tapestry, so they’re both beautiful and strong. They were originally used to contain domestic animals, such as sheep. These days, wattle weaving is a great way to build all kinds of useful rustic garden accents from sustainably harvested wood. Historical Wattle Work English wattle fences were historically made from willow or hazel wood, both of which are flexible by nature. Wattle work still is a viable small industry in rural Great Britain, where underwood trees are cut back near the base (coppiced) every few years to allow a new crop of fresh shoots to emerge. Lee Zieke Lee of Willowglen Nursery in Decorah, Iowa, grows willows for the sole purpose of coppicing them every fall, then uses the branches she harvests to make baskets and willow towers. “Close spacing helps the branches grow tall and slender, but they get thick and branchy if you let them go too long — which is two years in our area,” she says. Lee grows more than 30 varieties of willow, all of which are well-behaved selections that don’t spread by producing vigorous root buds the way many native species do. “You can work with native willows, but not in your yard. With most native species, it’s better to coppice them in the wild,” she says. Lee gathers her willow branches in the fall and keeps them in her root cellar, tied into bundles, through winter. Small willow branches, or osiers, can be allowed to dry, then rehydrated by soaking them in water to restore pliability. This won’t work with species other than willow, but that’s OK because in most climates, you can cut green branches year-round, as you need them. While some projects do require willow, which is more pliable and splinter-resistant than other woods, you can still do a lot with branches from random tree species. As I tried my hand at wattle crafts, I used whatever wood was available, which included a little willow and lots of maple, dogwood, oak and other hardwood branches gleaned from my property, as well as from ditches beside public roads. You can use shrub and fruit tree prunings, too. Make Garden Wickets By growing her own willow for coppicing, Lee has a renewable wood source on hand for making a variety of garden accessories. “I love the notion that with a few skills, when you need a little fence or plant supports, you don’t have to go buy anything,” Lee says. She and her husband, Lindsay, bend pliable branches into arches to make garden wickets that protect perennials from foot traffic. “If you leave them in place, they can work as plant supports later in the


Mount Marmolada is the highest peak in which European mountain range?

Marmolada - a great Dolomite mountain - Mountains For Everybody https://mountainsforeverybody.com/wp-content/uploads/2015/01/Glenn-Gould-BWV903-Bach-Chromatic-Fantasy2.mp3 [ Bach – BWV903-Chromatic-Fantasy ] This is a beautiful massif from any perspective and surrounded by many other nice peaks of Dolomites. The approach roads are over mountain passes with breathtaking views. Like many other mountains in the region, this mountain was also a front line during the World War I, and you will realize this, see one of the photos below. The glacier itself contains tunnels from that period. The normal north route starts at Fedaia pass, see the map below: Map of the north route to Marmolada. There is a free car parking at the pass and the lake, after crossing the dam. Many spend a night there, some in motor-homes, in cars, or in tents raised late in the evening. You will see the sign for Punta Penia (3342 m) at the parking. The route goes toward Pian dei Fiacconi hut (2626 m), and from there over the glacier to the summit. In late season the glacier is with little snow and only then you will realize that it is with a lot of crevasses. When I was there, there was a thick snow layer and I could not see any. But this only made me more nervous. The glacier section ends up by a rock passage of some 100 meters or more with fixed cables. You will need the usual ferrata equipment here, a harness and a y-rope. After the ferrata you are on the snow, and very soon the summit cross will be visible in the distance. This part is rather easy and beautiful. There is yet another hut only about 50 meters from the summit. My first photo on the route to Marmolada. View toward glacier and the hut. Pian dei Fiacconi hut (2626 m). Marmolada glacier, the hut is on the rock. -The coordinates of the mountain are: Lattitude – 46.4333 For the type of boots and crampons please see my another text . My climb to Marmolada I climbed Marmolada solo, and it was just a day after my long tour to Zugspitze  (see the page within this site). After descending Zugspitze, I just continued south, crossed Austria and entered Dolomites. I had a storm most of the time, and only during lightnings, I could see what kind of great scenery I was surrounded with. I arrived at Fedaia Pass (2057 m) around 10 pm, it was July 3, 2010. There, I spent the night in the car and set off for the summit at 3:50 am. The upper part of the route. Hut at the summit. The route was first a walk on a rocky terrain through bushes, and then on snow before arriving at the Pian dei Fiacconi hut (2626 m) at 5:50. There was no sign of life in the hut, people were sleeping. This was not surprising because not much time is needed from the hut to the summit, so a late start is fine. My original plan was to avoid glacier and to take the west ridge ferrata route. However, everything around was covered by snow, and I had no idea where to go and how to cross the glacier to get to the route. So for that reason, I decided to take a rest on a rock surrounded by snow far above the hut, and to see if somebody would appear going in my desired direction. In the end, after a long hour of waiting, some groups started moving from the hut. To my disappointment, I realized they all were going the glacier route. I decided to go the same way. There was deep and soft snow on the glacier, but there were no problems, I could not see any crevasses. I followed the trail hoping this would be safer regarding crevasses. On the upper part of the glacier, the route turned to the west and I was on the rock, where I used y-rope and harness. The ferrata part was not difficult, and it was far less exposed as compared with my experience from Zugspitze the day before. At the summit There were no many people at the summit, perhaps those that were in front of me, have already been resting in the hut which was just about 50 meters from the summit cross. But there was a young man, almost teenager, and his elderly and authoritarian father. The father was obviously in charge of everything. He was ordering the son where to stay, and which mountain


Which National Trust property in Cheshire includes a mansion and a Tudor hall that was once owned by the Egerton family?

Tatton Park - Tudor Hall Tatton Park - Tudor Old Hall Knutsford, Cheshire Tudor Old Hall stands within its own grounds in a quiet part of the park and has its own cruck barn. It has it's own car parking area nearby and is a good base for walking and exploring many of the historic areas of the Park as well as for viewing wildlife. It provides a venue for a number of events such as outdoor theatre and living history and on special open days it has an 'Tour through Time' which recreates life as it would have been in bygone years, when you can then get to see inside and the large area where the people would have lived, cooked and slept. Tours only take place on selected dates. It was built as a manor house at the turn of the 15th century, there is a single storey great hall dimly lit by tallow candles and a flickering fire.  By 1598 a two storey wing was added. A new hall was built on the site of the current mansion in the early 1700's and it ceased to be a manor house, then becoming a farmhouse for a century before being finally converted into 3 estate cottages. Cruck Barn The Cruck Barn at Tatton Old Hall is not an original of the estate it  was bought to Tatton in 1976 but started its life at the beginning of the 17th century at a Cheshire farm near Frodsham. The barn is a fine example of a style once common in the Midlands and North, and is constructed from a series of paired timbers called crucks, each of which forms a shape like the letter A. The roof is thatched with reed whose butt ends jut out and form the eaves drop, which casts rainwater away from the building. Nearby is the disappeared Tatton village where the tofts and crofts of medieval houses once stood and where ancient roadways were hollowed out by centuries of tramping feet. The village site and surroundings go beyond the medieval, back into Anglo-Saxon and Iron Age times through to the Neolithic and Mesolithic periods of 3,000 and 10,000 years ago. Both the Old Hall and village sites are scheduled ancient monuments. Historical Re-enactment The Old Hall and its   grounds is used for historical re-enactment and living history events. Its   ï¿½bigï¿½ event held each year in June is the Medieval Fayre when it recreates a   holiday fair from the past, of travelling traders and victualers. With the   fair comes a collection of entertainers, falconers and neï¿½er-do-wells as   well as knights, men-at-arms and their ladies. Visitors can experience   living history groups and crafts people showing their particular interests   and skills, armed combat and archery tourneys, sometimes loud bangs,   sulphurous flame and smoke from musket and cannon and the battle finale.  The Old Hall is open throughout the event. There are a number of other attractions at Tatton Park including: The Deer Park , 1000 acres of parkland and woodland,  and home to herds of red and fallow deer, St Kilda and Soay    sheep, but also 2 meres not only providing a wetland habitat but an    activity centre for sailing boats and fishermen. tatton_park_tudor Date Updated: 07/2008 Please let us know any other information that we can add to the Further information and Planning Grids or page and any errors that you discover. Before making a long trip to any location it is always wise to double check the current information, websites like magazines may be correct at the time the information is written, but things change and it is of course impossible to double check all entries on a regular basis. If you have any good photographs that you feel would improve the illustration of this page then please let us have copies. In referring to this page it is helpful if you quote the CIN Page Ref at the bottom of the Planning Grid above. To print the planning grid select it then right click and print the selected area. Please submit information on locations you discover so that this system continues to grow.


