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Jerboa

Jerboas are hopping desert rodents found throughout North Africa and Asia, and are members of the family Dipodidae. They tend to live in hot deserts.

When chased, jerboas can run at up to 24 km/h. Some species are preyed on by little owls (Athene noctua) in central Asia. Most species of jerboas have excellent hearing that they use to avoid becoming the prey of nocturnal predators. The typical lifespan of a jerboa is around 2–3 years.

Taxonomy
Jerboas, as previously defined, were thought to be paraphyletic, with the jumping mice (Zapodidae) and birch mice (Sminthidae) also being classified in the family Dipodidae. However, phylogenetic analysis split all three as distinct families, leaving just the jerboas in Dipodidae and revealing them to be a monophyletic group.

This animal has a body length (including the head) of between 4 and 26 cm (1.6 to 10 in.), with an additional 7 – 30 cm (2.75 to 12 in.) of tail, which is always longer than the full body.

Jerboas dental records reveal a slow increase in crown heights and that corresponds to a more open and dryer ecosystem.

Anatomy and body features
Jerboas look somewhat like miniature kangaroos, and have some external similarities. Both have long hind legs, short forelegs, and long tails. Jerboas move around in a similar manner to kangaroos, which is by hopping, or saltation. However, their anatomy is more attuned towards erratic hopping locomotion, making use of sharp turns and great vertical leaps to confuse and escape predators, rather than for sustained hopping over long periods of time. Researchers have found that, when jerboas execute their vertical leaps, the primary tendons in the hindlimbs only recovered and reused on average 4.4% of energy contributed to the jump; this is lower than many hopping animals.

Jerboas have metatarsal bones that are fused into one long bone, called the cannon bone. Their cannon bone is more distinct and defined than in other rodents. This acts as leverage to allow them to reach higher heights while jumping, while also supporting the legs. Their back legs are often up to four times as long as the front legs. This further allows them to sling-shot themselves into the air. Jerboas that live in sandy desert environments develop hairs on the bottom of their feet that allow for better traction and grip so that they don't slip in the sand.

Like other bipedal animals, their foramen magnum—the hole at the base of the skull—is forward-shifted, which enhances two-legged locomotion. The tail of a jerboa can be longer than its head and body, and a white cluster of hair is commonly seen at the end of the tail. Jerboas use their tails to balance when hopping, and as a prop when sitting upright. Jerboa fur is fine, and usually the colour of sand. This colour usually matches the jerboa habitat (an example of cryptic colouration). Some species of the jerboa family have long ears like a rabbit, whilst others have ears that are short like those of a mouse or rat.

In addition to the Jerboa's large ears, they also have large feet which are a result of multiple genes overlapping each other in their DNA. Researchers found a gene called the shox2 gene that is expressed in Jerboa feet. This gene has the ability to turn other genes on and off and also has been seen to cause mutant limbs.

Behavior
The bipedal locomotion of jerboas involves hopping, skipping, and running gaits, associated with rapid and frequent, difficult-to-predict changes in speed and direction, facilitating predator evasion relative to quadrupedal locomotion. This may explain why evolution of bipedal locomotion is favored in desert-dwelling rodents that forage in open habitats.

Jerboas can hop 10–13 cm normally but if threatened by a predator the Jerboa can jump up to 3m.

Jerboas are most active at twilight (crepuscular). During the heat of the day, they shelter in burrows. At night, they leave the burrows due to the cooler temperature of their environment. They dig the entrances to their burrow near plant life, especially along field borders. During the rainy season, they make tunnels in mounds or hills to reduce the risk of flooding. In the summer, jerboas occupying holes plug the entrance to keep out hot air and, some researchers speculate, predators. In most cases, burrows are constructed with an emergency exit that ends just below the surface or opens at the surface but is not strongly obstructed. This allows the jerboa to quickly escape predators.

Since Jerboas dig in the sand, they have adapted to that environment by developing skin folds and hair that protects their ears and nose from getting sand inside them.

Related jerboas often create four types of burrows. A temporary, summer day burrow is used for cover while hunting during the daylight. They have a second, temporary burrow used for hunting at night. They also have two permanent burrows: one for summer and one for winter. The permanent summer burrow is actively used throughout the summer and the young are raised there. Jerboas hibernate during the winter and use the permanent winter burrow for this. Temporary burrows are shorter in length than permanent burrows. Just like other animals that hibernate, these creatures are heavier pre-hibernation specifically in ungrazed sites (Shuai). Also, more food availability during pre-hibernation contributes to larger jerboa body mass in ungrazed regions, and entices more jerboas to migrate to ungrazed areas during post-hibernation. Grazing negatively impacts the Jerboa pre- and post-hibernation population, but not the survival rate.

Jerboas create burrows to function as protection against predators and severe weather conditions. They will naturally respond to winter conditions such as cold temperatures and food deprivation by digging a winter burrow to hibernate in. Winter burrows are most often longer, deeper and have more entrance holes than summer burrows. Additionally, they use these burrows as nesting areas to raise their young. They can also function as feeding sites.

Jerboas are solitary creatures. Once they reach adulthood, they usually have their own burrow and search for food on their own. However, occasional "loose colonies" may form, whereby some species of jerboa dig communal burrows that offer extra warmth when it is cold outside.

Diet
Most jerboas rely on plant material as the main component of their diet, but they cannot eat hard seeds. Some species opportunistically eat other jerboas and other animals they come across. Unlike gerbils, jerboas are not known to store their food.

Some species of Jerboa are known to have a diet that consists of insects, plants, and sometimes seeds. They use their two front legs to gather food.

Jerboas do not drink water but instead get their water intake from the food they eat. Jerboas like desert plants; they are best when they are wet but when dried out the Jerboas will dig the plants up and eat the roots because that part of the plant holds the most water. Jerboas will also try to minimize water loss by feeding at night when it is cooler in the desert.

Communication and perception
Many species within the family Dipodidae engage in dust bathing, often a way to use chemical communication. Their keen hearing suggests they may use sounds or vibrations to communicate.

Reproduction
Mating systems of closely related species in the family Dipodidae suggest that they may be polygynous. For some closely related jerboa species, mating usually happens a short time after awaking from winter hibernation. A female breeds twice in the summer, and raises from two to six young. Gestation time is between 25 and 35 days. Little is known about parental investment in long-eared jerboas. Like most mammals, females nurse and care for their young at least until they are weaned.

