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Coal Miner's Daughter (film)

Coal Miner's Daughter is a 1980 American biographical musical film directed by Michael Apted from a screenplay written by Tom Rickman. It follows the story of country music singer Loretta Lynn from her early teen years in a poor family and getting married at 15 to her rise as one of the most influential country musicians. Based on Lynn's 1976 biography of the same name by George Vecsey, the film stars Sissy Spacek as Lynn. Tommy Lee Jones, Beverly D'Angelo and Levon Helm are featured in supporting roles. Ernest Tubb, Roy Acuff, and Minnie Pearl make cameo appearances as themselves.

A film on Lynn's life was intended to be made since the release of the biography. Production for the film began in March 1979, and Lynn herself chose Spacek to portray her on screen after seeing a photograph of her, despite being unfamiliar with her films. The film's soundtrack featured all of Lynn's hit singles, which were all sung by Spacek, as well as Patsy Cline's "Sweet Dreams" sung by D'Angelo. The soundtrack reached the top 40 on the Billboard 200 chart and was certified gold by the Recording Industry Association of America.

Universal Pictures released Coal Miner's Daughter theatrically on March 7, 1980. The critical consensus on Rotten Tomatoes calls it "a solidly affecting story". The film grossed $67.18 million in North America against a budget of $15 million, becoming the seventh highest-grossing film of 1980. The film received seven nominations at the 53rd Academy Awards, including for Best Picture, with Spacek winning Best Actress. At the 38th Golden Globe Awards, it garnered four nominations and won two; Best Motion Picture – Musical or Comedy and Best Actress (for Spacek).

The film is considered "culturally, historically or aesthetically significant" by the Library of Congress and was selected to be preserved in the United States National Film Registry in 2019.

Plot
In 1945, 13-year-old Loretta Webb is one of eight children of Ted Webb, a Van Lear coal miner raising a family with his wife in the midst of grinding poverty in Butcher Hollow, Kentucky (pronounced by locals as "Butcher Holler").

In 1948, at the age of 15, Loretta marries 22-year-old Oliver "Mooney" (aka Doo, short for Doolittle) Lynn, becoming a mother of four by the time she is 19. The family moves to northern Washington State, where Doo works in the forest industry and Loretta sings occasionally at local honky-tonks on weekends. After some time, Loretta makes an occasional appearance on local radio.

By the time Loretta turns 25, Norm Burley, the owner of Zero Records, a small Canadian record label, hears Loretta sing during one of her early radio appearances. Burley gives the couple the money needed to travel to Los Angeles to cut a demo tape from which her first single, "I'm a Honky Tonk Girl", is made. After returning home from the sessions, Doo suggests he and Loretta go on a promotional tour to push the record. Doo shoots his own publicity photo for Loretta, and spends many late nights writing letters to show promoters and to radio disc jockeys all over the South. After Loretta receives an emergency phone call from her mother telling her that her father had died, she and Doo hit the road with records, photos, and their children. The two embark on an extensive promotional tour of radio stations across the South.

En route, and unbeknownst to the couple, Loretta's first single, "I'm a Honky Tonk Girl", hits the charts based on radio and jukebox plays, and earns her a spot on the Grand Ole Opry. In the summer of 1961, after 17 straight weekly performances on the Opry, she is invited to sing at Ernest Tubb Record Shop's Midnite Jamboree after her performance that night. Country superstar Patsy Cline, one of Loretta's idols, who had recently been hospitalized from a near-fatal car wreck, inspires Loretta to dedicate Patsy's newest hit "I Fall to Pieces" to the singer herself as a musical get-well card. Cline listens to the broadcast that night from her hospital room and sends her husband Charlie Dick to Ernest Tubb Record Shop to fetch Loretta so the two can meet. A close friendship with Cline follows, which is abruptly ended by Cline's death in a plane crash on March 5, 1963.

The next few years are a whirlwind. The stress of extensive touring, keeping up her image, overwork, and trying to keep her marriage and family together cause Loretta a nervous breakdown, which she suffers onstage at the beginning of a concert. After a year off at her ranch in Hurricane Mills, Tennessee, Loretta goes back on the road, returning to establish herself as the "First Lady of Country Music".

The film closes with Loretta recounting the story of her life through her 1970 hit song "Coal Miner's Daughter" to a sold-out audience.

Production
Lynn personally chose Spacek to portray her, making the decision based on a photograph of the actress despite being unfamiliar with her films, a story Spacek recounts in a DVD audio commentary for the collector's edition of the film. Initially, Spacek was reluctant to participate, and asked to do her own singing in the film in hopes of scaring the studio from pursuing her for the role. At the time that Lynn prematurely announced on The Tonight Show Starring Johnny Carson that "Sissy Spacek is going to play me," the actress was torn between friends who advised her to do Lynn's film and those who advised her to choose instead a Nicolas Roeg project due to start filming at the same time. Talking it over with her mother-in-law that evening, Spacek was advised to pray for a sign, which she did. She and her husband subsequently went for a drive in his mother's car, where the radio was tuned to a classical music station that changed formats at sunset every evening. As the couple pulled out of the parking garage, the title line of the song "Coal Miner's Daughter" came from the radio.

In her 2012 memoir My Extraordinary Ordinary Life, Sissy Spacek states that she became fast friends with Loretta Lynn and worked to emulate her unique accent and speech patterns by spending an afternoon tape-recording the singer while she told stories of her life, some of which made it into the script. She then listened to the tapes and repeated the lines until she captured her own version of Lynn. Though Spacek had started out as a singer, the producers considered dubbing Loretta's vocals over her performance. Lynn encouraged them to allow Spacek to do all of her own singing in the film and helped the actress learn to sing and play guitar in her style. The film's soundtrack featured Spacek's singing all of Lynn's hits sung in the movie, including "Coal Miner's Daughter".

The locations included Blackey, Eolia, Flatgap, Bottom Fork, Redfox in Knott and Letcher Counties in Kentucky; and Pardee, a former coal camp on the Virginia side of Black Mountain. Interiors of Lynn's childhood home were shot in a warehouse in Norton, Virginia. Scenes were also shot in Loretta Lynn's Madison, Tennessee, home on Barbara Drive.

The replica of Lynn's home in Butcher Hollow, built at Bottom Fork, Letcher County, Kentucky, was burned by arsonists. It was on the front porch of that house that Levon Helm, drummer and singer of the rock group The Band, made his acting debut as Lynn's father.

In an interview with Merv Griffin broadcast on November 7, 1978, Loretta Lynn said that Harrison Ford had been originally cast.

Historical inaccuracies
There are some events depicted in the film that are contrary to actual facts:

Patsy Cline never owned a tour bus, although she had thought about purchasing one shortly before her death.

Cline's plane crash did not occur early in the morning as the DJ on the radio in Lynn's bedroom stated; it happened shortly after 6:00 in the evening.

"You Ain't Woman Enough (To Take My Man)" was not inspired by one of Mooney's cheating episodes, which was caught by Lynn while touring with Cline, as the film suggests. The inspiration came from a fan of Lynn, whom she met backstage. The fan told Lynn how another woman had been trying to steal her husband from her, to which Lynn replied, "Why she ain't woman enough to take your man," instantly giving Lynn an idea for a song title. Also, the film portrayed Lynn singing the song to Cline while writing it; the song was not recorded until late 1965, nearly three years after Cline's death; so it was likely that Lynn didn't write the song (and met the fan who inspired it) until after Cline's death as well.

In the film, just before Cline's death, Lynn tells her she is pregnant with twins; given this is the last time they see each other, this would have happened February to March 1963. Lynn's twin daughters were in fact born August 6, 1964, roughly 17 months after Cline's death.

Soundtrack
Coal Miner's Daughter: Original Motion Picture Soundtrack was released on March 7, 1980, under the MCA Nashville label. It included music by Beverly D'Angelo, Levon Helm, and Sissy Spacek except for the "End Credits Medley" and material by other artists that were not under contract to MCA. The album was certified Gold by the RIAA on January 11, 1982 and has been released on vinyl, cassette tape, and CD. Levon Helm's "Blue Moon of Kentucky" was released as a single on 7-inch vinyl, both as a double-A-side and also with Allen Toussaint's "Working in the Coal Mine", a non-album track also sung by Helm, on the B-side. The soundtrack would win Country Music Association Award for Album of the Year in 1980, the first of only two soundtracks to do so. (O Brother, Where Art Thou? would be the other in 2001.)

Charts and certifications
Weekly charts Year-end Charts

Certifications

Box office
In its opening weekend in the United States and Canada, Coal Miner's Daughter was number 1 at the box office, grossing $3.6 million in 796 theaters. The film grossed a total of $67.1 million in the United States and Canada, becoming the seventh highest-grossing film of 1980 in North America.

Critical response
On review aggregator Rotten Tomatoes, Coal Miner's Daughter holds an approval rating of 86% based on 63 reviews, with an average rating of 8.1/10. The website's critical consensus reads: "Like a classic traditional country song, Coal Miner's Daughter draws on time-tested formula -- and undeniable talent -- to tell a solidly affecting story." On Metacritic, which assigns a rating to reviews, the film has a weighted average score of 87 out of 100, based on 47 critics, indicating "universal acclaim".

Variety called it "a thoughtful, endearing film charting the life of singer Loretta Lynn from the depths of poverty in rural Kentucky to her eventual rise to the title of 'queen of country music.'" Roger Ebert from The Chicago Times stated that the film "has been made with great taste and style; it's more intelligent and observant than movie biographies of singing stars used to be."