History of Ballets Russes - Russian Ballet History Russian Ballet History The Collection's Beginings The History of Diaghilev's Ballets Russes 1909-1929 The Ballets Russes was a ballet company established in 1909 by the Russian impresario Serge Diaghilev. Diaghilev had already enjoyed success in Paris in 1908, when he presented a season of Russian art, music, and opera. He was invited back the following year to give a programme of Russian opera and ballet.  The company was initially in resident at the Théâtre Mogador and Théâtre du Châtelet , in Paris years later moving to Monte Carlo.  The company returned in 1910; in 1911 it was presented under Diaghilev's Ballets Russes and made its debut in London.  Its' original members were from the Tsar's Imperial Ballet of St. Petersburg, Russia where all its dancers were associated and trained. The company consisted of 13 members, all attaining a very high standard of dance.  The company featured and premiered now-famous works by the great choreographers Marius Petipa , Michel Fokine, Bronislava Nijinska , Leonide Massine , Vaslav Nijinsky , and a young George Balanchine at the start of his career.  It created a sensation in Western Europe because of the great vitality of Russian ballet compared to French dance.  Diaghilev's Ballets Russes became one of the most influential ballet companies of the 20th century, in part because of its ground-breaking artistic collaboration among contemporary choreographers , composers , artists , and dancers. Its works were part of the avant-garde culture in Paris and France.  In 1914, Leonide Massine joined Diaghilev's Ballets Russes. April 16th was the premiere of the one-act ballet, Papillons   choreographed by Fokine.  It was also the premiere of another of Fokine’s one-act ballet, La Légende de Joseph .  Only a month later, May 24th was Fokine’s opera premiere Le Coq d'Or .  A few days later, on May 26, it was the premiere performance of Le Rossignol (The Nightingale) choreographed by Boris Romanov.  Finishing off the summer season in June, Fokine premiered his newest choreographed piece, Midas. Video of Diaghilev's Ballets Russes   Diaghilev's Ballets Russes Comes To America -             Fall of 1916-1917     Diaghilev's Ballets Russes came to American in 1916.  That was the only tour that Diaghilev's Ballets Russes ever danced as a company in the United States.  Their first performance was in New York.  They opened on January 17, 1916 with The Firebird , La Princesse Enchantée , Le Soleil de Nuit and Schéhérezade . The American public, except those who travelled abroad, had never seen Russian ballet before. After that performance they toured  sixteen towns, dancing in a different place each evening.  The tour wound up back in New York on April 3, 1916, at the  Metropolitan Opera House.   Nijinsky didn't join the tour until the second half, Leonide Massine had been dancing his roles.  When Nijinsky turned up he was in bad spirits and out of practice. Trying to book the rest of the year, Diaghilev approached promoter Otto Kahn about another USA tour later in the year,  Kahn stipulated that Nijinsky  had to be included in the company. So Diaghilev had to agree to hand over the business end of the company to Kahn, while he and Grigoriev retired for the remainder of the year.  But on April 29, 1916, just before the end of the season, Diaghilev received an invitation for the company to perform in Spain’s request. This opportunity filled the summer season for Diaghilev’s Ballets Russes . On May 6th, they set sail back to Europe on the Dante Alighieri ship, loaded with a cargo of ammunition, horses and the Diaghilev Ballets Russes dancers  .  World War I was in full swing and, the main threat to their welfare while sailing home was from German submarines lurking off the Spanish coast. Their first performance in Madrid was on May 26, 1916 at the command of King Alfonso. Lydia Lopokova enchanted everyone in Le Carnaval and Les Sylphides and Leonide Massine's Soleil de Nuit was well received. The King attended every remaining performance of the succ


Who presented the TV show 'The Human Body'?

Watch BBC: The Human Body Episodes Online | SideReel Get a free account Mondays, on BBC Presented by Robert Winston, it takes us on a journey from birth to death using time-lapse photography, computer graphics and various state-of-the-art imaging techniques to explore every aspect, every nook and crevice of the human body in its various stages of growth, maturity and eventual decay. Conception, toddlerhood, the awkward growing pains of adolescence, the incredibly complex workings of the brain (which burns up more energy than any other part of the human body, viewers of daytime TV included, apparently) and finally death are vividly depicted and explained.


In which country did Victoria Adams marry David Beckham?

Biography And Marriage of Victoria And David Beckham 7/10/2011: The Beckhams announced the birth of their fourth child, a daughter. Born: David Robert Joseph Beckham: May 2, 1975 in Leytonstone, London, England. Victoria Caroline Adams aka Posh Spice: April 17, 1974 in Hertfordshire, England. How David and Victoria Met: David on meeting Victoria in November 1996: "My wife picked me out of a soccer sticker book. And I chose her off the telly ... It felt straight away like we'd always been meant to be together." Source: David Beckham, Tom Watt. Beckham: Both Feet on the Ground: An Autobiography. continue reading below our video 7 Tips for a Harmonious Divorce 2004. pg. 83. Victoria and David started dating in 1997 by going on low-keyed dates -- driving around, talking, going to a pub, dinner out, going to the movies. They talked a lot on the telephone. David proposed on one knee. They were engaged on January 25, 1998. The Beckham engagement party was held at Rookery Hall in Nantwich. Victoria and David did not cut their engagement cake. Instead, they donated it to a fund raising event for Goostrey Community Primary School in Cheshire. The cake is "a replica of the hall with Victoria sitting at the top and David sitting behind her." Source: BBC.co.uk Wedding Date: With 29 close friends and family members at the wedding ceremony, David and Victoria were married on July 4, 1999 at the 560-acre estate of the 1794, gothic Luttrellstown Castle, Ireland outside Dublin, Ireland. The wedding ceremony was presided over by the Bishop of Cork Paul Colton Victoria was 25 and David was 24 when they married. Gary Neville was their best man and their 4-month old son Brooklyn was their ring bearer . Victoria and David sat on Golden thrones on a raised platform with Brooklyn's crib at their side. The bridesmaid was Victoria's sister Louise. Louise's daughter Liberty and David's niece Georgia were dressed as angels and served as flower girls . "As they became man and wife, a single dove was released as a symbol of their love. Posh Spice -- one of the architects of the 'girl-power' philosophy -- stuck to her principles and did not pledge to 'obey' the Manchester United player. The new Mr. and Mrs. Beckham both shed tears after exchanging vows." Source: BBC.co.uk Wedding Attire: Victoria wore a crown and a tightly fitting ivory wedding dress designed by Vera Weng. Victoria's attire was matched by David's ivory and cream suit. He later changed into a purple suit because Brooklyn threw up on him. Their party outfits were designed by Antonio Berardi. Brooklyn was wearing a purple cowboy hat. Wedding Reception: David and Victoria had an elaborate and expensive wedding reception with 437 staff serving. All guests at the reception were asked to dress in black or white. The menu included Laurent Perrier rose champagne and sticky toffee pudding. Their wedding cake was topped with a nude (except for a few ivy leaves) sculpture of the newlyweds. Guests at the reception numbered approximately 230 and included David and Debbie Seamon, the Spice Girls, and Sir Bobby Charlton. The wedding reception featured an 18-piece orchestra. Guests were able to disco later on in the evening. The reception ended with a fireworks display. David and Victoria didn't want to receive any presents. They preferred to receive shopping vouchers. Children: Victoria and David have three sons and a daughter. Brooklyn Joseph Beckham: Born in 1999 in London, England. His godfather is Elton John and his godmother is Elizabeth Hurley. Romeo James Beckham: Born in 2002 in London, England. His godfather is Elton John and his godmother is Elizabeth Hurley. Cruz David Beckham: Born in 2005 in Madrid, Spain. Harper Seven Beckham: Born in 2011 in Los Angeles, California. Occupations: David: Professional soccer (footballer) player. He owns soccer academies in London and in Los Angeles. Has his own aftershave scent, David Beckham Instinct. Victoria: As "Posh Spice", performed with the Spice Girls, dancer, composer. The Matching Thing: David and Victoria enjoy wearing matching clothes such as b