Food conditions become abundant typically in the spring and summer. This is also when reproduction rates in the jerboas increase. Jerboas have cells that produce sex hormones known as the gonadotropin-releasing hormone (GnRH). These cells fire the most in the months of March through July. These cells quit producing GnRH in the autumn, and the jerboa's mating season ends.

Classification

 * Family Dipodidae
 * Subfamily Cardiocraniinae
 * Cardiocranius
 * Five-toed pygmy jerboa, Cardiocranius paradoxus
 * Salpingotus
 * Thick-tailed pygmy jerboa, Salpingotus crassicauda
 * Heptner's pygmy jerboa, Salpingotus heptneri
 * Kozlov's pygmy jerboa, Salpingotus kozlovi
 * Pallid pygmy jerboa, Salpingotus pallidus
 * Thomas's pygmy jerboa, Salpingotus thomasi
 * Salpingotulus
 * Baluchistan pygmy jerboa, Salpingotulus michaelis
 * Subfamily Dipodinae
 * Dipus
 * Northern three-toed jerboa, Dipus sagitta
 * Eremodipus
 * Lichtenstein's jerboa, Eremodipus lichensteini
 * Jaculus
 * Blanford's jerboa, Jaculus blanfordi
 * Lesser Egyptian jerboa, Jaculus jaculus
 * Greater Egyptian jerboa, Jaculus orientalis
 * Stylodipus
 * Andrews's three-toed jerboa, Stylodipus andrewsi
 * Mongolian three-toed jerboa, Stylodipus sungorus
 * Thick-tailed three-toed jerboa, Stylodipus telum
 * Subfamily Euchoreutinae
 * Euchoreutes
 * Long-eared jerboa, Euchoreutes naso
 * Subfamily Allactaginae
 * Allactaga
 * Balikun jerboa, Allactaga balikunica
 * Gobi jerboa, Allactaga bullata
 * Iranian jerboa, Allactaga firouzi
 * Hotson's jerboa, Allactaga hotsoni
 * Great jerboa, Allactaga major
 * Severtzov's jerboa, Allactaga severtzovi
 * Mongolian five-toed jerboa, Allactaga sibirica
 * Allactodipus
 * Bobrinski's jerboa, Allactodipus bobrinskii
 * Pygeretmus
 * Lesser fat-tailed jerboa, Pygeretmus platyurus
 * Dwarf fat-tailed jerboa, Pygeretmus pumilio
 * Greater fat-tailed jerboa, Pygeretmus shitkovi
 * Scarturus
 * Small five-toed jerboa, Scarturus elater
 * Euphrates jerboa, Scarturus euphraticus
 * Four-toed jerboa, Scarturus tetradactylus
 * Vinogradov's jerboa, Scarturus vinogradovi
 * Williams's jerboa, Scarturus williamsi
 * Subfamily Paradipodinae
 * Paradipus
 * Comb-toed jerboa, Paradipus ctenodactylus

title: Jerboa


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The Big Bopper

Jiles Perry "J.P." Richardson Jr. (October 24, 1930 – February 3, 1959), better known by his stage name The Big Bopper, was an American musician and disc jockey. His best-known compositions include "Chantilly Lace," "Running Bear", and "White Lightning", the latter of which became George Jones's first number-one hit in 1959. Richardson was killed in an airplane crash in Clear Lake, Iowa, in February 1959, along with fellow musicians Buddy Holly and Ritchie Valens, and the pilot, Roger Peterson.

Early life
Richardson was born on October 24, 1930, in Sabine Pass, Texas, the oldest son of oil-field worker Jiles Perry Richardson (1905–84) and his wife Elise (née Stalsby) Richardson (1909–83). They had two other sons, Cecil (1934–89) and James (1932–2010). The family soon moved to Beaumont, Texas. Richardson graduated from Beaumont High School in 1947 and played on the "Royal Purple" American football team as a defensive lineman, wearing number 85. Richardson later was a radio disc jockey while at Lamar College, where he studied prelaw and was a member of the band and chorus.

Radio
Richardson worked part-time at Beaumont, Texas radio station KTRM (now KZZB). He was hired by the station full-time in 1949 and quit college. Richardson married Adrianne Joy Fryou on April 18, 1952, and their daughter Debra Joy was born in December 1953, soon after Richardson was promoted to supervisor of announcers at KTRM. In March 1955, he was drafted into the United States Army and did his basic training at Fort Ord, California. Richardson spent the rest of his two-year service as a radar instructor at Fort Bliss in El Paso, Texas. In March 1957, following his discharge as a corporal, Richardson returned to KTRM radio, where he held down the "Dishwashers' Serenade" shift from 11 a.m. to 12:30 p.m., Monday to Friday.

One of the station's sponsors wanted Richardson for a new time slot, and suggested an idea for a show. Richardson had seen college students doing a dance called The Bop, and he decided to call himself "The Big Bopper". His new radio show ran from 3:00 to 6:00 p.m., and he soon became the station's program director. In May 1957, Richardson broke the record for continuous on-air broadcasting by eight minutes. He performed for a total of five days, two hours, and eight minutes from a remote setup in the lobby of the Jefferson Theatre in downtown Beaumont, playing 1,821 records and taking showers during five-minute newscasts. Richardson is credited for creating the first music video in 1958, and recorded an early example himself.

Singer and songwriter
Richardson, who played guitar, began his musical career as a songwriter. George Jones later recorded Richardson's "White Lightning", which became Jones's first No. 1 country hit in 1959 (#73 on the pop charts). Richardson also wrote "Running Bear" for Johnny Preston, his friend from Port Arthur, Texas. The inspiration for the song came from Richardson's childhood memory of the Sabine River, where he heard stories about Indian tribes. Preston's recording was not released until August 1959, six months after Richardson's death. The song became a No. 1 hit for three weeks in January 1960. The man who launched Richardson as a recording artist was Harold "Pappy" Daily from Houston. Daily was promotion director for Mercury and Starday Records and signed Richardson to Mercury. Richardson's first single, "Beggar to a King", had a country flavor, but failed to gain any chart action.