Awards and nominations
The film is recognized by American Film Institute in these lists:
 * 2006: AFI's 100 Years...100 Cheers – #70

Home media

 * This film was released on LaserDisc on two separate releases. The first release was in May 1980, and the extended play version was released in July 1981. These releases were both made by MCA DiscoVision.
 * The film was released in the VHS format in the 1980s by MCA Home Video and on March 1, 1992, by MCA/Universal Home Video.
 * On September 13, 2005, Universal released a 25th Anniversary Edition on DVD in widescreen (1.85:1) format and featuring the music tracks remixed to 5.1 Dolby Digital stereo, leaving the dialogue and effects tracks as they were on the original mono soundtrack from 1980.
 * That same DVD was included in a four-pack DVD set that also included Smokey and the Bandit, The Best Little Whorehouse in Texas, and Fried Green Tomatoes.
 * On January 7, 2014, Universal Pictures released the film on Blu-ray.

Broadway adaptation
On May 10, 2012, at the Grand Ole Opry, Lynn announced that Zooey Deschanel was to portray her in a Broadway musical adaptation.

One episode of The Simpsons, titled "Colonel Homer", is based partly on this film. The episode also stars Beverly D'Angelo as cocktail waitress Lurleen Lumpkin.

title: Coal Miner's Daughter (film)


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North American Airlines

North American Airlines, Inc., was an American airline with its headquarters at the HLH Building in Peachtree City, Georgia in Greater Atlanta, United States. Prior to May 2008, it operated scheduled international services from the U.S. to Africa and Guyana. Later it operated domestic and international charter services and wet lease services. Its main aircraft and maintenance base was Tampa International Airport.

History
North American Airlines was a subsidiary of Global Aviation Holdings, Inc., formerly Global Aero Logistics, Inc. Unlike the other airlines that are or were a part of Global Aviation, ATA Airlines (now defunct) and World Airways (now defunct), North American was founded after airline deregulation in the United States.

North American was established in 1989 and began operations on January 20, 1990. It was founded by Dan McKinnon, former head of the then-Civil Aeronautics Board. The airline was acquired by World Air Holdings in April 2005.

It began by flying charter flights on Boeing 757 aircraft. The company grew during the 1990s, adding flights to San Juan, Puerto Rico, various spots in Mexico and other destinations. North American also started a scheduled flight from Los Angeles International Airport to JFK to complement El Al's existing Tel Aviv-JFK-LAX run and provide the Israeli airline with more passengers. North American also opened operations in Newark, New Jersey, and Oakland, California, at that time. In addition to their original 757s, North American also operated Boeing 767s for long-range, high-density charter flights.

On April 5, 2007, New ATA Holdings, Inc., bought out North American Airlines parent company World Air Holdings, Inc. and promptly changed the name of the holding company to Global Aero Logistics, Inc. to reflect the worldwide desires of the latest owners. The same firm, MatlinPatterson had recently divested themselves of Varig at the end of March 2006, although they still maintained financial interests at its former cargo subsidiary VarigLog (LC). The company was renamed Global Aviation Holdings, Inc., on Feb. 26, 2009. North American shut down in March 2014 for bankruptcy reasons.

Destinations
North American Airlines discontinued all scheduled operations in May 2008. At the time of this shut down, the airline operated scheduled passenger flights to the following destinations:

Santo Domingo Las Americas Airport
 * Bolivia
 * Santa Cruz de la Sierra - Viru Viru International Airport (on behalf of AeroSur to Miami) - Service ended mid-2010
 * Ghana
 * Accra - Kotoka International Airport - Service ended May 20, 2008
 * Guyana
 * Georgetown - Cheddi Jagan International Airport - Service ended May 18, 2008
 * Nigeria
 * Lagos - Murtala Mohammed International Airport - Service ended May 18, 2008
 * Trinidad
 * Port of Spain, Trinidad - Piarco International Airport - Service ended May 18, 2008
 * United States
 * Baltimore - Baltimore/Washington International Thurgood Marshall Airport - Focus City - Service ended May 20, 2008
 * Miami - Miami International Airport (on behalf of AeroSur)
 * New York City - John F. Kennedy International Airport - Hub - Service ended May 20, 2008
 * Tampa - Tampa International Airport
 * Dominican Republic

Announced on February 19, 2008, North American Airlines planned on discontinuing all scheduled service in May 2008 in favor of concentrating on charter operations. According to a news release on northamericanair.com, "What makes NAA's scheduled service operations untenable is the rising cost of fuel, with jet fuel costs increasing 60 percent since 2005. This was a difficult decision, especially in light of the continuing support we have received from the governments and the traveling public in these markets. NAA's modern Boeing 757/767 fleet is in high demand and NAA will redeploy these aircraft profitably in the charter market".

North American Airlines discontinued service to Hawaii as of September 1, 2005. Prior to Delta Air Lines establishing service between New York City and Accra, Ghana, on December 11, 2006, NAA's New York-Accra and Baltimore-Banjul services were the only scheduled non-stop service between the U.S. and West Africa operated by a U.S. airline for several years. .

Earlier scheduled service included Aguadilla in Puerto Rico, Santiago and Santo Domingo in Dominican Republic. Each of these routes was canceled after JetBlue Airways began competing on these routes. According to conversations with Dan McKinnon and Steve Harfst (former COO), there was no desire for the company to compete with the low fare cost structure of JetBlue.

Charters
North American's charter operations made up the bulk of its business: resorts such as Club Med and tour operators in Hawaii and the Caribbean chartered North American's aircraft on a regular basis. Since discontinuing all scheduled service in May 2008, North American Airlines continued to operate until 2014 as solely a charter airline.

Fleet
As of March 2014, the North American Airlines fleet included 6 aircraft:

As of May 2013, the average fleet age of North American Airlines was 18.1 years.

Services
As a certified United States Department of Defense air carrier, NAA provided military personnel and their dependents air transportation to destinations not served by commercial airlines. North American was the first airline to provide the capability of the Boeing 767 aircraft to the United States Military in 2002. NAA operated military transport flights out of Dallas/Ft. Worth Airport and other locations.

The carrier maintained a long-standing wet lease relationship with Air Jamaica, providing wet-leased 767 aircraft and crew for the airline's Kingston-New York service. In the summer of 2007, Air Jamaica increased its dependence on North American Airlines' services as the Jamaican company struggled to cope with higher-than-expected demand.

North American Airlines also operated charter cargo service to Gibraltar in co-operation with the Odyssey Marine Exploration.

North American Airlines also served as then Senator Barack Obama' campaign carrier, flying him, his staff and the press through Election Day. When he was named the Democratic nominee, the aircraft, a Boeing 757, underwent a major overhaul. The interior was fitted with 4 captains chairs, a table with seating for 4, as well as 16 business class seats for staff. In addition, the exterior was repainted with the campaign logo and slogan "Change We Can Believe In".

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: North American Airlines


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Dagon

Dagon (דָּגוֹן, Dāgōn) or Dagan was a god worshipped in ancient Syria across the middle of the Euphrates, with primary temples located in Tuttul and Terqa, though many attestations of his cult come from cities such as Mari and Emar as well. In settlements situated in the upper Euphrates area, he was regarded as the "father of gods" similar to Mesopotamian Enlil or Hurrian Kumarbi, as well as a lord of the land, a god of prosperity, and a source of royal legitimacy. A large number of theophoric names, both masculine and feminine, attests that he was a popular deity. He was also worshiped further east, in Mesopotamia, where many rulers regarded him as the god capable of granting them kingship over the western areas.

Attestations of Dagan from coastal areas are much less frequent and come mostly from the northern city of Ugarit, where Dagan's cult had a limited scope. According to the Hebrew Bible, Dagan was also the national god of the Philistines, with temples at Ashdod and Gaza, but there is no extrabiblical evidence confirming this. The extrasolar object designated Fomalhaut b is named after Dagon.

Etymology
Multiple origins have been proposed for Dagan's name.

According to Philo of Byblos, the Phoenician author Sanchuniathon explained Dagon as a word for "grain ". Historian Manfred Hutter considers it possible that the god's name derives from the root *dgn (to be cloudy), which he interprets as a sign that he was originally a weather god. However, the notion of Dagan being a weather god is rejected by most researchers of this deity (see the Dagan and weather gods section below).

Lluís Feliu in his monograph The God Dagan in Bronze Age Syria rejects both of these theories and concludes that Dagan's name originated in a pre-Semitic language spoken in inland Syria. This theory is supported by Alfonso Archi as well. Multiple other ancient Syrian deities are regarded as originating in such a substratum, including Aštabi, Ishara and Kubaba.

The association with a Hebrew word for "fish" (as in דג, Tib. ) in medieval exegesis has led to an incorrect interpretation of Dagan as a fish god.

Divine genealogy and syncretism
No known text deals with the parentage or creation of Dagan. His wife was Shalash; while well attested in Tuttul and elsewhere, she is seemingly absent in sources pertaining to Dagan's cult in Terqa. Their children were Hadad (analogous to Ugaritic Baal) and possibly Hebat, who is attested alongside Dagan and Shalash in a mourning ritual from ancient Aleppo. Daniel Schwemer considers it possible that Dagan, while always viewed as a "father of gods," only became the father of the weather god under Hurrian influence.