Sciophobia - Shadow fear, shadows fear, shadow phobia, shadows phobia, fear of shadows, phobia of shadows, Sciaphobia Websites Welcome to my site for Sciophobia. In hopes of trying to provide some helpful information, I have searched the Internet looking for information on Sciophobia (Shadow fear, shadows fear, shadow phobia, shadows phobia, fear of shadows, phobia of shadows, Sciaphobia). Please note I am not a doctor and only provide this site for informational purposes. I hope you will find some benefit in the site. Best wishes! ~Edd~ What is Sciophobia? Sciophobia is the fear of shadows. The origin of the word scio is Greek (meaning shadow) and phobia is Greek (meaning fear). Sciophobia is considered to be a specific phobia, which is discussed on the home page. Sciophobia is also known as Sciaphobia. What are the causes? It is generally accepted that phobias arise from a combination of external events (i.e. traumatic events) and internal predispositions (i.e. heredity or genetics). Many specific phobias can be traced back to a specific triggering event, usually a traumatic experience at an early age. Social phobias and agoraphobia have more complex causes that are not entirely known at this time. It is believed that heredity, genetics, and brain chemistry combine with life-experiences to play a major role in the development of phobias. (Wikipedia - phobia). What are the symptoms? As with any phobia, the symptoms vary by person depending on their level of fear. The symptoms typically include extreme anxiety, dread and anything associated with panic such as shortness of breath, rapid breathing, irregular heartbeat, sweating, excessive sweating, nausea, dry mouth, nausea, inability to articulate words or sentences, dry mouth and shaking. . Can I take medicine? Medicine can be prescribed, but please note that these medications can have side effects and/or withdrawal systems that can be severe. It is also important to note that medicines do not cure phobias, at best they only temporarily suppress the systems. However, there are treatments for phobias, which include counseling, hypnotherapy, psychotherapy, and Neuro-Linguistic programming. Please click on the link at the top of the page called “Treatment Information” to find out more information on these types of treatments.   Note: If you are going to do a search, some common Sciophobia search terms include Sciophobia, Shadow fear, shadows fear, shadow phobia, shadows phobia, fear of shadows, phobia of shadows, Sciaphobia. DISCLAIMER: PLEASE READ - By printing, downloading, or using you this information, you agree to the following: 1) I am only providing this material for information and research purposes. 2) The information is "AS IS", "WITH ALL FAULTS". 3) You understand the information was gathered by doing a general search on Internet search engines for the following terms: Sciophobia, Shadow fear, shadows fear, shadow phobia, shadows phobia, fear of shadows, phobia of shadows, Sciaphobia. 4) User assumes all risk of use, damage, or injury. 5) Information may have errors or be outdated. 6) Some information is from historical sources or represents opinions of the author. 7) You agree that we have no liability for any damages. 8) I are not liable for any consequential, incidental, indirect, or special damages. Finally, if you do not agree to terms, do not use the information. It is for informational and research purposes only! If you have any questions please contact me edd@ebozman.com


Who was the first woman in Britain granted a professional boxing licence?

Andrew Flintoff's debut described as 'a circus' and 'a disgrace' by the professional boxing world - Telegraph Boxing Andrew Flintoff's debut described as 'a circus' and 'a disgrace' by the professional boxing world Andrew Flintoff’s boxing debut received a withering rebuke from many quarters  of the professional boxing world with promoter Frank Maloney labelling it as  a “circus” and calling on the Boxing Board of Control to take a look at its  decision to grant the former cricketer a licence to enter a boxing ring. A joke: many members of the boxing world have labelled Andrew Flintoff being given a licence a laughing stock Photo: ACTION IMAGES Follow Jane Couch, the first British female boxer to be granted a professional licence, labelled the four-round bout in Manchester a “laughing stock”. Couch, who took on the Boxing Board to obtain her licence to box, said: “The board stop David Haye and Dereck Chisora from fighting but allow that to happen. The Flintoff fight belonged on a white collar amateur boxing show. “It’s a disgrace that professional boxers are being put in the same bracket as what we saw last night. I’m not knocking Freddie himself – fair play – but it really should have been on a white collar show not a professional show. “David Price was defending the British and Commonwealth heavyweight titles 50 miles away and he should have had the publicity.” Maloney, Price’s promoter, told The Sunday Telegraph: “Last night was a joke. Once he’d knocked Flintoff down he backed off. Related Articles Flintoff v Dawson: tale of the tape 30 Nov 2012 “All this does is deflect the attention from real boxers who have spent years in the gym and in the amateur ranks before developing careers in professional boxing. In all honesty, I’ve seen more skills watching two women in a bar room brawl. “It was like watching two powder puff punchers, and clearly Flintoff has no chin. If the Boxing Board allows Flintoff to continue boxing, they should be questioned over it. It was a novelty, and just a circus.” Promoter Frank Warren, who has a share in BoxNation, the dedicated boxing channel which aired Flintoff’s professional debut in the ring, believes that the former England cricket all-rounder had clearly taken it seriously. Warren told The Sunday Telegraph: “What Freddie Flintoff did was commendable. He took it seriously. He’s an absolutely raw novice, as was his opponent Richard Dawson, and that’s what it was – a novice heavyweight fight. “He’s never going to be at the level of a David Price, but it’s up to him if he wants to carry on and have more fights. It will all depend on what level he is matched at. If he is hit on the chin, he will go. “The Boxing Board did not just give him a licence, they took a careful look at him, and he fulfilled all of the Board’s criteria to be able to box. “It is what it is with Flintoff. He’s a very, very raw novice, and he, more than anyone else, understands that. He’s been a professional sportsman, and he knows what it takes to get to the highest level in any sport.” Flintoff faced derision from other professional fighters. Paul Smith, the former British super-middleweight champion from Liverpool, responded to Flintoff fans on Twitter who were suggesting he should face Audley Harrison. “For the jokers, Audley Harrison would be arrested for manslaughter if he fought Flintoff.” Former Olympic boxer Khalid Yafai commented on his Twitter account: “Fair play to Flintoff but he should see my nan’s right hand!! Embarrassing for boxing though!” However, Barry McGuigan, the former world champion who had trained Flintoff with his son Shane for the past five months, branded those criticising Flintoff as “idiots”.


On which island of the Philippines is Manila?

Manila, Philippine Islands - definition of Manila, Philippine Islands by The Free Dictionary Manila, Philippine Islands - definition of Manila, Philippine Islands by The Free Dictionary http://www.thefreedictionary.com/Manila%2c+Philippine+Islands Also found in: Thesaurus , Encyclopedia , Wikipedia . Manila The capital of the Philippines, on southwest Luzon Island and Manila Bay, an inlet of the South China Sea. Founded in 1571, the city was controlled by Spain until it was seized by US troops in 1898 during the Spanish-American War. It was held by the Japanese from 1942 to 1945 during World War II. ma·nil·a