Richardson soon cut "Chantilly Lace" as "The Big Bopper" for Pappy Daily's D label. Mercury bought the recording and released it at the end of June 1958. It slowly began picking up airplay through July and August, and reached No. 6 on the pop chart spending 22 weeks in the national Top 40. The disc sold in excess of one million copies by the end of 1958 and was awarded a gold disc. In "Chantilly Lace", Richardson pretends to have a flirting phone conversation with his girlfriend; the record was comical in nature, with The Big Bopper presenting an exaggerated, but good-natured caricature of a ladies' man. In November 1958, he scored a second hit, a raucous novelty tune entitled "The Big Bopper's Wedding", in which Richardson pretends to be getting cold feet at the altar. Both "Chantilly Lace" and "Big Bopper's Wedding" were receiving top 40 radio airplay through January 1959.

Personal life
Richardson was married to Adrienne Joy "Teetsie" Wenne (1936–2004) and had a daughter, Debra (1953–2006). His son, Jay Perry Richardson, was born two months after his death, in April 1959. Richardson had been building a recording studio in his home in Beaumont, Texas, and was planning to invest in a radio station. Richardson had written 20 new songs that he planned to record himself or with other artists. His son also followed a musical career and was known professionally as "The Big Bopper, Jr.", performing around the world. He toured on the "Winter Dance Party" tour with Buddy Holly impersonator John Mueller on some of the same stages where his father had performed.

In January 2007, Jay Richardson requested that his father's body be exhumed and an autopsy be performed in response to an internet rumor about guns being fired aboard the aircraft and Richardson initially surviving the crash. The autopsy was performed by William M. Bass, a forensic anthropologist at the University of Tennessee, Knoxville. Richardson was present throughout the autopsy and observed the casket as it was opened; both men were surprised that the remains were well enough preserved to be recognized as those of the late rock star. "Dad still amazes me 48 years after his death, that he was in remarkable shape," Richardson told the Associated Press. "I surprised myself. I handled it better than I thought I would." Bass's findings indicated no signs of foul play. "There are fractures from head to toe. Massive fractures…. [Richardson] died immediately. He didn't crawl away. He didn't walk away from the plane."

Richardson's body was placed in a new casket made by the same company as the original and was reburied next to his wife in Beaumont's Forest Lawn Cemetery. Jay Richardson allowed the old casket to be displayed at the Texas Musicians Museum. In December 2008, he announced that he would be placing the old casket up for auction on eBay, donating a share of the proceeds to the Texas Musicians Museum, but Jay downplayed the suggestion in later interviews. He died of heart failure in 2013. The family announced "It is with great sadness that we must tell you that Jay P Richardson has passed away. After a long hard fight, JP succumbed on the morning of August 21, at the age of 54".

C3 Entertainment handles the rights to the Richardson estate, through an agreement with Jay's widow Patty.

Death

With the success of "Chantilly Lace", Richardson took time off from KTRM radio and joined Buddy Holly, Ritchie Valens, and Dion and the Belmonts for a "Winter Dance Party" tour starting on January 23, 1959. On the 11th night of the tour (February 2, 1959), they played at the Surf Ballroom in Clear Lake, Iowa. That night, Holly chartered an airplane from Dwyer Flying Service in Mason City, Iowa, intending to fly himself and his bandmates Waylon Jennings and Tommy Allsup to their next tour venue in Moorhead, Minnesota. The musicians had been traveling by bus for over a week, and it had already broken down twice. They were tired, they had not been paid yet, and all of their clothes were dirty. The chartered flight would allow them to avoid another arduous bus ride, arrive early before the Moorhead show, do their laundry, and get some rest. Local pilot Roger Peterson of Dwyer Flying Service (age 21) had agreed to take them. The weather forecast for the Clear Lake area was 18 °F that night with moderate gusty winds and light scattered snow, and Peterson was fatigued from a 17-hour workday, but he agreed to fly the trip.

Frankie Sardo went to meet the crowd while Holly went into one of the dressing rooms at the Surf Ballroom where he notified Allsup and Jennings that he had chartered a plane to take them to Fargo, North Dakota (which is directly adjacent to Moorhead, Minnesota). On a friendly wager, Valens flipped a coin with Allsup for his seat on the plane—and won. Meanwhile, J.P. Richardson was suffering from the flu and was complaining that the bus was too cold and uncomfortable for him, so Jennings voluntarily surrendered his seat. Upon hearing that his bandmates had given away their plane seats, Holly joked, "Well, I hope your ol' bus freezes up again." Jennings jokingly replied, "Well, I hope your ol' plane crashes."

The Clear Lake show ended at around midnight and Holly, Valens, and Richardson drove to the Mason City Airport, loaded their luggage and boarded the red and white single-engine Beechcraft Bonanza. Peterson received clearance from the control tower around 12:55 a.m. on February 3, 1959, and they took off—but the plane remained airborne for only a few minutes. It crashed at full throttle shortly after takeoff about 5 miles outside Mason City in the middle of farm country. The reason remains unknown but Peterson may have lost his visual reference and thought that he was ascending while he was actually descending. The right wingtip of the Bonanza hit the frozen ground and sent the aircraft cartwheeling across a cleared cornfield at approximately 170 mph.

Holly, Valens and Richardson were thrown from the airplane on impact and likely tumbled along with the wreckage across the icy field before the wreckage of the aircraft came to rest against a barbed-wire fence, while Peterson's body remained entangled in the wreckage. The bodies of Holly and Valens came to rest several feet away from the wreckage on open ground; Richardson was thrown approximately 100 feet beyond the wreckage across the fence line and into the next cornfield. All three died instantly of head and chest injuries. Richardson was 28 years old.