While Wilfred G. Lambert proposed in 1980 that Ishara was sometimes regarded as the wife of Dagan, and this theory is repeated as fact in older reference works such as Jeremy Black's and Anthony Green's Gods, Demons and Symbols of Ancient Mesopotamia, it is no longer considered the consensus. Lluís Feliu in his study of Dagan concludes that the association between these two deities was limited to sharing temples in Mesopotamia, and was most likely based on their origin in the western region and shared status as foreign deities in the eyes of Mesopotamian theologians. He also points out that there is no indication that they were closely connected outside of Babylonia, especially in parts of Syria where they were most commonly worshiped. He additionally remarks that Lambert mistakenly assumed Ishara is one and the same as Haburitum, goddess of the river Habur, who also appears in Mesopotamian texts in association with Dagan. Both Feliu and Alfonso Archi point out that Haburitum and Ishara could appear side by side in the same documents, and therefore cannot be two names of the same deity. Archi considers it more likely that Haburitum was analogous to Belet Nagar. Like Feliu, he considers it implausible that Dagan was ever regarded as Ishara's husband. He points out that the latter's character was similar to Ishtar's.

Dagan, Enlil and Kumarbi
In Mesopotamia, Dagan was equated with Enlil due to their shared role as "fathers of gods." This equation was eventually codified by the god list An = Anum, which additionally equated their spouses with each other. However, which of the two parts of this equation was viewed as the primary god varied. In Mari, it was Dagan who received Enlil's epithets, and in Emar the logographic writing dKUR, a shortened version of Enlil's epithet dKur-gal (Great Mountain), stood for Dagan's name in the late Bronze Age. It is unclear if this equation was responsible for the logographic writing of the name of Emar's city god as dNIN.URTA, as the god of Emar is unlikely to be Dagan's primary son Hadad (whose name was written logographically as dIŠKUR), and in Hurrian sources from Syria dNIN.URTA is the war god Aštabi rather than a weather god.

In Hurrian tradition, Dagan was equated with Kumarbi, though only because of shared senior position in the respective pantheons. Kumarbi was nonetheless called "the Dagan of the Hurrians," and Shalash was viewed as his spouse due to this syncretic process. However, she is absent from Hurrian myths about Kumarbi.

Dagan and weather gods
Due to the similarity between the names of Dagan's wife Shalash and Shala, wife of Adad in Mesopotamia, some researches conclude that the two goddesses were the same and that Dagan was possibly a weather god himself. However, there is no clear proof that Dagan fulfilled such a function or that he was conflated with any weather gods.

Dagan and Nisaba
In some documents from Syrian cities, for example Halab and Ugarit, the logogram dNISABA designates Dagan. As noted by Alphonso Archi, in Western Semitic languages such as Ugaritic Dagan's name was homophonous with the word for grain (dgn in alphabetic Ugaritic texts), and the logographic writing of his name as dNISABA was likely a form of wordplay popular among scribes, relying on the fact that the name of Nisaba, the Mesopotamian goddess of writing, could simply be understood as "grain" too.

Character
Dagan's character is difficult to study in comparison to that of gods who held a comparable position in Mesopotamia (such as Enlil or Marduk) due to the lack of mythical narratives or hymns about him and comparatively small number of other documents, though researchers were nonetheless able to determine some of his functions.

Sources from Emar, Aleppo and Mari attest that Dagan was an archetypal "father of gods" and a creator figure. This aspect of his character was likely exemplified by the epithet "lord of the offspring" connected to the zukru festival from Emar. His connection to funerary offerings was most likely an extension of his role as a divine ancestor, and modern theories regarding him as an underworld god are most likely erroneous.

One of Dagan's best documented functions was guaranteeing abundant harvests of grain. However, he was not an agricultural god but rather the source of prosperity in general.

In 3rd millennium BCE Tuttul Dagan was the god believed to bestow kingship upon rulers. He had a similar role in Mari. There is also some evidence that he could be invoked as a divine witness of oaths.

According to texts from Ebla, Dagan's attributes were a chariot and a mace.

Worship
Dagan's primary cult centers were Tuttul, where his clergy was likely involved in the traditional form of governance, and Terqa (near Mari), where his temple E-kisiga ("the house, the silent place") was located. The worship of Dagan evidently spread over a large area from these cities, even though its principal centers were not a major political power in their own right, a situation which according to Alfonso Archi can be compared to that of Hadabal (a 3rd millennium BCE god of the upper Orontes valley) and Hadad of Halab. In addition to Tuttul and Terqa, settlements in which Dagan possessed a temple or shrine include Mari, Subatūm (located in the proximity of the aforementioned city), Urah (on the left bank of the Euphrates), Hakkulân, Šaggarātum, Zarri-amnān, Dašrah, Ida-Maras (in the Habur triangle), Admatum (a village in the kingdom of Ašlakkā), as well as Emar and various difficult to locate villages in its proximity.

In Ebla, Dagan was usually referred to with titles such as "lord of Tuttul" (dBAD Du-du-luki) or "lord of the country" (dBAD KALAMTIM), but a phonetic spelling can be found in personal names. References to him as Bel Terqa – "Lord of Terqa" – are known from Eblaite sources too. Shalash was already regarded as his wife in this period. Representatives of the city of Nagar swore allegiance to the king of Ebla in the temple of Dagan in Tuttul, which was viewed as a neutral third party. While certain other gods known from the Eblaite texts, such as Hadabal and Kura, disappear from records after the fall of the city, Dagan's cult continued and retained its prestige.

In Mari, Dagan and Addu (Hadad) were protectors of the king and played a role in enthronement ceremony. Multiple kings of Mari regarded Dagan as the source of their authority. During the rein of Zimri-Lim, Dagan was one of the gods who received the most offerings during festivals, with other deities comparably celebrated in official offering lists including the local dynasty's tutelary deity Itūr-Mēr, Annunitum, Nergal, Shamash, Ea, Ninhursag, Addu (Hadad) and Belet Ekalli (Ninegal). In a letter Zimri-Lim's wife Šibtu enumerated Dagan, Shamash, Itūr-Mēr, Belet Ekalli and Addu as "the allies for me" and the deities who "go by my lord's side." The Terqa temple was closely associated with Zimri-Lim. A source from the period of his reign attests that to celebrate his coronation, a weapon was sent from Hadad's temple in Aleppo to Dagan's in Terqa, likely to legitimize his rule. It is possible that this ritual object represented the mace wielded by the weather god in his battle with the sea (analogous to the battle between Baal and Yam in the Ugaritic Baal cycle). Despite the close connection between the clergy of Dagan from Terqa and Zimri-Lim, he was viewed unfavorably by the population of Tuttul and the presence of his officials was in at least one case regarded as a disturbance of Dagan's rites.

In Emar, Dagan was the most senior god in offering lists, preceding the weather god (Baal/Hadad) and the city god, whose name was written logographically as NIN.URTA. An important celebration dedicated to him in this location was so-called erēb Dagan, "entry of Dagan." It took the form of a cultic journey of a statue, similar to celebrations of deities such as Lagamal or Belet Nagar attested in the same region. He was also celebrated during the zukru festival. Another festival dedicated to him known from documents from Emar was kissu, which most likely took place in Šatappi, a city possibly located further south. The precise meaning of the term kissu remains uncertain, making the nature of these celebrations, and roles of specific deities in them, difficult to ascertain. It has been proposed that the presence of underworld deities – Shuwala and Ugur – indicates that it represented the periodic death and return to life of a deity, possibly Dagan's spouse, but this remains speculative.

Ḫammu-rāpi, who around 1400 BCE ruled the area comprising the former independent Kingdom of Khana, used the title "governor of Ilaba and Dagan."

Due to the scarcity of sources, the later history of Dagan's cult remains unclear, though it is evident that he was no longer the head god of the upper Euphrates area in later times. The head of the Aramean pantheon known from sources from the first millennium BCE was Hadad.

Mesopotamian reception
Mesopotamian rulers saw Dagan as the lord of the western lands (e.g., ancient Syria) and thanked him for enabling their conquests in that area. Inscriptions credit Dagan with granting Sargon of Akkad rule over the "Upper Land" and the cities of Ebla, Mari and Yarmuti in particular, as well as over areas as distant as the "cedar forest and silver mountains." To gain Dagan's favor, Sargon prayed to him in Tuttul. An inscription from the reign of Naram-Sin describes inhabitants of the western frontier of his empire "as far as (the city of) Ulišum" as "people whom the god Dagan had given to him."

In Mesopotamian sources, Dagan is sometimes regarded as equal in rank to the great city gods of Sumer and Akkad. One text uses the formula "Ishtar in Eanna, Enlil in Nippur, Dagan in Tuttul, Ninhursag in Kesh, Ea in Eridu."

In the Ur III period, marriages between rulers of Syrian and Mesopotamian politites likely contributed to the spread of the worship of Dagan, as well other western deities like Ishara and Haburitum, in the south of Mesopotamia. In Nippur, Dagan shared a temple with Ishara, first attested during the reign of Amar-Suen. Both deities were likely introduced from Mari and were linked only by their northwestern origin. Ishbi-Erra of Isin, assumed to be of Amorite origin and described by Ibbi-Sin of Ur as "man of Mari" and "traveling rubbish salesman of non-Sumerian origin" frequently mentioned Dagan in documents. Several of Ishbi-Erra's successors on the throne had theophoric names invoking Dagan, among them Iddin-Dagan and Ishme-Dagan. They were also involved in restoring his temples in Isin and in Ur. Some aspects of the syncretism between Dagan and Enlil seemingly can be attributed to this dynasty.