What is Tocophobia? - MyMind MyMind Blog posts In this piece, MyMind psychotherapist Lorraine Hackett  and other experts talks about tocophobia – an extreme fear of childbirth. This article appeared in the Irish Times .  Tocophobia, an extreme fear of childbirth, is surprisingly common and is estimated to affect one in 10 women. It was first identified by Dr Kristina Hofberg in 2000. Hofberg separates sufferers into two categories: primary tocophobes, who fear childbirth before pregnancy, and secondary ones, whose fear is ignited by a traumatic birth. Primary tocophobia can arise from a wide range of reasons, from childhood sexual abuse to exposure to graphic imagery. Actor Helen Mirren says an educational video shown at school put her off labour for life. “I swear it traumatised me to this day,” she said in an interview in 2007. “I haven’t had children and now I can’t look at anything to do with childbirth. It absolutely disgusts me.” According to Prof Louise Kenny of University College Cork, secondary tocophobia is “an area that is under researched and under resourced in the main”. A complicating factor in the research is that what is deemed traumatic is completely individual – two women experiencing the same type of birth may view it very differently. Women also may feel a lot of guilt at saying that despite having a healthy baby she is unhappy at the experience of giving birth “and that’s a huge part of birth trauma”. Depth of fear What separates tocophobia from the usual anxieties of mothers-to-be is the depth of fear. Some tocophobes think they will die; others imagine something unbearable happening. The most common trait is a fear of vaginal birth, with no corresponding dread of Caesarean sections. However, some women find both prospects equally terrifying. For many, the idea of a baby growing inside them is deeply unsettling. Other symptoms can be the need to recount the experience over and over without finding closure to a residual feeling of disempowerment, nightmares and crying to a need for anxiety medication, says Lorraine Hackett, a Dublin-based psychotherapist who specialises in birth trauma. Physically a woman may feel “less than whole”. The woman may feel her body has failed her and be suffering from an episiotomy or tear, and may suffer consequences such as faecal incontinence or prolapse exacerbated by an instrumental delivery. For secondary tocophobia the woman may have felt disassociated from her body during the birthing experience (a coping mechanism); feel that she is just a vessel for the baby; that the system has taken over and her voice isn’t heard. Women may have made career choices, own their own home but “suddenly are shocked to find they’re in a situation that they don’t have any say in”, says Kenny. Birth plans, she feels, are “something that women feel they may need to use in order to retain some control of their labour”. Decisions Niamh Healy, of parent support group Cuidiú, says women who feel more involved in decisions made at the time of childbirth, even if they are decisions they hadn’t hoped to make, appear happier with the outcome. Women can even have what looks like a bad experience yet feel good about it, according to Krysia Lynch of Aims Ireland, the Association for Improvements in the Maternity Services in Ireland. Maeve O’Connell, a midwife and PhD student who is doing the first study into the prevalence of tocophobia in this country, says that although the majority of women recover from a traumatic birth, a small number will go on to develop post traumatic stress disorder (PTSD). There is no data yet to indicate how many women develop tocophobia with most research in this area coming from Scandinavia to date. Kenny says she sees many women who have had a traumatic birth and who recall things that the doctors and midwives might “brush off as inconsequential”. Most vulnerable Labour is when a woman is at her “most vulnerable” and, as such, it’s very easy for a “casual comment or a very minor or poorly explained or roughly carried out intervention” to trigger a deep trauma, she s


How is the plant Lactuca Sativa better known?

Lactuca sativa Lettuce, Garden lettuce PFAF Plant Database Notes: Medicinal Uses Plants For A Future can not take any responsibility for any adverse effects from the use of plants. Always seek advice from a professional before using a plant medicinally. Galactogogue ;   Hypnotic ;   Hypoglycaemic ;   Narcotic ;   Parasiticide ;   Parasiticide ;   Sedative . The whole plant is rich in a milky sap that flows freely from any wounds. This hardens and dries when in contact with the air[4]. The sap contains 'lactucarium', which is used in medicine for its anodyne, antispasmodic, digestive, diuretic, hypnotic, narcotic and sedative properties[9, 21, 46, 165, 192, 213, 238]. Lactucarium has the effects of a feeble opium, but without its tendency to cause digestive upsets[4], nor is it addictive[7]. It is taken internally in the treatment of insomnia, anxiety, neuroses, hyperactivity in children, dry coughs, whooping cough, rheumatic pain etc[238]. Concentrations of lactucarium are low in young plants and most concentrated when the plant comes into flower[238]. It is collected commercially by cutting the heads of the plants and scraping the juice into china vessels several times a day until the plant is exhausted[4]. The cultivated lettuce does not contain as much lactucarium as the wild species, most being produced when the plant is in flower[4]. An infusion of the fresh or dried flowering plant can also be used[9]. The plant should be used with caution, and never without the supervision of a skilled practitioner. Even normal doses can cause drowsiness whilst excess causes restlessness[238] and overdoses can cause death through cardiac paralysis[7, 9]. Some physicians believe that any effects of this medicine are caused by the mind of the patient rather than by the medicine[213]. The sap has also been applied externally in the treatment of warts[222]. The seed is anodyne and galactogogue[218]. Lettuce has acquired a folk reputation as an anaphrodisiac, anodyne, carminative, diuretic, emollient, febrifuge, hypoglycaemic, hypnotic, narcotic, parasiticide and sedative[218]. Other Uses Parasiticide[178]. No further details are given, but it is probably the sap of flowering plants that is used. The seed is said to be used to make hair grow on scar tissue[218]. Cultivation details Prefers a light sandy loam[1]. Succeeds in most well-drained, humus-rich soils but dislikes acid conditions[1, 16]. Plants strongly dislike dry conditions, quickly running to seed in such a situation. Early and late sowings are best in a sunny position, but summer crops are best given a position with some shade in order to slow down the plants tendency to go to seed and to prevent the leaves becoming bitter[18, 20]. The garden lettuce is widely cultivated in many parts of the world for its edible leaves and is probably the most commonly grown salad plant. There are many named varieties[183] capable of providing fresh leaves throughout the year if winter protection is given in temperate areas. Over the centuries a number of more or less distinct forms have arisen in cultivation. These forms have been classified as follows. They are treated separately in more detail:- L. sativa angustana. L.H.Bailey. is the Celtuce. The leaves of this form are not of such good quality as the other lettuces and the plant is grown more for its thick central stem which is used in the same ways as celery[1]. L. sativa capitata. L. is the heading lettuce, it forms a heart in a similar way to cabbages. Examples of this include the Iceberg and Butterhead lettuces. L. sativa crispa. L. is the curled or leaf lettuce. This does not form a central heart but produces a loose rosette of basal leaves. It can be harvested on a cut and come again basis. L. sativa longifolia Lam. is the cos lettuce. This has longer, thinner leaves and a more erect habit, it does not form a compact heart. Lettuces are quite a problematic crop to grow. They require quite a lot of attention to protect them from pests such as slugs, aphids and birds. If the weather is hot and dry the plants tend to run very quickl


Who lost most Ladies Singles Finals at Wimbledon in the 1980's?

History - 1980s - The Championships, Wimbledon 2017 - Official Site by IBM  READ MORE 1980: Billie Jean King v Martina Navratilova The 37-year-old King returned to Wimbledon for another assault on the title she loved, saving a match point in a 2hrs 40mins encounter against Pam Shriver to reach the quarter-finals. Once there, it was Martina Navratilova who would stand in her way, defeating her 7-6, 1-6, 10-8, in a match that took two days to complete. Once the rain had stopped, BJK agreed to resume on the condition that tournament officials immediatedly suspend the match if the rain resumed, as she wore glasses. So the first set began, the drizzle came, and the chair umpire refused to suspend the match until Navratilova won it in a tie-break.  Delayed overnight, King returned the next day, romping through the second set in just 17 minutes. In the third set the elder competitor served for the match at 6-5, but produced four volleys into the net. Saving match points at 6-7 and 7-8, the ill-fated glasses finally got their comeuppance at 8-9, breaking during the changeover. King had a spare pair, but they weren't quite right. Saving two more match points before Navratilova finally triumphed 10-8, King said afterwards "I think that may be the single match in my career that I could have won if I hadn't had bad eyes." 1980: Bjorn Borg v John McEnroe In any assessment of great sporting moments of the 20th Century, the fourth set tie-break of the 1980 Wimbledon Gentlemen's Singles final between the defending champion Bjorn Borg of Sweden and John McEnroe of the USA has earned an unchallenged place. Borg was then 24 and was playing in his fifth consecutive Wimbledon final having won the previous four. For second-seeded McEnroe, this was his first appearance in the final at the age of 21. The Borg-McEnroe fourth set tie-break was to make history. It was to range over 22 minutes, produce 34 contested points, which is a record for a Wimbledon final, and from start to finish produced moment after moment of changing fortunes, with match points and set points following in a tantalising sequence. When McEnroe's viciously top-spun return produced a volley error from the Swede, the match was all square after just over three hours. Borg went for broke in the deciding set, hitting 80 per cent of his first serves and losing only three points on serve in the entire set. McEnroe contributed fully to this astonishing final and twice served to save the match. Borg finally reached his eighth match point when McEnroe missed a low volley. A backhand passing shot ended it and Borg was Champion by 1-6, 7-5, 6-3, 6-7, 8-6. 1981: Bjorn Borg v John McEnroe As the sun finally went down on the last day of the wildest Wimbledon fortnight in 104 years, the sign on the main outside scoreboard of the All England Club read "Well done J.P...bad luck, Bjorn." Having come so close and yet so far the year before, John McEnroe finally ended Bjorn Borg's 41-match-winning streak at Wimbledon on the fourth of July, in most memorable fashion. Before play began, McEnroe had criticised the weather, the grass courts, the officiating, and concluded: "There's nothing championship about this tournament except its prestige." In his first match, there was the infamous blow-up when McEnroe delivered both barrels to Edward James, calling him 'the pits of the world.' He was fined $1,500. By the end of the week, he was its latest Champion. But by the time he reached the final, McEnroe had chanelled his anger, and effectively turned the tables on his great rival. Producing 64 winners to the Swede's 47, 23 of them in one set, McEnroe came through 4-6, 7-6, 7-6, 6-4 to dethrone the mighty Swede.  Nevertheless, he still refused to attend the Champions' dinner. 1981: You cannot be serious  It is one of the most infamous lines in tennis history. Remembered and imitated on an almost daily basis around the world, in 1981, a headband-wearing, frizzy-haired John McEnroe was so furious at Wimbledon umpire Edward James's refusal to call his serve in, that he uttered the immortal words "you cann