Compositions

 * "Chantilly Lace", No. 6 hit for the Big Bopper
 * "The Purple People Eater Meets the Witch Doctor"
 * "Little Red Riding Hood"
 * "Walking Through My Dreams" (two versions, one on 45-RPM only, the other on LP)
 * "Beggar to a King" (recorded under his real name), (later recorded by Hank Snow in 1961, it made it to No. 5 on the country singles chart)
 * "Crazy Blues" (recorded under his real name)
 * "Bopper's Boogie Woogie"
 * "That's What I'm Talking About"
 * "Pink Petticoats"
 * "Monkey Song (You Made a Monkey out of Me)"
 * "It's the Truth, Ruth" (two versions, one on 45-RPM only, the other on LP)
 * "Preacher and the Bear"
 * "Someone Watching Over You"
 * "Old Maid"
 * "Strange Kisses"
 * "Teenage Moon"
 * "The Clock"
 * "One More Chance"
 * "She Giggles"
 * "The Big Bopper's Wedding"

Songwriting

 * "White Lightnin'", No. 1 Country hit for George Jones
 * "Treasure of Love", No. 6 Country hit for George Jones
 * "Running Bear", No. 1 hit for Johnny Preston and Sonny James

Tributes
In 1988, Ken Paquette, a Wisconsin fan of the 1950s era, erected a stainless steel monument at the crash site depicting a guitar and a set of three records bearing the names of each of the three performers. It is located on private farmland, about one-quarter-mile west of the intersection of 315th Street and Gull Avenue, about eight miles north of Clear Lake. Paquette also created a similar stainless steel monument to the three near the Riverside Ballroom in Green Bay, Wisconsin. The memorial was unveiled on July 17, 2003.

J.P. Richardson's pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame. The Big Bopper is fondly remembered not only for his distinctive singing and songwriting, but also as a humorist who combined the best elements of country, R&B, and rock 'n' roll.

In 2010, Richardson was inducted into the Iowa Rock 'n' Roll Hall of Fame.

Richardson's name is mentioned as one of the upcoming musical acts in both the print and television versions of Stephen King's short story "You Know They Got a Hell of a Band" about a town inhabited by late musical legends. Buddy Holly is subsequently featured in the story.

The Canadian television comedy show SCTV featured a character named "Sue Bopper-Simpson", a fictional daughter of the Big Bopper, played by Catherine O'Hara. The character was a part-time real estate agent who appeared in a musical titled I'm Taking My Own Head, Screwing It on Right, and No Guy's Gonna Tell Me That It Ain't.

Shortly after the fatal plane crash, Tommy Dee wrote and recorded a song titled "Three Stars" in tribute to Richardson, Holly, and Valens. It was later recorded by Eddie Cochran, a friend of the three musicians who himself would die prematurely a year later in an automobile crash.

The accident was referred to as "The Day the Music Died" in Don McLean's 1971 song "American Pie".

Van Halen's song "Good Enough" from their 1986 album 5150 begins with singer Sammy Hagar calling out "Hello Baby!", imitating the Big Bopper's hook in "Chantilly Lace". Phil Lewis of L.A. Guns does the same in their song "17 Crash" from their 1989 album Cocked & Loaded.

The Simpsons episode "Sideshow Bob Roberts" features a gravestone of The Big Bopper in Springfield that Sideshow Bob (Kelsey Grammer) used to help commit voter fraud and become elected for mayor. The gravestone is a bust of the Big Bopper holding a telephone receiver, with the epitaph reading "The Big Bopper", his birth and death years (1930–1959), then a parody on the memorable hook reading "Gooooodbye, baby". He also appeared as a vampire holding a telephone in an Itchy and Scratchy cartoon during the episode "C.E.D'oh".

An episode of The X-Files entitled "Clyde Bruckman's Final Repose" alludes to the deaths of Buddy Holly and the Big Bopper. The episode's title character, played by Peter Boyle, explains that he had a ticket to see them perform the night after they died and received the psychic ability to predict people's deaths by calculating the odds that it took for the Big Bopper to be on the flight that killed him.

The Big Bopper's estate is currently owned by his daughter-in-law, Patty Richardson, and managed by C3 Entertainment, a company that specializes in classic brands. C3 Entertainment currently manages an official tribute band featuring a Big Bopper impersonator, touring with the Winter Dance Party. In 2019, the Winter Dance Party debuted the film Bopper and Me.

Book, film, and stage
In Not Fade Away, a turbulent road novel taking place at the end of the fifties, Jim Dodge narrates an eventful trip to the Big Bopper's grave.

Richardson was portrayed by Gailard Sartain in The Buddy Holly Story, Stephen Lee in La Bamba, and John Ennis in Walk Hard: The Dewey Cox Story.

"Chantilly Lace" is used in the movies True Romance and American Graffiti as well as "High Spirits" and "Cocktail".

In the animated series The Venture Bros., it is implied that the elderly villains Dragoon and Red Mantle are actually Richardson and Buddy Holly, who were recruited into the supervillain organization the Guild of Calamitous Intent on the night of their supposed deaths.

In 2016, the rock and roll legend was immortalized by software studio Realtime Gaming in a slot game named appropriately - The Big Bopper.

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

title: The Big Bopper


text:
Insomniac

Insomniac or The Insomniac may refer to:

 * A person who has insomnia

Music

 * Insomniac (Green Day album), 1995
 * Insomniac (Enrique Iglesias album), 2007
 * "Insomniac" (song), a 1994 song by Echobelly
 * "Insomniac", a song by Billy Pilgrim
 * Insomniac, a record label founded by Poets of the Fall
 * Insomniac (promoter), an American music journalism website and tour promoter focusing primarily on electronic music events

Other media

 * The Insomniac (2013 film), an American film directed by Monty Miranda
 * Insomniac Games, an American video game developer
 * Insomniac Press, a Canadian independent book publisher
 * Insomniac with Dave Attell, a 2001–04 television series

title: Insomniac


text:
Doge's Palace

The Doge's Palace (Doge pronounced ; Palazzo Ducale; Pałaso Dogal) is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the former Republic of Venice. It was built in 1340 and extended and modified in the following centuries. It became a museum in 1923 and is one of the 11 museums run by the Fondazione Musei Civici di Venezia.

History
In 810, Doge Agnello Participazio moved the seat of government from the island of Malamocco to the area of the present-day Rialto, when it was decided a palatium duci (Latin for "ducal palace") should be built. However, no trace remains of that 9th-century building as the palace was partially destroyed in the 10th century by a fire. The following reconstruction works were undertaken at the behest of Doge Sebastiano Ziani (1172–1178). A great reformer, he would drastically change the entire layout of the St. Mark's Square. The new palace was built out of fortresses, one façade to the Piazzetta, the other overlooking the St. Mark's Basin. Although only few traces remain of that palace, some Byzantine-Venetian architecture characteristics can still be seen at the ground floor, with the wall base in Istrian stone and some herring-bone pattern brick paving.