A few of the early Amorite kings of Assyria mention Dagan in their inscriptions, for example Shamshi-Adad I called himself "worshipper of Dagan" in a document describing the expansion of the god's temple in Terqa. Elsewhere he referred to himself as "beloved of Dagan." An inscription of his son Yasmah-Adad, however, refers to "Mullil [Enlil] (...) who dwells in Tuttul."

A šubtu (a type of shrine) of Dagan was located near Ka-ude-babbar, one of the gates of the Esagil temple complex in Babylon.

Itti-Marduk-balatu, a king from the Second Dynasty of Isin (middle Babylonian period), called himself Dagan's regent.

The stele of the 9th century BC Assyrian emperor Ashurnasirpal II refers to Ashurnasirpal as the favorite of Anu and of Dagan. This phrase might, however, be simply a literary relic.

Mythology
In the Mesopotamian god list An = Anum, Dagan was placed in the circle of Enlil, similar to another western deity, Ishara. The same document equates him with Enlil and his wife Shalash with Ninlil.

There is some evidence that in Mesopotamia Dagan was connected with the poorly known tradition about conflict between the gods and Enmesharra, for example a passage stating that "with Dagan's authority [gods] have been guarding Enmešarra from time immemorial" is known; Dagan might however be a synonym of Enlil rather than a distinct deity in this context according to Wilfred G. Lambert.

The fragmentary myth Uraš and Marduk (here the male god from Dilbat, not the earth goddess) mentions Dagan, similarly most likely fully equated in this context with Enlil.

A legendary king of Purushanda who serves as an opponent of Sargon of Akkad in the epic King of Battle bears the name Nūr-Dagan.

Ugarit
Evidence from the coastal city of Ugarit is inconclusive. Whether a temple initially often identified as Dagan's was dedicated to him rather than El is a matter of scholarly debate.

In lists of gods and offerings from Ugarit, Dagan sometimes follows El but precedes Baal. Two such examples are known, but in six Dagan follows El and Baal. An incantation against snakebite mentions Dagan alongside Baal, while El is paired with Horon.

Dagan appears in six theophoric names known from Ugarit, and possibly in a seventh under the logographic spelling dKUR; for comparison Baal appears in 201, with further 36 using the form Haddu. For comparison, in known documents from Mari Hadad appears in 159 names, while Dagan in 138. However, only 17% of known names from Ugarit are theophoric, which makes it difficult to tell how representative are they when it comes to estimating the popularity of some deities. Additionally, many gods prominent in texts from Ugarit, including Anat, are uncommon in personal names, while the Mesopotamian god Ea (under a phonetic spelling of the name, which makes it impossible he was a logographic stand-in for local god Kothar-wa-Khasis) appeared frequently in them.

Dagan, El, and Baal's parentage
Dagan plays no active role in Ugaritic myths (such as the Baal cycle), though Baal is frequently referred to as his "son" or "lineage." In the poem Marriage of Nikkal and Yarikh he is referred to as "Dagan of Tuttul," possibly indicating that he was viewed as a foreign god by Ugaritic scribes.

It has been argued by Joseph Fontenrose in an article from 1957 that, whatever their deep origins, at Ugarit, Dagan was sometimes identified with El, explaining why Dagan, who possibly had an important temple at Ugarit is so neglected in the Ras Shamra mythological texts, where he is merely the father of Baal, but Anat, El's daughter, is Baal's sister, and why no temple of El has appeared at Ugarit. More recent research shows that evidence for identification of Dagan with El is at best indirect. In god lists El was equated with Hurrian Kumarbi and Mesopotamian Enlil rather than directly with Dagan. Alfonso Archi notes in some texts both appear separately, but also that Dagan was extraneous to the theology of Ugarit.

Other recent studies provide various other approaches to the problem of Baal's parentage in mythical texts. Daniel Schwemer proposes that the epithet "Son of Dagan" applied to Baal in Ugaritic texts was influenced by Syrian and Hurrian tradition. Noga Ayali-Darshan states that the portrayal of the relationship between El and Baal in the Baal cycle is similar to that between Kumarbi and Teshub in the Kumarbi cycle, and that in the Hellenized Phoenician tradition recorded by Philo of Byblos Demarous (Baal) has both a biological father ("Ouranos") and a step-father (Dagon) - both of them distinct from Elos (El; in this Phoenician myth a brother of Dagon). She also notes that due to the circumstances of his birth, Teshub had two fathers: one opposing him and one who supported his rise to power. She suggests that therefore it is not necessarily contradictory that two separate gods were regarded as Baal's fathers, though she assumes both in Ugarit and in Phoenician beliefs Dagan/Dagon was merely an element introduced from the culture of inland Syria and played no significant role himself. Aaron Tugendhaft considers Baal an outsider who is not a member of the family of El and Athirat in the beginning of the narrative and thus not their son by birth, but merely a brother of their children in the sense known from Bronze Age diplomatic texts. He argues that much as allied kings referred to each other as "brothers", so did the gods in Ugaritic myths.

Iron Age Phoenicia
The Phoenician inscription on the sarcophagus of King Eshmunʿazar of Sidon (5th century BC) relates: "Furthermore, the Lord of Kings gave us Dor and Joppa, the mighty lands of Dagon, which are in the Plain of Sharon, in accordance with the important deeds which I did." However, said king built no temples dedicated to Dagon in his city, and this god appears only in an insignificant role in the treaty between Esarhaddon and king Baal I of Tyre. It is therefore doubtful if he was prominent in Phoenician religion.

Later relevance
According to Philo of Byblos, Sanchuniathon reportedly made Dagon the brother of Cronus, both sons of the Sky (Uranus) and Earth (Gaia), but not Hadad's biological father. Hadad (Demarus) was begotten by "Sky" on a concubine before Sky was castrated by his son Ēl, whereupon the pregnant concubine was given to Dagon. Accordingly, Dagon in this version is Hadad's half-brother and stepfather. The Byzantine Etymologicon Magnum lists Dagon as the "Phoenician Cronus."

The first-century Jewish historian Josephus mentions a place named Dagon above Jericho. It has however been argued that some of the locations possibly named after Dagon were in reality named after the Canaanite word for grain.

Jewish and Christian scriptures
In the Hebrew Bible, Dagon is referenced three times as the head god of the Philistines; however, there are no references to Dagon as a Canaanite god. According to the Bible, his temples were located at Beth-dagon in the territory of the tribe of Asher (Joshua 19.27), and in Gaza (see Judges 16.23, which tells soon after how the temple is destroyed by Samson as his last act). Another temple, located in Ashdod, was mentioned in 1 Samuel 5:2–7 and again as late as 1 Maccabees 10.83 and 11.4. King Saul's head was displayed in a temple of Dagon after his death. There was also a second place known as Beth-Dagon in Judah (Joshua 15.41).

The account in 1 Samuel 5.2–7 relates how the Ark of the Covenant was captured by the Philistines and taken to Dagon's temple in Ashdod. The following morning the Ashdodites found the image of Dagon lying prostrate before the ark. They set the image upright, but again on the morning of the following day they found it prostrate before the ark, but this time with head and hands severed, lying on the miptān translated as "threshold" or "podium". The account continues with the puzzling words raq dāgōn nišʾar ʿālāyw, which means literally "only Dagon was left to him." (The Septuagint, Peshitta, and Targums render "Dagon" here as "trunk of Dagon" or "body of Dagon", presumably referring to the lower part of his image.

Dagon is also mentioned in the First Book of Ethiopian Maccabees (12:12), which was composed sometime in the 4th century AD.

Fish-god interpretation

The "fish" etymology, while late and incorrect, was accepted in 19th and early 20th century scholarship. It led to an erroneous association between Dagan and Odakon, a half-fish being mentioned by Berossus, and with "fishman" motifs in Mesopotamian art, in reality depictions of Kulullû, an apotropaic creature associated with the god Ea.

The association with dāg/dâg 'fish' was made by 11th-century Jewish Bible commentator Rashi. In the 13th century, David Kimhi interpreted the odd sentence in 1 Samuel 5.2–7 that "only Dagon was left to him" to mean "only the form of a fish was left", adding: "It is said that Dagon, from his navel down, had the form of a fish (whence his name, Dagon), and from his navel up, the form of a man, as it is said, his two hands were cut off." The Septuagint text of 1 Samuel 5.2–7 says that both the hands and the head of the image of Dagon were broken off.

The first to cast doubt on the "fish" etymology was Hartmut Schmökel in his 1928 study of Dagan, though he initially nonetheless suggested that while Dagon was not in origin a "fish god", the association with dâg "fish" among the maritime Canaanites (Phoenicians) would have affected the god's iconography. However, later he correctly identified it as a medieval invention. Modern researchers not only do not accept it, but even question if Dagan/Dagon was worshiped in coastal areas in any significant capacity at all.

Dagon and Marnas
In the Classical period the central temple of Gaza was dedicated to a god named Marnas (from Aramaic marnā, "lord"). Itamar Singer considered it a possibility that this name was a title of the hypothetical Philistine Dagon, though he notes he was equated not with a Levantine or Syrian deity but with Cretan Zeus, Zeus Krētagenēs. However, Gerard Mussies considers Marnas and Dagan to be two separate deities. According to Taco Terpstra, Marnas' origins are "nebulous," and while his name can be plausibly assumed to be Aramaic, his iconography follows Hellenistic conventions. At times he is shown naked, similar to a naked and bearded Zeus, either seated on a throne or standing while holding a lightning bolt. Other images show him in a form similar to Apollo, holding a bow and standing on a pedestal in front of a female deity. Regardless of the variety of depictions, the abundance of them on coins indicates that the inhabitants of Gaza held him in high esteem and associated this god with their city. Textual sources portray him as a "sky god who also performed oracles." An indirect reference to Marnas occurs in an inscription from Roman Portus from the reign of Gordian III (238-244 CE), which relays that the city of Gaza honored this ruler "at the prompting of its ancestral god."