Which famous poet wrote the line 'we are the hollow men'?

The Hollow Men by T S Eliot - Famous poems, famous poets. - All Poetry brett masters : is such an incredible poet and this is one of his best SightlessUnless : This poem is the reason I write poetry Nassy Fesharaki : Nice poem And this poem...the most classic in during our course...is...possibly, the richest JonHazle : lol act4istone wats a firey wath Rem Adore : This is where I would ask the story of redemption; If God so loved the world, will kindness be sent along side the firey wath? Hack Jouley : Drew can get weird though Hack Jouley : Drew Franklin and I are best friends BUT.. not as close of friends as Mr. Hastings and I!! Hack Jouley : April fools bruh Hack Jouley : BTW guys I'm jack houley I'm kinda a big deal I'm on varsity lacrosse and soccer Hack Jouley : I love english so much its so fun and mr hastings is cool Hack Jouley : Mr hastings is my best friend ever!!! Solving Ennui : So many of my poems start so strong, and the cross associations between the first stanza are great! Loving it. Marco Dellorusso : It's a powerful poem. I love the imagery it invokes, as well as it's esoteric meaning. Much better then The Waste Land. Emilyelisabethwr : I love this poem Bevlyn T Mashava : I love this poem it tacks me back to those days in school and stil keeps me going. D I Harrison : I shall re-read The Four Quartets shortly, at the moment for a little while I'm focusing on John Clare and George Herbert. However, you might feel, given what you think  are my views on Eliot, that I have just written an extended poem (a Science Fiction story in sometimes rhymes, and sometimes not, that owes a little of it's construction - but not style - on the Great Eliot himself. There are a couple of direct quotes from The Hollow Man. I think I said my favourite Eliot poem - and I never actually said I didn't like him and I never said I didn't like The Wasteland, which in fact I do. It is possible to like something, to admire it, but find a great many things that you are unhappy with.I have a settled opinion, that's true, but  which came from recent exhaustive reading and study of the short volume of 'Selected Poems' [Faber (1948) revised edition - I believe in the early or mid 60's) I do hope you are not assuming that, as with some people, I have a problem with Eliot simply because I had not read enough. I do hope that we might continue on with this little, ultra-non-group 'group' of whoever's interested enough to joinin thoughtful discussion of poetry. I have enjoyed reading your thoughts on Eliot, and got some satisfaction over putting some of my thoughts out there to catch what they catch. Anyway, back to the point. I have also shamelessly lifted the title of this poem to use as the title of my poem. called 'The Hollow Men?', I have entered it into a contest to write a Science Fiction poem. If you would care to take a look, I'd be very interested in your feedback, and a little light unpaid proofing(?). You have a good intellect, and one which I can respect - so your opinion on some of my writings would be an invaluable service to me. Kind regards, D I H Morag : Have you written your poem made up of quotations yet?  I'd love to see it. Eliot did not write poetry about the Great War.  The obvious reason was that he wasn't in it.  Even if he hadn't been American, his health problems mean that he would never have made a soldier.  However, The Waste Land is clearly about the aftermath of the war.  Look at the characters - the exiled Russian aristocrat, Madame Sosostris, the couple in 'A Game of Chess', the typist and her boyfriend - they are all part of the feverish disillusionment of the 20s, the feeling of "everything's pointless, so let's try to distract ourselves with sex, occultism, drugs - anything to keep reality out."  For so many people that time was a Waste Land all right. However, you're right - we'll never agree on this.  I like the poem and you don't.  Why not try The Four Quartets?  They're very different. D I Harrison : I want you pointing out my tiny errors. We can all improve. Yes, I did read The Four Quartets, but a w


Which band had a top ten in 1996 with Cosmic Girl?

Cosmic Girl by Jamiroquai | TrackID™ Cosmic Girl by Jamiroquai | TrackID™ Open in TrackID™ Jamiroquai Biography Active beginning in the early '90s, Jamiroquai has amassed a steady stream of hits in its native U.K. and experienced chart success in just about every other area of the world, with an irresistible blend of house rhythms and '70s-era soul/funk (the latter, especially, leading early on to claims of Stevie Wonder imitations). The band has gone though several lineup changes during their career, but through it all their leader has remained singer/songwriter Jason Kay (aka J.K.). Born on December 30, 1969, in Stretford, Manchester, Kay's mother, Karen, was a jazz singer who regularly performed at nightclubs, and in the '70s had her own TV show. After leaving home at the age of 15, Kay found himself homeless and in trouble with the law (by committing petty crimes to get by). After a near-death experience (where he was attacked and stabbed) and being arrested for a crime he did not commit, Kay decided to return home, where he chose to pursue a legitimate career over crime: music. Kay didn't have a band to back up his compositions, but he quickly came up with his future project's name, Jamiroquai, a name that combined the name of a Native American tribe (the Iroquois) along with the music-based word, jam. Kay's home demos caught the attention of the record label Acid Jazz, which issued Jamiroquai's debut single "When You Gonna Learn?" in late 1992. With Kay enlisting the help of others (Jamiroquai's best-known lineup included drummer Derrick McKenzie, keyboard player Toby Smith, bassist Stuart Zender, and vibraphonist Wallis Buchanan), the single was a success and was soon followed by a long-term and lucrative recording contract with Sony. Jamiroquai's full-length debut, Emergency on Planet Earth, followed in 1993 and became a major hit in their native England (peaking at number one on the charts), spawning such Top Ten hit singles as "Too Young to Die" and "Blow Your Mind." The band's second release, The Return of the Space Cowboy in 1995, managed to steer Jamiroquai clear of the sophomore jinx that affects so many up-and-coming bands by out-selling its predecessor in Europe and was a sizeable hit in Japan, as well. With most of the world dancing to Jamiroquai's beat, America was next in line for the band's third effort, 1996's Traveling Without Moving. The album spawned the worldwide hit "Virtual Insanity," for which an award-winning video was filmed and helped the album achieve platinum status in the States by the year's end (as well as a highlighted performance at the 1997 MTV Video Music Awards). Despite achieving breakthrough success, bassist Zender opted to leave the group during sessions for its follow-up, which resulted in Kay scraping almost an entire album's worth of new tracks in order to start from scratch with a new bassist (the slot would eventually go to newcomer Nick Fyffe). During the downtime, Jamiroquai contributed a brand-new track, "Deeper Underground," to the soundtrack for the 1998 movie Godzilla. But the long wait between albums seemed to kill Jamiroquai's momentum in the U.S., where a fourth release overall, 1999's Synkronized, was largely ignored (yet back home and across the globe, it was another major commercial success). Subsequently, it appeared as though the majority of Jamiroquai's U.S. media attention focused on non-music related events, such as the band turning down a million-dollar offer to play at a concert on New Year's Eve 1999, and when Kay was accused of assaulting a tabloid photographer (with the charges later being dropped). It didn't take Jamiroquai as long the next time around to issue another album, with A Funk Odyssey hitting the racks two years later in 2001. Kay also helmed a volume in the mix-album series Late Night Tales. From there, Jamiroquai spent the next two years gathering material for a sixth studio album. Dynamite, which was finally released in 2005, was written and recorded in Spain, Italy, Costa Rica, Scotland, New York, Los Angeles and Jamiroquai's own Bu


In which Shakespeare play do we find Touchstone, a jester?