Political changes in the mid-13th century led to the need to re-think the palace's structure due to the considerable increase in the number of the Great Council's members. The new Gothic palace's constructions started around 1340, focusing mostly on the side of the building facing the lagoon. Only in 1424 did Doge Francesco Foscari decide to extend the rebuilding works to the wing overlooking the Piazzetta, serving as law-courts, and with a ground-floor arcade on the outside, open first-floor loggias running along the façade, and the internal courtyard side of the wing, completed with the construction of the Porta della Carta (1442).

In 1483, a violent fire broke out in the side of the palace overlooking the canal, where the Doge's Apartments were. Once again, an important reconstruction became necessary and was commissioned from Antonio Rizzo, who would introduce the new Renaissance language to the building's architecture. An entire new structure was raised alongside the canal, stretching from the Ponte della Canonica to the Ponte della Paglia, with the official rooms of the government decorated with works commissioned from Vittore Carpaccio, Giorgione, Alvise Vivarini and Giovanni Bellini.

Another huge fire in 1547 destroyed some of the rooms on the second floor, but fortunately without undermining the structure as a whole. Refurbishment works were being held at the palace when in 1577 a third fire destroyed the Scrutinio Room and the Great Council Chamber, together with works by Gentile da Fabriano, Pisanello, Alvise Vivarini, Vittore Carpaccio, Giovanni Bellini, Pordenone, and Titian. In the subsequent rebuilding work it was decided to respect the original Gothic style, despite the submission of neo-classical alternative designs by the influential Renaissance architect Andrea Palladio. However, there are some classical features – for example, since the 16th century, the palace has been linked to the prison by the Bridge of Sighs.

As well as being the ducal residence, the palace housed political institutions of the Republic of Venice until the Napoleonic occupation of the city in 1797, when its role inevitably changed. Venice was subjected first to French rule, then to Austrian, and finally in 1866 it became part of Italy. Over this period, the palace was occupied by various administrative offices as well as housing the Biblioteca Marciana and other important cultural institutions within the city. By the end of the 19th century, the structure was showing clear signs of decay, and the Italian government set aside significant funds for its restoration and all public offices were moved elsewhere, with the exception of the State Office for the Protection of Historical Monuments, which is still housed at the palace's loggia floor. In 1923, the Italian State, owner of the building, entrusted the management to the Venetian municipality to be run as a museum. Since 1996, the Doge's Palace has been part of the Venetian museums network, which has been under the management of the Fondazione Musei Civici di Venezia since 2008.

Exterior
The oldest part of the palace is the wing overlooking the lagoon, the corners of which are decorated with 14th-century sculptures, thought to be by Filippo Calendario and various Lombard artists such as Matteo Raverti and Antonio Bregno. The ground floor arcade and the loggia above are decorated with 14th- and 15th-century capitals, some of which were replaced with copies during the 19th century.

In 1438–1442, Giovanni Bon and Bartolomeo Bon built and adorned the Porta della Carta, which served as the ceremonial entrance to the building. The name of the gateway probably derives either from the fact that this was the area where public scribes set up their desks, or from the nearby location of the cartabum, the archives of state documents. Flanked by Gothic pinnacles, with two figures of the Cardinal Virtues per side, the gateway is crowned by a bust of Mark the Evangelist over which rises a statue of Justice with her traditional symbols of sword and scales. In the space above the cornice, there is a sculptural portrait of the Doge Francesco Foscari kneeling before the Lion of Saint Mark. This is, however, a 19th-century work by Luigi Ferrari, created to replace the original destroyed in 1797.

Today, the public entrance to the Doge's Palace is via the Porta del Frumento, on the waterfront side of the building.

Courtyard
The north side of the courtyard is closed by the junction between the palace and St Mark's Basilica, which used to be the Doge's chapel. At the centre of the courtyard stand two well-heads dating from the mid-16th century.

In 1485, the Great Council decided that a ceremonial staircase should be built within the courtyard. The design envisaged a straight axis with the rounded Foscari Arch, with alternate bands of Istrian stone and red Verona marble, linking the staircase to the Porta della Carta, and thus producing one single monumental approach from the Piazza into the heart of the building. Since 1567, the Giants' Staircase is guarded by Sansovino's two colossal statues of Mars and Neptune, which represents Venice's power by land and by sea, and therefore the reason for its name. Members of the Senate gathered before government meetings in the Senator's Courtyard, to the right of the Giants' Staircase.

Museo dell'Opera
Over the centuries, the Doge's Palace has been restructured and restored countless times. Due to fires, structural failures, and infiltrations, and new organizational requirements and modifications or complete overhaulings of the ornamental trappings there was hardly a moment in which some kind of works have not been underway at the building. From the Middle Ages, the activities of maintenance and conservation were in the hands of a "technical office", which was in charge of all such operations and oversaw the workers and their sites: the Opera, or fabbriceria or procuratoria. After the mid-19th century, the palace seemed to be in such a state of decay that its very survival was in question; thus, in 1876 a major restoration plan was launched. The work involved the two facades and the capitals belonging to the ground-floor arcade and the upper loggia: 42 of these, which appeared to be in an especially dilapidated state, were removed and replaced by copies. The originals, some of which were masterpieces of Venetian sculpture of the 14th and 15th centuries, were placed, together with other sculptures from the facades, in an area specifically set aside for this purpose: the Museo dell'Opera. After undergoing thorough and careful restoration works, they are now exhibited, on their original columns, in these six rooms of the museum, which are traversed by an ancient wall in great blocks of stone, a remnant of an earlier version of the palace. The rooms also contain fragments of statues and important architectural and decorative works in stone from the facades of the palace.