Marnas is mentioned in the works of the fourth century scholar and theologian Jerome, in several stories from his Life of St. Hilarion, written around 390 CE, in which he condemns his adherents as idolatrous and as "enemies of God." Violent sentiments against the cult of Marnas and the destruction of his temple in Gaza, the Marneion, are described by Mark the Deacon in his account of the life of the early fifth-century saint Porphyry of Gaza (Vita Porphyri). After the destruction of Marnas's temple, Mark petitioned the emperor Arcadius through his wife Eudoxia to grant a request to have all pagan temples in Gaza destroyed. Terpstra notes there is no direct evidence for the historicity of this account, as Porphyry is not mentioned by other contemporary authors and is entirely absent from inscriptions, though it does indeed appear that in the early fifth century the temple of Marnas was replaced by a Christian church. However, the majority of Gazans were not Christians in the fifth century CE, and likely continued to worship their city's tutelary deity.

In popular culture
Dagon has appeared in many works of popular culture. However, most depend on the biblical account and associated fish god speculation rather than on primary sources and modern research.

Notable examples include John Milton's epic poems Samson Agonistes and Paradise Lost, Dagon and The Shadow Over Innsmouth by H. P. Lovecraft, Dagon by Fred Chappell, Middlemarch by George Eliot, and King of Kings by Malachi Martin.

Also, the extinct prehistoric beaked whale species, Dagonodum mojnum, is named after Dagon.

title: Dagon


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Charibert

Charibert is a Frankish given name meaning "glorious warrior". The name Berthar contains the same two elements in reversed order. It is the same name as Herbert, Heribert and Aribert.

Famous persons with this name include:

 * Charibert I, king of the Franks (561–567)
 * Charibert II, king of the Franks (629–632)
 * Charibert of Hesbaye, Neustrian nobleman
 * Charibert of Laon (fl. 721), Austrasian count

title: Charibert


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Direct sum of groups

In mathematics, a group G is called the direct sum of two normal subgroups with trivial intersection if it is generated by the subgroups. In abstract algebra, this method of construction of groups can be generalized to direct sums of vector spaces, modules, and other structures; see the article direct sum of modules for more information. A group which can be expressed as a direct sum of non-trivial subgroups is called decomposable, and if a group cannot be expressed as such a direct sum then it is called indecomposable.

Definition
A group G is called the direct sum of two subgroups H1 and H2 if
 * each H1 and H2 are normal subgroups of G,
 * the subgroups H1 and H2 have trivial intersection (i.e., having only the identity element $$e$$ of G in common),
 * G = ⟨H1, H2⟩; in other words, G is generated by the subgroups H1 and H2.

More generally, G is called the direct sum of a finite set of subgroups {Hi} if
 * each Hi is a normal subgroup of G,
 * each Hi has trivial intersection with the subgroup ⟨{Hj : j ≠ i}⟩,
 * G = ⟨{Hi}⟩; in other words, G is generated by the subgroups {Hi}.

If G is the direct sum of subgroups H and K then we write G = H + K, and if G is the direct sum of a set of subgroups {Hi} then we often write G = ΣHi. Loosely speaking, a direct sum is isomorphic to a weak direct product of subgroups.

Properties
If G = H + K, then it can be proven that:

 * for all h in H, k in K, we have that h ∗ k = k ∗ h
 * for all g in G, there exists unique h in H, k in K such that g = h ∗ k
 * There is a cancellation of the sum in a quotient; so that (H + K)/K is isomorphic to H

The above assertions can be generalized to the case of G = ΣHi, where {Hi} is a finite set of subgroups:

 * if i ≠ j, then for all hi in Hi, hj in Hj, we have that hi ∗ hj = hj ∗ hi
 * for each g in G, there exists a unique set of elements hi in Hi such that
 * g = h1 ∗ h2 ∗ ... ∗ hi ∗ ... ∗ hn

 * There is a cancellation of the sum in a quotient; so that ((ΣHi) + K)/K is isomorphic to ΣHi.

Note the similarity with the direct product, where each g can be expressed uniquely as
 * g = (h1,h2, ..., hi, ..., hn).

Since hi ∗ hj = hj ∗ hi for all i ≠ j, it follows that multiplication of elements in a direct sum is isomorphic to multiplication of the corresponding elements in the direct product; thus for finite sets of subgroups, ΣHi is isomorphic to the direct product ×{Hi}.

Direct summand
Given a group $$G$$, we say that a subgroup $$H$$ is a direct summand of $$G$$ if there exists another subgroup $$K$$ of $$G$$ such that $$G = H+K$$.

In abelian groups, if $$H$$ is a divisible subgroup of $$G$$, then $$H$$ is a direct summand of $$G$$.

Examples

 * If we take $ G= \prod_{i\in I} H_i $  it is clear that $$ G $$ is the direct product of the subgroups $ H_{i_0} \times \prod_{i\not=i_0}H_i$.

 * If $$H$$ is a divisible subgroup of an abelian group $$G$$ then there exists another subgroup $$K$$ of $$G$$ such that $$G=K+H$$.
 * If $$G$$ also has a vector space structure then $$G$$ can be written as a direct sum of $$\mathbb R$$ and another subspace $$K$$ that will be isomorphic to the quotient $$G/K$$.

Equivalence of decompositions into direct sums
In the decomposition of a finite group into a direct sum of indecomposable subgroups the embedding of the subgroups is not unique. For example, in the Klein group $$V_4 \cong C_2 \times C_2$$ we have that
 * $$V_4 = \langle(0,1)\rangle + \langle(1,0)\rangle,$$ and
 * $$V_4 = \langle(1,1)\rangle + \langle(1,0)\rangle.$$

However, the Remak-Krull-Schmidt theorem states that given a finite group G = ΣAi = ΣBj, where each Ai and each Bj is non-trivial and indecomposable, the two sums have equal terms up to reordering and isomorphism.

The Remak-Krull-Schmidt theorem fails for infinite groups; so in the case of infinite G = H + K = L + M, even when all subgroups are non-trivial and indecomposable, we cannot conclude that H is isomorphic to either L or M.

Generalization to sums over infinite sets
To describe the above properties in the case where G is the direct sum of an infinite (perhaps uncountable) set of subgroups, more care is needed.

If g is an element of the cartesian product Π{Hi} of a set of groups, let gi be the ith element of g in the product. The external direct sum of a set of groups {Hi} (written as ΣE{Hi}) is the subset of Π{Hi}, where, for each element g of ΣE{Hi}, gi is the identity $$e_{H_i}$$ for all but a finite number of gi (equivalently, only a finite number of gi are not the identity). The group operation in the external direct sum is pointwise multiplication, as in the usual direct product.

This subset does indeed form a group, and for a finite set of groups {Hi} the external direct sum is equal to the direct product.

If G = ΣHi, then G is isomorphic to ΣE{Hi}. Thus, in a sense, the direct sum is an "internal" external direct sum. For each element g in G, there is a unique finite set S and a unique set {hi ∈ Hi : i ∈ S} such that g = Π {hi : i in S}.

title: Direct sum of groups


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Childeric II

Childeric II (c. 653 – 675) was King of the Franks in the 7th century. He ruled Austrasia from 662 and Neustria and Burgundy from 673 until his death, making him sole king for the final two years of his life.

Childeric was the second eldest son of King Clovis II and grandson of King Dagobert I and Queen Nanthild. His mother was Saint Balthild and his elder brother was Chlothar III, who was briefly sole king from 661 but gave Austrasia to Childeric the next year. Childeric was still a mere child when he was raised on the shields of his warriors and proclaimed king in Austrasia.

Childeric married his cousin Bilichild, who gave birth to two sons: Dagobert and the future king Chilperic II.

After the death of Chlothar in 673, Theuderic III, his youngest brother, inherited his kingdoms, but a faction of prominent Burgundian nobles led by Saint Leodegar and Adalrich rebelled against Theuderich and Ebroin, Mayor of the Palace, inviting Childeric to become king in Neustria and Burgundy. He soon invaded his brother's kingdom and displaced him, becoming sole king. He made his Austrasian Mayor of the Palace, Wulfoald, mayor in Neustria and Burgundy as well, upsetting his supporters in Burgundy who did not wish to see functionaries active in a kingdom other than their native one. In March 675, Childeric granted honores in Alsace to Adalrich with the title of dux. This grant was most probably the result of Adalrich's continued support for Childeric in Burgundy, which had often disputed possession of Alsace with Austrasia.

The final straw for the magnates of Neustria was Childeric's illegal corporal punishment of a nobleman named Bodilo. In 675, Bodilo and his friends Amalbert and Ingobert conspired to assassinate the king, who was killed, along with his wife Bilichild and his five-year-old son Dagobert, while hunting in the forest of Livry (present-day Lognes). Childeric's younger son, Chilperic, was absent and thus survived. He grew up in a monastery.