Shakespeare's Fools - Touchstone in As You Like It Shakespeare's Fools: Touchstone in As You Like It From The Fools of Shakespeare by Frederick Warde. London: McBride, Nast & company. "A Worthy Fool" To term Touchstone a clown, as he is called in the cast of characters of "As You Like It," seems to me both a misnomer and an injustice. His knowledge, his wisdom, his wit and his faculty - of observation, raise him far above the condition that such a term would imply. Fool to the court of The Duke, whose dukedom is not named, the character of Touchstone is a most positive and complete conception of the mediaeval jester, and he more fully realizes the accomplishments essential to that office, as described by Viola in the "Twelfth Night," than any other of the motley-minded gentlemen that the poet has created. He is a man of considerable learning, his wit is never lacking in wisdom, he chooses the object of his jests with prudence, the time with discretion, the matter with judgment, and he is never at a loss for a reply that is apt and to the point. Touchstone scorns mere persiflage, is happily free from the punning habit, and is seldom a corrupter of words; he makes his jests by logical deductions, with a good premise, a sound argument, and a positive conclusion. This same happy quality may be found in his encounters with the gentlemen of the court, the ladies in their disguises, the simple shepherds in the forest, and with the grave philosopher Jaques; indeed, it is the latter gentleman who most accurately summarizes the accomplishments, and gives the keynote to the jester's character, when he presents him to the Duke: "Is not this a rare fellow, good my lord? he is as good at anything, and yet a fool." The wit of Touchstone does not scintillate, but burns with a steady flame; it is not like the sparks that fly from the contact of tempered steel, but the bright and ruddy glow that radiates from molten metal in the crucible. It is sententious rather than brilliant, more philosophic than frivolous, and invariably epigrammatic. His hutpor is never malicious, nor his satire bitter; he shoots his wit at every mark that presents itself, but his shafts are harmless; they have no barb and leave no sting. Touchstone is not a buffoon, he does not play practical jests nor indulge in such pranks as did that "mad rogue" Yorick. Had it been. Touchstone in the churchyard at Elsinore when the sexton was digging a grave, he would not have poured a flagon of wine over the old grave-digger's head; he would probably have leaned against one of the old yew trees, watched the proceedings with quiet reflection, and if the old sexton had advanced any of his socialistic theories, the jester would have argued the matter to the end, and no doubt have beaten him on his own proposition. There are no demonstrations or expressions of affection by Touchstone, as by the fool in "King Lear," yet he is not lacking in loyalty; he leaves the court of Duke Frederick to follow the fortunes of Celia, the Duke's daughter, out of sincere regard, running the risk of the Duke's displeasure and probably of punishment if discovered; he accepts the fatigues of the journey and the discomforts of life in the forest of Arden without hesitation or complaint; he readily adapts himself to his new environment, keeps his own counsel, as well as that of his mistress, and holds the secret of the disguises of Celia and Rosalind inviolate. My first acquaintance with Touchstone was made many years ago, at Manchester, in England. A very elaborate production of "As You Like It" was presented at the Prince's Theater there. I played the part of Orlando to the Rosalind of that beautiful and incomparable actress, Miss Adelaide Neilson. Mr. Compton was the fool. I cannot imagine a more adequate and effective performance of the part than Mr. Compton gave; his quaint personality, his unctuous humor, his artistic instinct, added to his ripe experience, combined to present a complete embodiment of the poet's design. The mobility of his features


In which decade of the 20th Century were the Oscars instigated?

W20TH The twentieth century defined a new era for swim wear. The revolution was instigated by two things: a greater interest in recreational sports and the influence of daringly cut French swi msuits. The torturous corset was finally dispensed with and the task of eroticizing the body was taken over by exposing the skin itself since there was nothing to equalize or camouflage the shape of the body. What occurred during the evolution of the ba thing suit during the 20th century was a merciless exposure of the flesh due to the rapidly shrinking suit. The first Jantzen swimsuits that were introduced at the turn of the century featured the "rib stitch" that consisted of a rubber-like material that retained its shape wet or dry and had the advantage of not soaking up a large amount of water. By 1910, fe male athletes looked forward to a functional suit introduced by Annette Kellerman, an Australian polio victim that had taken up swimming to strengthen her legs. Her practical offering was a tight-fitting black wool one-piece that did away with the skirts and sleeves but kept the trousers cut two inches above the knees. Besides these kind of sports suits, ladies also had the option of dressier styles that showcased sashes, embroidery and vibrant colors of formal feminine dress. The 1920's brought a collection of suits sporting the war spirit; suits featured short-skirts on a sailor costume. The new suits in general covered less and less of the bather while simultaneously subtracting the skirt.. The suit that symbolized the dec ade was the malliot style, a two-piece that consisted of a vest-shaped top extending to the upper thigh and shorts. As the decade wore on, a new "California style" suit was introduced. This one-piece suit was the conservative response to the more daring cuts of the age since it was essentially the top and skirt of the two-piece malliot but assembled into a single piece of fabric. As the age wore on, corporate influence over the swimsuit and beach culture took foot, instigating standards that would be s et more by market-driven entrepreneurs than governmental bodies. The tubular suits of the decade were influenced by the popular Art Deco mode, featuring deer, gazelles, antelopes, and greyhounds. The ability of the swimsuit to pick up the newest fads an d trends from the fashion world was remarkable. By the end of the 20's "novelty suits" had latched to industry. An example was the wooden bathing suit that came out in 1929. This clunky 2-piece swimsuit provided enough coverage but was a monument to di s-utility. The 1930's began with a new generation of designers and the emergence of a new look for the body that was functional, sleek, and streamlined. The famous Bauhaus style was void of all dec oration and ornament and left beauty up to form and function itself. This decade was characterized by four types of suits consisting of the malliot, sheath, two-piece, and the "dress-maker." Of these, the dressmaker became the enduring "staple" of the th irties. Its neck and shoulder line was borrowed directly from street wear and kept the skirt effect but shortened to a height above the knee. Remarkably similar to the malliot, variatio ns in the dressmaker made it popular. Variations included little slit aprons in the back and front that concealed the trunks below them, side pleats that gave width to skirts, and out-and-out trunks featuring pleats in the front that gave a skirt effect.  The goal behind design advances was to improve the female figure, with the bosom gently "uplifted" and molded by darts -- as in Jantzen's "Ladies Uplifter," an adjustable skirted garment. The 1934 suit hugged the body and was constructed to allow shou lder straps to be lowered for tanning. By mid-decade, "molded-fit" suits were introduced, featuring the "nude look." The "panel suit" was also popular, retaining the memory of the skirted bathing dress in the form of a skirt. The end of the decade was a mesh of rubber suits including the "cloque," consisting of crinkled rubber fabric and a printed crepe-rub


Which author created the fictional detective C Auguste Dupin?