Doge's apartments
The rooms in which the Doge lived were always located in this area of the palace, between the Rio della Canonica – the water entrance to the building – the present-day Golden Staircase and the apse of St. Mark's Basilica. The disastrous fire in this part of the building in 1483 made important reconstruction work necessary, with the Doge's apartments being completed by 1510. The core of these apartments forms a prestigious, though not particularly large, residence, given that the rooms nearest the Golden Staircase had a mixed private and public function. In the private apartments, the Doge could set aside the trappings of office to retire at the end of the day and dine with members of his family amidst furnishings that he had brought from his own house (and which, at his death, would be promptly removed to make way for the property of the new elected Doge).
 * The Scarlet Chamber possibly takes its name from the colour of the robes worn by the Ducal advisors and counsellors for whom it was the antechamber. The carved ceiling, adorned with the armorial bearings of Doge Andrea Gritti, is part of the original décor, probably designed by Biagio and Pietro da Faenza. Amongst the wall decoration, two frescoed lunettes are particular worthy of attention: one by Giuseppe Salviati, the other by Titian.
 * The "Scudo" Room has this name from the coat-of-arms of the reigning Doge which was exhibited here while he granted audiences and received guests. The coat-of-arms currently on display is that of Ludovico Manin, the Doge reigning when the Republic of St. Mark came to an end in 1797. This is the largest room in the Doge's apartments and runs the entire width of this wing of the palace. The hall was used as a reception chamber and its decoration with large geographical maps was designed to underline the glorious tradition that was at the very basis of Venetian power. The two globes in the centre of the hall date from the same period: one shows the sphere of the heavens, the other the surface of Earth.
 * The Erizzo Room owes its name to Doge Francesco Erizzo (1631–1646) and is decorated in the same way as the preceding ones: a carved wood ceiling, with gilding against a light-blue background, and a Lombardy-school fireplace. From here, a small staircase leads up to a window that gave access to a roof garden.
 * The Stucchi or Priùli Room has a double name due to both the stucco works that adorn the vault and lunettes, dating from the period of Doge Marino Grimani (1595–1605), and the presence of the armorial bearings of Doge Antonio Priuli (1618–1623), which are to be seen on the fireplace, surmounted by allegorical figures. The stucco-works on the walls and ceiling were later commissioned by another Doge Pietro Grimani (1741–1752). Various paintings representing the life of Jesus Christ are present in this room, as well as a portrait of King Henry III of France (perhaps by Tintoretto) due to his visit to the city in 1574 on his way from Poland to take up the French throne left vacant with the death of his brother Charles IX.
 * Directly linked to the Shield Hall, the Philosophers' Room takes its name from the twelve pictures of ancient philosophers which were set up here in the 18th century, to be later replaced with allegorical works and portraits of Doges. To the left, a small doorway leads to a narrow staircase, which enabled the Doge to pass rapidly from his own apartments to the halls on the upper floors, where the meetings of the Senate and the Great Council were held. Above the other side of this doorway, there is an important fresco of St. Christopher by Titian.
 * The Corner Room's name comes from the presence of various paintings depicting Doge Giovanni Corner (1625–1629). The fireplace, made out of Carrara marble, is decorated with a frieze of winged angels on dolphins around a central figure of St. Mark's Lion. Like the following room, this served no specific function; set aside for the private use of the Doge.
 * The Equerries Room was the main access to the Doge's private apartments. The palace equerries were appointed for life by the Doge himself and had to be at his disposal at any time.