Childeric, his wife, and their son Dagobert were buried in Saint-Germain-des-Prés, near Paris, where their tombs were discovered in 1645, the contents of which were pilfered.

title: Childeric II


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Gustav Heinemann

Gustav Walter Heinemann (23 July 1899 – 7 July 1976) was a German politician who was President of West Germany from 1969 to 1974. He served as mayor of Essen from 1946 to 1949, West German Minister of the Interior from 1949 to 1950, and Minister of Justice from 1966 to 1969.

Early years and professional career
Heinemann was named after his mother's father, a master roof tiler in Barmen, with radical-democratic, left-liberal, and patriotic views. His maternal grandfather, Heinemann's great-grandfather, had taken part in the Revolution of 1848. His father, Otto Heinemann, a manager at the Krupp steelworks in Essen, shared his father-in-law's views. In his youth, Gustav already felt called upon to preserve and promote the liberal and democratic traditions of 1848. Throughout his life, he fought against all kinds of subservience. This attitude helped him to maintain his intellectual independence even in the face of majorities in political parties and in the Church.

Having finished his elite secondary education in 1917, Heinemann briefly became a soldier in the First World War, but his severe illness stopped him from being sent to the front.

From 1918, Heinemann studied law, economics, and history at the universities of Münster, Marburg, Munich, Göttingen, and Berlin, graduating in 1922 and passing the bar in 1926. He received a Ph.D in 1922 and a doctorate of law in 1929.

The friendships that Heinemann formed during his student years often lasted for a lifetime. Among his friends were such different people as Wilhelm Röpke, who was to become one of the leading figures of economic liberalism, Ernst Lemmer, later a trade unionist and also a Christian Democrat, and Viktor Agartz, a Marxist.

At the beginning of his career, Heinemann joined a renowned firm of solicitors in Essen. In 1929, he published a book about legal questions in the medical profession. From 1929 to 1949, he worked as a legal adviser to the Rheinische Stahlwerke in Essen, and from 1936 to 1949, he was also one of its directors.

The steelworks were considered to be essential for the war so Heinemann was not drafted into the army. He was a lecturer at the law school of the University of Cologne between 1933 and 1939. It was probably his refusal to become a member of the Nazi Party that ended his academic career.

Heinemann was invited to join the board of directors of the Rheinisch-Westfälische Kohlensyndikat (Rhenish-Westphalian Coal Syndicate) in 1936, but the invitation was withdrawn due to Heinemann's refusal to end his work for the anti-Nazi Confessing Church.

Family and religion
In 1926, Heinemann married Hilda Ordemann (1896–1979), who had been a student of Rudolf Bultmann, the famous Protestant theologian. His wife and the minister of his wife's parish, Wilhelm Graeber, led Heinemann back to Christianity from which he had become estranged. Through his sister-in-law, he became acquainted with Swiss theologian Karl Barth, who strongly influenced him such as in his condemnation of nationalism and antisemitism.

Gustav and Hilda Heinemann had three daughters, Uta (later Uta Ranke-Heinemann), Christa (mother of Christina Rau, former federal president Johannes Rau's wife) and Barbara; they also had a son, Peter.

Heinemann was an elder (Presbyter) in Wilhelm Graeber's parish in Essen, when Graeber was sacked in 1933 by the new church authorities who co-operated with the Nazis. Opposition against those German Christians came from the Confessing Church, and Heinemann became a member of its synod and its legal adviser. As he disagreed with some of the developments within the Confessing Church, he withdrew from the church leadership in 1939, but he continued as an elder in his parish, in whose capacity he gave legal advice to persecuted fellow Christians and helped Jews who had gone into hiding by providing them with food.

Information sheets of the Confessing Church were printed in the cellar of Heinemann's house at Schinkelstrasse 34 in Essen, Moltkeviertel, and distributed all over Germany.

From 1936 to 1950, Heinemann was head of the YMCA in Essen.

In August 1945, he was elected as a member of the Council of the Protestant Church in Germany. The Council issued the Stuttgart Declaration of Guilt in October 1945 in which it confessed guilt for the failure of the Protestant church not to oppose the Nazis and the Third Reich. Heinemann regarded the declaration as a "linchpin" in his work for the church.

From 1949 to 1955, Heinemann was president of the all-German Synod of the Protestant Churches of Germany. He was among the founders of the German Protestant Church Congress (Deutscher Evangelischer Kirchentag), a congress of the Protestant laity. In 1949, he was also one of the founding editors of Die Stimme der Gemeinde ("The Voice of the Congregation"), a magazine which was published by the Bruderrat (Brethren's Council) of the Confessing Church. In the World Council of Churches he belonged to its "Commission for International Affairs".

Early political career
As a student, Heinemann, like his friends Lemmer and Roepke, belonged to the Reichsbund deutscher demokratischer Studenten, the student organization of the liberal German Democratic Party, which strongly supported the democracy of the Weimar Republic.

Heinemann heard Hitler speak in Munich in 1920 and had to leave the room after interrupting Hitler's diatribe against the Jews.

In 1930, Heinemann joined the Christlich-Sozialer Volksdienst ("Christian Social People's Service"), but he voted for the Social Democratic Party in 1933 to try to prevent a victory of the NSDAP.

Postwar
After the Second World War, the British authorities appointed Heinemann mayor of Essen, and in 1946, he was elected to that office, which he kept until 1949. He was one of the founders of the Christian Democratic Union in North Rhine-Westphalia, in which he saw an interdenominational and democratic association of people opposed to Nazism. He was a member of the North Rhine-Westphalian parliament (Landtag, 1947–1950), and from 1947 to 1948, he was Minister of Justice in the North Rhine-Westphalian government of CDU Prime Minister Karl Arnold.

When Konrad Adenauer became the first Chancellor of the newly founded Federal Republic of Germany in 1949, he wanted a representative of the Protestants in the CDU in his government. Heinemann, the president of the Synod of Protestant Churches, reluctantly agreed to become the Minister of the Interior although he had planned to resume his career in industry.

A year later, when it became known that Adenauer had secretly offered German participation in a Western European army, Heinemann resigned from the government. He was convinced that any form of armament in West Germany would diminish the chances of German reunification and increase the risk of war.

Heinemann left the CDU, and in 1952 he founded his own political party, the All-German People's Party (Gesamtdeutsche Volkspartei). Among its members were such politicians as future Federal President Johannes Rau and also Erhard Eppler. They advocated negotiations with the Soviet Union with the aim of a reunited, neutral Germany between the blocs, but the GVP failed to attract many voters. Heinemann dissolved his party in 1957 and joined the Social Democratic Party of Germany (SPD), whose aims were relatively close to his own. There, he soon became a member of the party's National Executive. He helped the SPD to change into a Volkspartei (party of the people) by opening it up for socially-minded Protestants and middle-class people especially in the industrial districts of Germany.

In October 1950 Heinemann had started practising as a lawyer again. In court, he predominantly represented political and religious minorities. He also worked for the release of prisoners in East Germany. Later, he defended conscientious objectors to compulsory military service and Jehovah's Witnesses in court. The latter refused to do even community work instead of military service because of their absolute conscientious objection.

As an MP in the Bundestag, the parliament of West Germany, Heinemann passionately fought against Adenauer's plans of acquiring atomic weapons for the West German army (Bundeswehr).

In the "Grand Coalition" government of Chancellor Kurt Georg Kiesinger (CDU) and Foreign Minister Willy Brandt (SPD) Heinemann was Minister of Justice (1966–1969). He initiated a number of liberal reforms, especially in the field of criminal law.

President of West Germany
In March 1969 Gustav Heinemann was elected President of West Germany. As he was elected with the help of most delegates of the Free Democratic Party (FDP/Liberals) his election was generally understood as a sign of the re-orientation of the FDP with regard to a future coalition with the SPD (Social-liberal coalition, October 1969 – October 1982).

In an interview Heinemann once said that he wanted to be "the citizens' president" rather than "the president of the state". He established the tradition of inviting ordinary citizens to the president's New Year's receptions, and in his speeches, he encouraged West Germans to overcome the tradition of submissiveness to the authorities, to make full use of their democratic rights and to defend the rule of law and social justice. This attitude and his open-mindedness towards the student protests of 1968 made him popular among the younger generation as well. When asked whether he loved the West German state, he answered that he loved not the state but his wife.

Heinemann mainly visited countries that had been occupied by German troops in World War II. He supported the social-liberal government's policy of reconciliation with the Eastern European states. He promoted research into the nature of conflicts and of peace, as well as into environmental problems.

It was Heinemann's idea to found a museum for the commemoration of German liberation movements, and he was able to open such a place officially in Rastatt in 1974. His interest in that subject was partly from the involvement of his own ancestors in the revolution of 1848.

On account of his age and fragile health, Heinemann did not stand for a possible second term as President in 1974. He died in 1976.

A short time before his death, Heinemann published an essay in which he criticized the Radikalenerlass ("Radicals Decree") of 1972, a rule that subjected all candidates for the civil service (including prospective teachers, railway engine drivers, and postmen) to special scrutiny to exclude political radicals. He thought it was not compatible with the spirit of the constitution that a large group of people were generally treated as suspects.

The Gustav-Heinemann-Friedenspreis (Gustav Heinemann Peace Prize) is an annual prize for children's and young people's books that are deemed to have best promoted the cause of world peace.