C. Auguste Dupin - Private Investigator / Detective      C. Auguste Dupin   C. Auguste Dupin Edgar Allan Poe created a famous fictional detective named C. Auguste      Dupin which was first introduced to the people through a story named      âThe Murders in the Rue Morgueâ. This fictional story was created by      Edgar Allan Poe in the year 1841 and then the character C. Auguste Dupin      was again featured in the story âThe Purloined Letterâ. Although, C. Auguste Dupin is not a detective by profession, but while      solving the mysteries, he always tries to put himself in the criminalâs      mind so that he can hit on every clue that links to the mystery and      helps in solving the case. Introduction When Edgar Allan Poe created this fictional character of C. Auguste      Dupin, the term âDETECTIVEâ was not coined. This is the reason that      all the stories written by Edgar clearly mention that C. Auguste Dupin      is not a professional detective. The character of C. Auguste Dupin gave rise to many other characters      which were professional detectives and this made the fictional detective      stories very interesting. C. Auguste Dupin belongs to a quite wealthy family, but with the troublesome      twist and turns in life, the family faces very unpleasant situations      which leave them in a situation to fulfill basic necessities only. The narrator of the story is unidentified, but C. Auguste Dupin stays      with the narrator in Paris. Dupin is very fond of enigmas and the first      series of this fictional detective start with an investigational case      in Paris where a mother and a daughter were murdered. The second story where C. Auguste Dupin was featured was âThe Mystery      of Marie Rogetâ and this story was based on a factual account. A lady      named Mary Roger was a saleswoman in Manhattanâs cigar shop and was      murdered for some reasons. Her body was found floating in the river Hudson and on this true event,      Edgar wrote this story, âThe Mystery of Marie Rogetâ. The third story      âThe Purloined Letterâ was about a stolen letter that was filched from      the French Queen. Investigating Technique C. Auguste Dupin is a very intelligent character who solves the cases      cleverly. One technique that Dupin always reflects upon is keeping himself      in the mind of the criminal and then thinking as per his perspective. This technique helps the character Dupin to solve all the cases and      get to the root of evidences. His creative imagination to find the evidences      have made him very popular among the readers and this effective technique      makes him capable of solving all the cases. Most of the clues that he finds as links to the cases are actually      found from the newspapers and other reports, which emphasizes reading      and writing aspects. In addition to this, the method of finding the evidences differs in      all the stories, but the basic of keeping himself in the criminalâs      mind remains the same. In one of the stories, C. Auguste Dupin solves the case purposefully,      so as to prove innocence of a man who was charged for what he had not      done and so Dupin does not accepts the financial reward. This is what makes the fictional detective so admired by the people.


Who assassinated the Duke of Buckingham in 1628?

The Buckingham Assassination (1628) - Early Stuart Libels < Previous Page Next Page > view as PDF On 23 August 1628, in the Greyhound Inn on Portsmouth High Street, a disgruntled, melancholic infantry lieutenant, badly wounded     during the 1627 expedition to the Ile de Ré, twice passed over for promotion to captain, and owed over eighty pounds in back     pay, plunged a cheap knife into the heart of George Villiers, Duke of Buckingham. Gasping an astonished oath, the great favourite fell to the floor, dead, while the assassin retreated unobserved through     the ensuing chaos to the inn’s kitchen where he would eventually surrender to the Duke’s men with the calm admission that “I am the man”. He was John Felton, the forty-year-old scion of a minor gentry family from Suffolk that had fallen on hard times. Angry that Buckingham had     ignored his case for promotion, and increasingly desperate as he became ever more short of cash, Felton had come across a     copy of the 1628 Parliament’s Remonstrance against the Duke and had thus come to believe that his private sufferings were     but a small part of the sufferings the whole nation had endured under the favourite’s corrupt rule. To kill the Duke, Felton     imagined, would be an act of personal and national redemption. Before setting out for the Greyhound Inn, therefore, Felton     had written and then sewn into his hatband two apologies for the murder: in them, he insisted that he had acted as a patriot, a gentleman and a soldier. He had struck the blow for the public good. The impact of Buckingham’s assassination was immediate and immense, utterly transforming the English political landscape.     While the King retreated to his chambers, grief stricken, news of the murder spread across the country, inspiring spontaneous and often     reckless outbursts of joy. The assassin was taken under armed guard from Portsmouth to the Tower of London, where he was repeatedly     interrogated, possibly under torture, about his motives and accomplices. For three months the authorities attempted to uncover     the conspiracy they were sure lay behind the Duke’s murder, but the assassin insisted he had acted alone. By late November,     the investigation had run its course and Felton was at last put on trial for Buckingham’s murder. Tarred by the authorities     as a wicked, atheistic criminal who had acted solely to avenge his personal grudges against the Duke, Felton was convicted     and sentenced to death. Two days later, on the gallows at Tyburn, he confessed before a crowd of onlookers, and openly repented     his crime. After he was hanged, Felton’s body was cut down, carried to Portsmouth and then strung up again to rot in chains. The assassination, and the trial and execution that eventually ensued, triggered a massive outpouring of political verse,     some of which was printed 150 years ago by F.W. Fairholt (Poems and Songs Relating to George Villiers), and a more complete collection of which is now published here for the first time. We have grouped the poems into three     subsections. The first consists of an array of mocking epitaphs for the Duke, combined with a variety of generically and stylistically     ambitious poems couched as dialogues between the murdered Duke and several infernal interlocutors, or as wracked confessions     uttered by the Duke’s ghost from its new abode in hell. Celebrating—and by implication legitimating—the assassination, many     of these verses rake over the charges that had dogged Buckingham in the last few years of his life. In their lines, we meet     again all the elements of Buckingham’s libellous persona: the witch, the papist, the poisoner, the sexual predator, the monopolist     of power, the perverter of justice, the social upstart, the seller of offices, the breaker of parliaments, the betrayer of     the Protestant cause, the incompetent villain of the Ile de Ré, the seducer and deceiver of kings. Our second


Who defeated Martina Navratilova in her last Wimbledon Singles Final?

BBC SPORT | Tennis | History | Wimbledon legends: Martina Navratilova Wimbledon legends: Martina Navratilova 1978, 1979, 1982, 1983, 1984, 1985, 1986, 1987, 1990 Runner up: 1988, 1989, 1994 Grand Slam titles: 18 Photos from her career Martina Navratilova took her haul of Wimbledon titles to a record-equalling 20 in 2003 after victory in the mixed doubles with Leander Paes. She shares that honour with Billie-Jean King, having already beaten many of her other landmarks, not least by playing a record 279 singles matches at SW19. In that time she totted up a toal of nine singles titles, six of which came in successive summers from 1982. Navratilova raised the women's game to a new level with power and aggression. The Czech-born left-hander, who became a naturalised American in 1975, also set new standards with her astonishing fitness levels and commitment. Amazingly, she had never even seen a grass court until a week before her first appearance there in 1973. Watching Wimbledon on television as a child, she had no idea how long the grass would be, imagining it would be a couple of inches long like a football pitch. When she leant down to touch the court at Queen's Club, where she was practicing before Wimbledon, she could not believe how short and tightly-woven it was. She later declared: "Wimbledon is like a drug. Once you win it for the first time you feel you've just got to do it again and again and again." And so it proved. Navratilova won her first title in 1978 against Chris Evert, who she beat again 12 months later. Evert was on the receiving end again in 1982 when Navratilova started her six year domination of Wimbledon during which she beat Andrea Jaeger, Evert again, and again (for the fifth time), Hana Mandlikova and Steffi Graf. It was Graf who finally broke the spell becoming the first person to beat Navratilova in a Wimbledon singles final winning 6-1 in the third in both 1988 and 1989. But Navratilova was not finished yet. She reached her ninth successive final in 1990 and overwhelmed Zina Garrison. "If I ever reached the stage where winning Wimbledon was no big deal, I'd know it was time for me to get out of the game," she once said. She retired in 1994, the year she lost her last final appearance against Conchita Martinez, although later returned to play doubles matches, teaming up with Paes in 2003 for that famous 20th title. In 2004, Navratilova returned to the scene of her great triumphs to compete again in the singles competition.


John Crome (1768-1821) founded which School of Painting?