Institutional chambers

 * The Square Atrium served as a waiting room, the antechamber to various halls. The decoration dates from the 16th century, during the reign of Doge Girolamo Priuli (1486–1567), who appears in Tintoretto's ceiling painting with the symbols of his office, and accompanied by scenes of biblical stories and allegories of the four seasons, probably by Tintoretto's workshop, Girolamo Bassano and Veronese.
 * The Four Doors Room was the formal antechamber to the more important rooms in the palace, and the doors which give it its name are ornately framed in precious Eastern marbles; each is surmounted by an allegorical sculptural group that refers to the virtues which should inspire those who took on the government responsibilities. The present decoration is a work by Antonio da Ponte and design by Andrea Palladio and Giovan Antonio Rusconi. Painted by Tintoretto from 1578 onwards, the frescoes of mythological subjects and of the cities and regions under Venetian dominion were designed to show a close link between Venice's foundation, its independence, and the historical mission of the Venetian aristocracy. Amongst the paintings on the walls, one that stands out is Titian's portrait of Doge Antonio Grimani (1521–1523). On the easel stands a painting by Tiepolo portraying Venice receiving the gifts of the sea from Neptune.
 * Antechamber to the Hall of the Full College was the formal antechamber where foreign ambassadors and delegations waited to be received by the Full College, delegated by the Senate to deal with foreign affairs. This room was restored after the 1574 fire and so was its decorations, with stucco-works and ceiling frescoes. The central fresco by Veronese shows Venice distributing honours and rewards. The top of the walls is decorated with a fine frieze and other sumptuous fittings, including the fireplace between the windows and the fine doorway leading into the Hall of the Full College, whose Corinthian columns bear a pediment surmounted by a marble sculpture showing the female figure of Venice resting on a lion and accompanied by allegories of Glory and Concord. Next to the doorways are four canvases that Tintoretto painted for the Square Atrium, but which were brought here in 1716 to replace the original leather wall panelling. Each of the mythological scenes depicted is also an allegory of the Republic's government.
 * The Council Chamber: the Full College was mainly responsible for organizing and coordinating the work of the Venetian Senate, reading dispatches from ambassadors and city governors, receiving foreign delegations and promoting other political and legislative activity. Alongside these shared functions, each body had its own particular mandates, which made this body a sort of "guiding intelligence" behind the work of the Senate, especially in foreign affairs. The decorations were designed by Andrea Palladio to replace those destroyed in the 1574 fire; the wood panelling of the walls and end tribune and the carved ceiling are the work of Francesco Bello and . The paintings in the ceiling were commissioned from Veronese, who completed them between 1575 and 1578. This ceiling is one of the artist's masterpieces and celebrates the Good Government of the Republic, together with the Faith on which it rests and the Virtues that guide and strengthen it. Other paintings are by Tintoretto and show various Doges with Christ, the Virgin and saints.
 * The Senate Chamber was also known as the Sala dei Pregadi because the Doge asked the members of the Senate to take part in the meetings held here. The Senate which met in this chamber was one of the oldest public institutions in Venice; it had first been founded in the 13th century and then gradually evolved over time, until by the 16th century it was the body mainly responsible for overseeing political and financial affairs in such areas as manufacturing industries, trade and foreign policy. In the works produced for this room by Tintoretto, Christ is clearly the predominant figure; perhaps a reference to the Senate "conclave" which elected the Doge, seen as being under the protection of the Son of God. The room also contains four paintings by Jacopo Palma il Giovane, which are linked with specific events of Venetian history.
 * The Chamber of the Council of Ten takes its name from the Council of Ten which was set up after a conspiracy in 1310, when Bajamonte Tiepolo and other noblemen tried to overthrow the institutions of the State. The ceiling decoration is a work by Gian Battista Ponchino, with the assistance of a young Veronese and Gian Battista Zelotti. Carved and gilded, the ceiling is divided into 25 compartments decorated with images of divinities and allegories intended to illustrate the power of the Council of Ten that was responsible for punishing the guilty and freeing the innocent.
 * The Compass Room is dedicated to the administration of justice; its name comes from the large wooden compass surmounted by a statue of Justice, which stands in one corner and hides the entrance to the rooms of the Three Heads of the Council of Ten and the State Inquisitors. This room was the antechamber where those who had been summoned by these powerful magistrates waited to be called and the decoration was intended to underline the solemnity of the Republic's legal machinery, dating from the 16th century. The ceiling paintings are by Veronese and the large fireplace was designed by Sansovino. From this room, one can pass to the Armoury and the New Prisons, on the other side of the Bridge of Sighs, or go straight down the Censors' Staircase to pass into the rooms housing the councils of justice on the first floor.
 * In the Venetian language, Liagò means a terrace or balcony enclosed by glass. This particular example was a sort of corridor and meeting place for patrician members of the Great Council in the intervals between their discussions of government business.
 * The Chamber of Quarantia Civil Vecchia: originally a single 40-man-council which wielded substantial political and legislative power, the Quarantia was during the course of the 15th century divided into three separate councils. This room was restored in the 17th century; the fresco fragment to the right of the entrance is the only remnant of the original decorations.
 * The Guariento Room's name is due to the fact it houses a fresco painted by the Paduan artist Guariento around 1365. Almost completely destroyed in the 1577 fire, the remains of that fresco were, in 1903, rediscovered under the large canvas Il Paradiso which Tintoretto was commissioned to paint.
 * Restructured in the 14th century, the Chamber of the Great Council was decorated with a fresco by Guariento and later with works by the most famous artists of the period, including Gentile da Fabriano, Pisanello, Alvise Vivarini, Vittore Carpaccio, Giovanni Bellini, Pordenone and Titian, along with a 1582 ceiling painting of The Triumph of Venice, Crowned by Victory by Palma il Giovane and the 1585 Apotheosis of Venice by Veronese. 53 meters long and 25 meters wide, this is not only the largest chamber in the Doge's Palace but also one of the largest rooms in Europe. Here, meetings of the Great Council were held, the most important political body in the Republic. A very ancient institution, this Council was made up of all the male members of patrician Venetian families over 25 years old, irrespective of their individual status, merits or wealth. This was why, in spite of the restrictions in its powers that the Senate introduced over the centuries, the Great Council continued to be seen as a bastion of Republican equality. Soon after work on the new hall had been completed, the 1577 fire damaged not only this Chamber but also the Scrutinio Room. The structural damage was soon restored, respecting the original layout, and all works were finished within a few years, ending in 1579–80. The decoration of the restored structure involved artists such as Veronese, Jacopo and Domenico Tintoretto, and Palma il Giovane. The walls were decorated with episodes of the Venetian history, with particular reference to the city's relations with the papacy and the Holy Roman Empire, while the ceiling was decorated with the Virtues and individual examples of Venetian heroism, and a central panel containing an allegorical glorification of the Republic. Facing each other in groups of six, the twelve wall paintings depict acts of valour or incidents of war that had occurred during the city's history. Immediately below the ceiling runs a frieze with portraits of the first 76 doges (the portraits of the others are to be found in the Scrutinio Room); commissioned from Tintoretto, most of these paintings are in fact the work of his son. Each Doge holds a scroll bearing a reference to his most important achievements, while Doge Marino Faliero, who attempted a coup d'état in 1355, is represented simply by a black cloth as a traitor to the Republic. One of the long walls, behind the Doge's throne, is occupied by the longest canvas painting in the world, Il Paradiso, which Tintoretto and his workshop produced between 1588 and 1592.
 * The Scrutinio Room is in the wing built between the 1520s and 1540s during the dogate of Francesco Foscari (1423–57), facing the Piazzetta. It was initially intended to house the precious manuscripts left to the Republic by Petrarch and Bessarione (1468); indeed, it was originally known as the Library. In 1532, it was decided that the Chamber should also hold the electoral counting and/or deliberations that assiduously marked the rhythm of Venetian politics, based on an assembly system whose epicentre was the nearby Great Council Chamber. After the construction of Biblioteca Marciana though, this room was used solely for elections. The present decorations date from between 1578 and 1615, after the 1577 fire. Episodes of military history in the various compartments glorify the exploits of the Venetians, with particular emphasis on the conquest of the maritime empire; the only exception being the last oval, recording the taking of Padua in 1405.
 * The Quarantia Criminale Chamber and the Cuoi Room were used for the administration of justice. The Quarantia Criminal was set up in the 15th century and dealt with cases of criminal law. It was a very important body, as its members also had legislative powers.
 * The Magistrato alle Leggi Chamber housed the Magistratura dei Conservatori ed esecutori delle leggi e ordini degli uffici di San Marco e di Rialto. Created in 1553, this authority was headed by three of the city's patricians and was responsible for making sure the regulations concerning the practice of law were observed.
 * The State Censors were set up in 1517 by Marco Giovanni di Giovanni, a cousin of Doge Andrea Gritti (1523–1538) and nephew of the great Francesco Foscari. The title and duties of the Censors resulted from the cultural and political upheavals that are associated with Humanism. In fact, the Censors were not judges as such, but more like moral consultants, their main task being the suppression of electoral fraud and protection of the State's public institutions. On the walls of the Censors' Chamber hang a number of Domenico Tintoretto's portraits of these magistrates, and below the armorial bearings of some of those who held the position.
 * The State Advocacies' Chamber is decorated with paintings representing some of the Avogadori di Común venerating the Virgin, the Christ and various saints. The three members, the Avogadori, were the figures who safeguarded the very principle of legality, making sure that the laws were applied correctly. They were also responsible for preserving the integrity of the city's patrician class, verifying the legitimacy of marriages and births inscribed in the Golden Book.
 * The "Scrigno" Room: the Venetian nobility as a caste came into existence because of the "closure" of admissions to the Great Council in 1297; however, it was only in the 16th century that formal measures were taken to introduce restrictions that protected the status of that aristocracy: marriages between nobles and commoners were forbidden and greater controls were set up to check the validity of aristocratic titles. There was also a Silver Book, which registered all those families that not only had the requisites of "civilization" and "honour", but could also show that they were of ancient Venetian origin; such families furnished the manpower for the State bureaucracy – and particularly, the chancellery within the Doge's Palace itself. Both books were kept in a chest in this room, inside a cupboard that also contained all the documents proving the legitimacy of claims to be inscribed therein.
 * Chamber of the Navy Captains: made up of 20 members from the Senate and the Great Council, the Milizia da Mar, first set up in the mid-16th century, was responsible for recruiting crews necessary for Venice's war galleys. Another similar body, entitled the Provveditori all'Armar, was responsible for the actual fitting and supplying of the fleet. The furnishings are from the 16th century, while the wall torches date from the 18th century.