Honours and awards

 * Special class of the Grand Cross of the Order of Merit of the Federal Republic of Germany (1969)
 * Knight Grand Cross with Grand Cordon of the Order of Merit of the Italian Republic (21 March 1973)
 * Honorary Knight Grand Cross of the British Order of the Bath
 * Great Star of Honour for Services to the Republic of Austria (1973)
 * Knight of the Swedish Order of the Seraphim (25 May 1970)
 * Knight of the Danish Order of the Elephant (9 June 1970)

Named after Heinemann

 * the Gustav-Heinemann-Bürgerpreis (donated 1977 by the SPD )
 * the Gustav-Heinemann-Friedenspreis für Kinder- und Jugendbücher (since 1982)
 * the Gustav Heinemann Bildungsstätte educational and conference center in Bad Malente-Gremsmühlen
 * Many schools
 * A former military barracks in Essen (closed 2003)
 * the Gustav-Heinemann-Brücke over the Spree in Berlin district Bezirk Mitte (since 2005)

title: Gustav Heinemann


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The Elephant Man (film)

The Elephant Man is a 1980 biographical drama film based on the life of Joseph Merrick (referred to as "John" in the film), a severely deformed man who lived in London in the late 19th century. The film was directed by David Lynch, produced by Mel Brooks (who was uncredited, to avoid audiences anticipating the film being in the vein of his comedic works, although his company Brooksfilms is in the opening credits) and Jonathan Sanger, and starred John Hurt, Anthony Hopkins, Anne Bancroft, John Gielgud, Wendy Hiller, Michael Elphick, Hannah Gordon, and Freddie Jones. The Elephant Man is generally regarded as one of Lynch's more accessible and mainstream works, alongside The Straight Story (1999).

The screenplay was adapted by Lynch, Christopher De Vore, and Eric Bergren from Frederick Treves' The Elephant Man and Other Reminiscences (1923) and Ashley Montagu's The Elephant Man: A Study in Human Dignity (1971). It was shot in black-and-white and featured make-up work by Christopher Tucker.

The Elephant Man was a critical and commercial success with eight Academy Award nominations, including Best Picture, Best Director, Best Adapted Screenplay, and Best Actor. After receiving widespread criticism for failing to honour the make-up effects, the Academy of Motion Picture Arts and Sciences was prompted to create the Academy Award for Best Makeup the following year. The film also won the BAFTA Awards for Best Film, Best Actor, and Best Production Design and was nominated for Golden Globe awards. It also won a French César Award for Best Foreign Film.

Plot
The film begins with wild African elephants striking down Merrick's mother on an uncharted African island. Soon after Merrick's mother is dead, John Merrick as a baby starts wailing and mourning for Merrick's mother in the smoke making the elephants become carcasses.

Frederick Treves, a surgeon at the London Hospital, finds John Merrick in a Victorian freak show in London's East End, where he is kept by Mr. Bytes, the brutish ringmaster. His head is kept hooded, and his "owner", who views him as intellectually disabled, is paid by Treves to bring him to the hospital for examination.

Treves presents Merrick to his colleagues and highlights his deformed skull, which forces him to sleep with his head on his knees, since if he were to lie down, he would asphyxiate. On Merrick's return, he is beaten so badly by Bytes that he has to call Treves for medical help. Treves brings him back to the hospital.

Merrick is tended to by hospital matron Mrs. Mothershead, as the other nurses are too frightened of him. Mr. Carr Gomm, the hospital's Governor, is against housing Merrick, as the hospital does not accept "incurables".

To prove that Merrick can make progress, Treves trains him to say a few conversational sentences and part of the 23rd Psalm. Carr Gomm sees through this ruse but, as he is leaving, Merrick begins to recite the whole of the Psalm. Merrick tells the doctors that he knows how to read, and has memorized the 23rd Psalm because it is his favorite. Carr Gomm permits him to stay, and Merrick spends his time practicing conversation with Treves and building a model of a cathedral he can see from his window.

Merrick has tea with Treves and his wife, and is so overwhelmed by their kindness that he shows them his mother's picture. He believes he must have been a "disappointment" to his mother, but hopes she would be proud to see him with his "lovely friends". Merrick begins to take guests in his rooms, including the actress Madge Kendal, who gives him a copy of Romeo and Juliet; they play some lines from it and Kendal kisses Merrick.

Merrick quickly becomes an object of curiosity to high society, and Mrs. Mothershead expresses concerns that he is still being put on display as a freak. Treves begins to question the morality of his own actions. Meanwhile, a night porter named Jim starts selling tickets to locals, who come at night to gawk at the "Elephant Man".

The issue of Merrick's residence is challenged at a hospital council meeting, but he is guaranteed permanent residence by command of the hospital's royal patron, Queen Victoria, who sends word with her daughter-in-law Alexandra. However, during one of Jim's raucous late-night showings Merrick is kidnapped by Bytes. A witness reports this to Treves, who confronts Jim about what he has done; Jim is then fired by Mothershead.

Bytes takes Merrick on the road as a circus attraction once again. During a "show" in Belgium, Merrick, who is weak and dying, collapses, causing a drunken Bytes to lock him in a cage at night with some apes and leave him to die. Merrick is released by his fellow freakshow attractions.

Upon returning to London, he is harassed through Liverpool Street station by several young boys and accidentally knocks down a young girl. Merrick is chased, unmasked, and cornered by an angry mob. He cries "I am not an elephant! I am not an animal! I am a human being! I ... am ... a ... man!" before collapsing.

Policemen return Merrick to the hospital and Treves. He recovers some of his health, but is dying of chronic obstructive pulmonary disease. Treves and Mothershead take Merrick, accompanying Princess Alexandra, to see a magical pantomime. Kendal comes on stage afterwards and dedicates the performance to him, and a proud Merrick receives a standing ovation from the audience.

Back at the hospital, Merrick thanks Treves for all he has done, and completes his cathedral model. Saying "It is finished", he lies down on his back in bed and dies. He is consoled by a vision of his mother, who quotes Lord Tennyson's "Nothing Will Die".

Cast

 * Anthony Hopkins as Frederick Treves, a doctor who takes John from the freakshow to work in the hospital
 * John Hurt as John Merrick, an intelligent, friendly, kind-hearted man who is feared by most people in his society because of his severe deformity.
 * Hannah Gordon as Ann Treves
 * Anne Bancroft as Madge Kendal
 * John Gielgud as Francis Carr Gomm
 * Wendy Hiller as Mrs. Mothershead
 * Freddie Jones as Mr. Bytes, the evil ringmaster (based on Tom Norman )
 * Frederick Treves (grandnephew of Dr Frederick Treves) as Alderman
 * Michael Elphick as Jim, the dishonest night porter
 * Dexter Fletcher as Bytes' boy
 * Helen Ryan as Alexandra, Princess of Wales
 * John Standing as Fox
 * Lesley Dunlop as Nora, Merrick's nurse
 * Phoebe Nicholls (picture)/Lydia Lisle (footage) as Mary Jane Merrick
 * Morgan Sheppard as man in pub
 * Kenny Baker as plumed dwarf
 * Pat Gorman as Fairground Bobby
 * Pauline Quirke as prostitute
 * Nula Conwell as Nurse Kathleen, one of Merrick's nurses

Development
Producer Jonathan Sanger optioned the script from writers Christopher De Vore and Eric Bergren after receiving the script from his babysitter. Sanger had been working as Mel Brooks' assistant director on High Anxiety. Sanger showed Brooks the script, whereupon he decided to help finance via Brooksfilms, his new company. Brooks' personal assistant, Stuart Cornfeld, suggested David Lynch to Sanger.

Sanger met Lynch and they shared scripts they were working on (The Elephant Man and Lynch's unrealized Ronnie Rocket). Lynch told Sanger that he would love to direct the script after reading it, and Sanger endorsed him after hearing Lynch's ideas. However, Brooks had not heard of Lynch at the time. Sanger and Cornfeld set up an Eraserhead viewing at a 20th Century Fox screening room; Brooks loved it and enthusiastically agreed for Lynch to direct. By his own request, Brooks was not credited as executive producer to ensure that audiences would not expect a comedy after seeing his name attached.

Casting
Dustin Hoffman wanted the role of John Merrick, but Sanger rejected the idea, saying "We’re always going to be looking to see where the Elephant Man ends and Dustin Hoffman begins". Lynch considered his friend Jack Nance, who he worked with on Eraserhead, for the role; but he cast John Hurt in the role after seeing The Naked Civil Servant. At the time, Hurt was still making Heaven's Gate which had fallen badly behind schedule due to director Michael Cimino's perfectionism. Hurt spent so long waiting for something to do that he performed the role of Merrick in the interim before returning to Heaven's Gate to complete shooting.

Filming
The budget was $5 million, $4 million of which was raised from Fred Silverman of NBC. The remainder came from EMI Films.

For his second feature and first studio film, albeit one independently financed, Lynch provided the musical direction and sound design. Lynch also tried to design the make-up himself, but the design didn't work. The makeup, now supervised by Christopher Tucker, was based on direct casts of Merrick's body, which had been kept in the Royal London Hospital's private museum. The makeup took seven to eight hours to apply each day and two hours to delicately remove. John Hurt would arrive on set at 5am and shoot his scenes from noon until 10pm. After his first experience of the inconvenience of having to apply the makeup and perform with it, he called his girlfriend, saying, "I think they have finally managed to make me hate acting."

Because of the strain on the actor, he worked alternate days. Lynch originally wanted Jack Nance for the title character. "But it just wasn't in the cards," Lynch says; the role went to Hurt after Brooks, Lynch and Sanger saw his performance as Quentin Crisp in The Naked Civil Servant.