John Crome (1768–1821) | Art UK  Art UK | Discover Artists John Crome (1768–1821) View all 127 (b Norwich, 22 Dec. 1768; d Norwich, 22 Apr. 1821). English landscape painter and etcher, with Cotman the major artist of the Norwich School. Whereas Cotman was primarily a watercolourist, Crome painted mainly in oils. He was based in Norwich all his life, earning a major part of his living as a drawing master; he made regular trips to London and visited other parts of the country, but his only journey abroad was to Paris in 1814 to see the exhibition of pictures looted by Napoleon. Read more Of humble origin, he was first apprenticed to a coach- and sign-painter and taught himself principally by copying works in the collection of Thomas Harvey, a local collector and amateur painter who befriended him. The Dutch painters Ruisdael and Hobbema were particularly influential on him and he also admired Gainsborough and Wilson, but his work was based as much on direct observation of nature as on study of the Old Masters. His favourite subjects included heathland, woods, and tranquil stretches of river, and his style was fresh, clear, and unaffected. In addition to his paintings he made 34 etchings, which were posthumously published by his widow and his eldest son John Bernay Crome (1794–1842). The elder Crome is sometimes referred to as ‘Old Crome’ to distinguish him from his son, who painted in his manner but with less distinction. Text Source: The Oxford Dictionary of Art and Artists (Oxford University Press) Share this page


Which African country takes its name from the Shona for 'house of stone'?

900-year-old stone kingdom: The breathtaking ruins of Great Zimbabwe - CNN.com 900-year-old stone kingdom: The breathtaking ruins of Great Zimbabwe By Teo Kermeliotis and Stefanie Blendis, CNN updated 6:17 AM EST, Wed January 29, 2014 The ruins of Great Zimbabwe are a UNESCO World Heritage site and one of Africa's most important historical monuments. The ancient stone city was a major commercial and trading post between the 11th and 15th centuries. The archeological remains of Great Zimbabwe are divided in three main zones: the Hill Complex, the Great Enclosure and the Valley Ruins. The stone kingdom became such an important part of the national identity that Zimbabwe itself was named for this ancient city -- Zimbabwe translates to "big houses of stone." The historical site extends over about 800 hectares and contains the largest pre-colonial structure in sub-Saharan Africa. Skillful builders crafted huge dry-stone walls, incorporating massive boulders into some of the grand structures. Walls extend between rocky outcrops and massive rocks, forming a maze of narrow passageways and enclosures. HIDE CAPTION Great Zimbabwe is an ancient city that flourished between 11th and 15th centuries The site contains the largest single pre-colonial structure in sub-Saharan Africa Zimbabwe, which translates to "big houses of stone," was named for the city Every week, Inside Africa takes its viewers on a journey across Africa, exploring the true diversity and depth of different cultures, countries and regions. Follow host Errol Barnett on Twitter and Facebook . (CNN) -- Legend has it that this was once a playground for the giants -- and for visitors gazing over this steep hill in southern Zimbabwe it's easy to understand why. Spread around in every direction, great jumbled blocks of granite rise from the ground to create spectacular rock formations, their fantastical shapes fashioned by centuries of wind and rain, of heat and cold. Stacked upon one another, such boulders are scattered haphazardly across the southern African country -- Zimbabwe is indeed home to one of Africa's most breathtaking landscapes.  Map: click to enlarge Map: click to enlarge Living here amongst the boulders, in the hills of Masvingo province, the Zimbabwean people are largely Shona. Sometimes known as Bantu, they form three quarters of the country's population. Read this: Will African coins rewrite Australian history? Shona people first settled in the region more than 1,000 years ago and for centuries flourished in the region's lush green savannah plains. Central to their prosperity was the ancient town of Great Zimbabwe, the capital of a booming trading empire that flourished between the 11th and 15th centuries, extending over the gold-rich plateau in southern Africa. Safari camp with a conscience Is this really Zimbabwe? Located some 30 kilometers from the modern Zimbabwean town of Masvingo, the stone ruins of Great Zimbabwe are today one of the continent's most impressive monuments, linking the present with the past. A UNESCO World Heritage site since 1986, the archeological remains contain the largest ancient structure in sub-Saharan Africa. Read this: Dark history of "slave trade ghost town" According to UNESCO , the method of construction in Great Zimbabwe is unique in the continent's architecture and although there are cases of similar work elsewhere, none are as exceptional and imposing as here. The first thing that draws the visitor's eye is the high level of craftmanship that went into the construction of the site. Skillful stonemasons built massive dry-stone walls, incorporating large natural boulders into some of the structures. Walls extend between rocky outcrops and massive rocks, forming a maze of narrow passageways and the enclosures. The site extends over about 800 hectares and it can be divided into three main architectural zones. The Hill Complex is generally considered a royal site, and the Valley Ruins are a series of living spaces. But most impressive is the Great Enclosure, a spectacular circular monument made of cut granite blocks that w


'Live Forever' was the first UK top ten single for which band?

Revealed: Official Top 20 Biggest Selling Oasis Songs 06 October 2016 Revealed: Official Top 20 Biggest Selling Oasis Songs As new documentary Supersonic lifts the lid on Oasis's early years, we look at their biggest sellers. Google + As introductions to rock bands go, Definitely Maybe is certainly a strong one. 20 years ago, all the way back in 1994, Oasis’ bolshy debut album went straight in at Number 1 on the Official Albums Chart. The band are known for their mega-selling albums, with five of them selling over a million, Their second album, (What’s The Story) Morning Glory is one of the biggest selling albums of all time, shifting over four million copies. But what about the songs? Oasis weren’t exactly shy of a smash hit single either, with eight Official Singles Chart Number 1s to their name. So, we look back at that massive debut album, we count down the songs that made it happen. You can’t have an album without the tunes, after all… 5: Roll With It(1995) A single that was part of the biggest chart battle of all time and, infamously, lost… Roll With It was the spark that lit a fire under the now-legendary Blur vs Oasis rivalry and had to settle for second place behind their rivals’ Country House when both tracks were released in the same week. The tension went beyond this race to be Number 1, with the bands generally disliking each other for years to come. The truce nobody thought would ever happen did come along eventually, and Noel is now pals with Blur frontman Damon Albarn, who he’d previously called “condescending”. Oddly, The battle for Number 1 wasn’t as close as you might think – Blur romped to victory with Country House finishing almost 50,000 copies ahead. It's sold 520,000 copies.   4: Whatever (1994) Another anthemic song, Whatever was something of an oddity among Oasis singles, as it didn’t feature on any studio album. Intended to bridge the gap between debut album Definitely Maybe and follow-up (What’s The Story) Morning Glory, Whatever saw the band go Top 3 for the very first time – every single they released after would chart no lower until Who Feels Love broke the run in April 2000. It wasn’t until a greatest hits collection in 2009 that Whatever was finally included on an album and available digitally for the very first time – it even broke back into the Top 75 that very week. Its sales tally stands at 553,000.   3: D’You Know What I Mean (1997) Few albums have been more highly anticipated than Oasis’s third album Be Here Now. Its lead single D’You Know What I Mean was an eight-minute epic, with a blockbuster-type video and the band turned up to full-on swagger. Selling over 370,000 copies in its first week on sale, D’You Know What I Mean gave Oasis its first pair of consecutive Number 1s – they’d go on to score two more. D’You Know What I Mean was the fifth bestselling single of 1997 and has shifted 745,000 copies. 2: Don’t Look Back In Anger (1996) The band’s second Number 1 was their first chart-topper to feature Noel on lead vocals. The chorus’s “So Sally can waaaaait” actually came about by accident. Noel was strumming away singing nothing in particular, when Liam asked him who Sally was, thinking he was singing “So Sally can wait”. Noel liked it so much it became the actual lyrics. And it was a good shout, Don’t Look Back In Anger was the fourth bestselling single of 1996 and has shifted 948,000 copies. 1: Wonderwall (1995) Wonderwall, Noel Gallagher’s love letter to his then girlfriend, is the band’s top seller but never reaching Number 1. According to legend, despite the song’s subject, Liam insisted on singing it – he obviously knew an anthem when he heard one. Trouble was, it was such an anthem that the band eventually got sick of having it sang back to them at concerts. If it’s any comfort to Oasis, it is one of the biggest selling songs of all time.  Wonderwall sold over 140,000 copies in its first week on sale. It finally passed the million mark in 2009. It's shifted 1.34 million copies. Altogether now: “And all the roads we have to walk are wiiiiinding… What’s happening in the rest