The film is bookended with surrealist sequences centred around Merrick's mother and her death. Lynch used Samuel Barber's Adagio for Strings to underline the climax and Merrick's own death. Composer John Morris argued against using the music, stating that "this piece is going to be used over and over and over again in the future... And every time it's used in a film it's going to diminish the effect of the scene."

Post-production
Following their return from England with a print, Lynch and Sanger screened The Elephant Man for Brooks, who suggested some minor cuts but told them that the film would be released as they had made it.

Lawsuit
A West End play of the same name was enjoying a successful Broadway run at the time of the film's production. The producers sued Brooksfilms over the use of the title.

Box office
The Elephant Man was a box office hit, grossing $26 million in the United States. In Japan, it was the second highest-grossing foreign film of the year with theatrical rentals of ¥2.45 billion, behind only The Empire Strikes Back.

Critical response
On review aggregator Rotten Tomatoes, it has an approval rating of 92% based on 63 reviews, with an average score of 8.5/10. The site's critical consensus reads, "David Lynch's relatively straight second feature finds an admirable synthesis of compassion and restraint in treating its subject, and features outstanding performances by John Hurt and Anthony Hopkins." On Metacritic, the film has a weighted average score of 78 out of 100 based on 16 critic reviews, indicating "generally favourable reviews".

Vincent Canby wrote: "Mr. Hurt is truly remarkable. It can't be easy to act under such a heavy mask ... the physical production is beautiful, especially Freddie Francis' black-and-white photography."

A small number of critics were less favourable. Roger Ebert gave it 2/4 stars, writing: "I kept asking myself what the film was really trying to say about the human condition as reflected by John Merrick, and I kept drawing blanks." In the book The Spectacle of Deformity: Freak Shows and Modern British Culture, Nadja Durbach describes the work as "much more mawkish and moralising than one would expect from the leading postmodern surrealist filmmaker" and "unashamedly sentimental". She blamed this mawkishness on the use of Treves' memoirs as source material.

The Elephant Man has since been ranked among the best films of the 1980s in Time Out (where it placed 19th) and Paste (56th). The film also received five votes in the 2012 Sight & Sound polls.

Accolades
The Elephant Man was nominated for eight Academy Awards, tying Raging Bull at the 53rd Academy Awards, including Best Picture, Actor in a Leading Role (Hurt), Art Direction-Set Decoration (Stuart Craig, Robert Cartwright, Hugh Scaife), Best Costume Design, Best Director, Best Film Editing, Music: Original Score, and Writing: Screenplay Based on Material from Another Medium. However, it did not win any.

Industry experts were appalled that the film was not going to be honoured for its make-up effects when the Academy of Motion Picture Arts and Sciences announced its nominations at the time. A letter of protest was sent to the academy's Board of Governors requesting to give the film an honorary award. The academy refused, but in response to the outcry, they decided to give the make-up artists their own category. A year later, the Academy Award for Best Makeup category was introduced with An American Werewolf in London as its first recipient.

It won the BAFTA Award for Best Film, and other BAFTA Awards for Best Actor (Hurt) and Best Production Design, and was nominated for four others: Direction, Screenplay, Cinematography and Editing.

The film is recognized by American Film Institute in these lists:
 * 2005: AFI's 100 Years...100 Movie Quotes:
 * John Merrick: "I am not an animal! I am a human being. I am a man." – Nominated

Home media
The film has been issued many times on VHS, Betamax, CED, LaserDisc and DVD. The first DVD was released on December 11, 2001, by Paramount Home Entertainment. The version released as part of the David Lynch Lime Green Box includes several interviews with Lynch and Hurt, and a Joseph Merrick documentary. This material is also available on the exclusive treatment on the European market as part of Optimum Releasing's StudioCanal Collection. The film has been available on Blu-ray since 2009 throughout Europe and in Australia and Japan but not in the US (however the discs will play in both region A & B players). A 4K restoration (created from the original camera negative, supervised by Lynch) was carried out for the film's 40th anniversary, and was released in a director-approved special edition in both Blu-ray and DVD formats from The Criterion Collection in the United States on September 29, 2020. The restoration was also released on 4K Ultra HD Blu-ray (including a remastered Blu-ray) in the UK in April 2020.

A tie-in novelization by Christine Sparks was published by Ballantine Books in 1980.

Soundtrack
The musical score of The Elephant Man was composed and conducted by John Morris, and it was performed by the National Philharmonic Orchestra. In 1980, the company 20th Century Fox Records published this film's original musical score as both an LP album and as a cassette in the United States. Its front cover artwork features a masked John Merrick against a backdrop of smoke, as seen on the advance theatrical poster for the film.

In 1994, the first compact disc (CD) issue of the film score was made by the company Milan, which specializes in film scores and soundtrack albums.

Track listing for the first U.S. release on LP

Side one
 * 1) "The Elephant Man Theme" – 3:46
 * 2) "Dr. Treves Visits the Freak Show and Elephant Man" – 4:08
 * 3) "John Merrick and Psalm" – 1:17
 * 4) "John Merrick and Mrs. Kendal" – 2:03
 * 5) "The Nightmare" – 4:39

Side two
 * 1) "Mrs. Kendal's Theater and Poetry Reading" – 1:58
 * 2) "The Belgian Circus Episode" – 3:00
 * 3) "Train Station" – 1:35
 * 4) "Pantomime" – 2:20
 * 5) "Adagio for Strings" – 5:52
 * 6) "Recapitulation" – 5:35

In popular culture
Michael Jackson used excerpts from the film in his song "Morphine" from the 1997 remix album Blood on the Dance Floor: HIStory in the Mix.

The Jam's former bassist Bruce Foxton was inspired strongly by the film, and in response wrote the song "Freak" with the single's cover making a reference to the film.

Actor Bradley Cooper credits watching the film with his father as a child as his inspiration to become an actor. Cooper played the character in a Broadway revival of The Elephant Man play in 2014.

In season 3, episode 21 of The Simpsons, "Black Widower", Lisa daydreams of Aunt Selma's new boyfriend as the Elephant Man.

The 1992 film Batman Returns parodies the iconic line "I am not an animal. I am a man." In one scene, the Penguin, after being called Oswald, angrily yells "I am not a human being! I am an animal!"

British TV presenter Karl Pilkington often has cited it as his favourite film. Pilkington's love for the film brought many new features to his various podcasts and radio shows.

Musician Michael Stipe loves the film and cites it as an inspiration for the R.E.M. song "Carnival of Sorts (Boxcars)". Another R.E.M. song, "New Test Leper", quotes the line "I am not an animal."

Musician Nicole Dollanganger featured a sample of the film in her 2012 song "Cries of the Elephant Man Bones".

Musician Mylène Farmer's song "Psychiatric" from the 1991 album L'autre... is a tribute to the film and John Hurt's voice is sampled throughout the song, repeating several times: "I'm a human being, I'm not an animal".

The 2019 comedy TV series Year of the Rabbit features Merrick as a character, reimagined as a confident, somewhat sassy, and decidedly camp theatrical performer, who has become independently wealthy through managing his own freak show (of which he is the star attraction).

In the final segment of the 13th and final episode of the 2nd season of the 2020 reboot of Animaniacs, 23 & WB, the ending shot sees the camera zoom into Wakko Warner's eye, referencing the ending shot of the movie.

title: The Elephant Man (film)


text:
Childeric III

Childeric III (c. 717 – c.  754) was King of the Franks from 743 until he was deposed in 751 by Pepin the Short. He was the last Frankish king from the Merovingian dynasty. Once Childeric was deposed, Pepin became king, initiating the Carolingian dynasty.

Background
Following the reign of Dagobert I (629–634), the power of the Merovingian kings gradually declined into a ceremonial role, while the real power in the Frankish kingdom was increasingly wielded by the mayors of the palace. In 718, Charles Martel combined the roles of mayor of the palace of Neustria and mayor of the palace of Austrasia, consolidating his position as the most powerful man in Francia. After the death of king Theuderic IV in 737, Charles Martel ruled without a king on the throne.

After Charles Martel's death in 741, Carloman and Pepin the Short, his sons by his first wife Rotrude, became co-mayors of the palace. However, they soon faced revolts from their younger half-brother Grifo and their brother-in-law Odilo, Duke of Bavaria. These revolts may have played a part in their decision to fill the throne with a Merovingian king after a six-year vacancy to add legitimacy to their reigns.

Life

Childeric's parentage and his relation to the Merovingian family are uncertain. He may have been either the son of Chilperic II or Theuderic IV.

According to Einhard, Charlemagne's biographer, Childeric took little part in public business and would, once a year, be brought in an ox cart led by a peasant and preside at court on a throne, giving answers prepared by the mayors to visiting ambassadors. In this narrative, he had neither political nor economic power, depending on his own small estate and on mayoral support.

After Carloman retired to a monastery in 747, Pepin resolved to take the royal crown for himself. Pepin sent letters to Pope Zachary, asking whether the title of king belonged to the one who had exercised the power or the one with the royal lineage. The pope responded that the real power should have the royal title as well. In 751, Childeric was dethroned and tonsured. His long hair was the symbol of his dynasty, and thus of the royal powers he enjoyed; by cutting it, they divested him of all royal prerogatives. Once dethroned, he was confined to the Benedictine monastery of Saint-Bertin in Saint-Omer, while his son Theuderic was sent to the monastery of Saint-Wandrille.

There are conflicting accounts of exactly when Childeric died, with some sources claiming as early as 753, while others state that his death occurred as late as 758.

title: Childeric III