Old Prison or Piombi
Prior to the 12th century, there were holding cells within the Doge's Palace but during the 13th and fourteenth centuries more prison spaces were created to occupy the entire ground floor of the southern wing. Again these layouts changed in c.1540 when a compound of the ground floor of the eastern wing was built. Due to their dark, damp and isolated qualities they came to be known as the Pozzi (the Wells). In 1591 yet more cells were built in the upper eastern wing. Due to their position, directly under the lead roof, they were known as Piombi. Among the famous inmates of the prison were Silvio Pellico and Giacomo Casanova. The latter in his biography describes escaping through the roof, re-entering the palace, and exiting through the Porta della Carta.

Bridge of Sighs and the New Prisons

A corridor leads over the Bridge of Sighs, built in 1614 to link the Doge's Palace to the structure intended to house the New Prisons. Enclosed and covered on all sides, the bridge contains two separate corridors that run next to each other. That which visitors use today linked the Prisons to the chambers of the Magistrato alle Leggi and the Quarantia Criminal; the other linked the prisons to the State Advocacy rooms and the Parlatorio. Both corridors are linked to the service staircase that leads from the ground floor cells of the Pozzi to the roof cells of the Piombi.

The famous name of the bridge dates from the Romantic period and was supposed to refer to the sighs of prisoners who, passing from the courtroom to the cell in which they would serve their sentence, took a last look at freedom as they glimpsed the lagoon and San Giorgio through the small windows. In the mid-16th century, it was decided to build a new structure on the other side of the canal to the side of the palace which would house prisons and the chambers of the magistrates known as the Notte al Criminal. Ultimately linked to the palace by the Bridge of Sighs, the building was intended to improve the conditions for prisoners with larger and more light-filled and airy cells. However, certain sections of the new prisons fall short of this aim, particularly those laid out with passageways on all sides and those cells which give onto the inner courtyard of the building. In keeping with previous traditions, each cell was lined with overlapping planks of larch that were nailed in place.

The only art theft from the Doge's Palace was executed on 9 October 1991 by Vincenzo Pipino, who hid in one of the cells in the New Prisons after lagging behind a tour group, then crossed the Bridge of Sighs in the middle of the night to the Sala di Censori. In that room was the Madonna col bambino, a work symbolic of "the power of the Venetian state" painted in the early 1500s by a member of the Vivarini school. By the next morning, it was in the possession of the Mala del Brenta organized crime group. The painting was recovered by the police on 7 November 1991.

Azerbaijan
The Ismailiyya building in Baku, which at present serves as the Presidium of the Academy of Sciences of Azerbaijan, was styled after the Doge's Palace.

Romania
The Central rail station, in Iași, built in 1870, had as a model the architecture of the Doge's Palace. On the central part, there is a loggia with five arcades and pillars made of curved stone, having at the top three ogives.

United Kingdom

There are a number of 19th-century imitations of the palace's architecture in the United Kingdom, for example: These revivals of Venetian Gothic were influenced by the theories of John Ruskin, author of the three-volume The Stones of Venice, which appeared in the 1850s.
 * the Wool Exchange, Bradford,
 * the Wedgwood Institute, Burslem,
 * the Scottish National Portrait Gallery, Edinburgh
 * the Templeton's Carpet Factory, Glasgow.

19th-century imitations

The Montauk Club in Park Slope, Brooklyn (1889) imitates elements of the palace's architecture, although the architect is usually said to have been inspired by another Venetian Gothic palace, the Ca' d'Oro.

The elaborate arched facade of the Bush Street Temple in San Francisco, built in 1895, is a copy in painted redwood of the Doge's Palace.

The exterior of the Chicago Athletic Association building (1893) is based on the Doge's Palace.

20th-century imitations
The ornate gothic style of the Doge's Palace (and other similar palaces throughout Italy) is replicated in the Hall of Doges at the Davenport Hotel in Spokane, Washington by architect Kirtland Cutter.

The facade of the building is replicated at the Italy Pavilion in Epcot at the Walt Disney World Resort in Orlando, Florida.

Along with other Venetian landmarks, the palace is imitated in The Venetian, Las Vegas and its sister resort The Venetian Macao.

21st-century imitations
The Doge's Palace was recreated and is playable in the 2009 video game, Assassin's Creed II. In the game, one of the objectives is to get protagonist Ezio Auditore da Firenze to fly a hang-glider built for him by Leonardo da Vinci into the Palazzo Ducale in order to prevent a Templar plot to kill the current Doge, Giovanni Mocenigo. Though he arrives too late to prevent the Doge from being poisoned, he does manage to kill the assassin, Carlo Grimaldi, who was a member of the Council of Ten.

General sources

 * ICCU: IT\ICCU\CFI\0001113
 * ICCU: IT\ICCU\MIL\0425080
 * ICCU: IT\ICCU\IEI\0269592
 * ICCU: IT\ICCU\CFI\0001113
 * ICCU: IT\ICCU\MIL\0425080
 * ICCU: IT\ICCU\IEI\0269592
 * ICCU: IT\ICCU\MIL\0425080
 * ICCU: IT\ICCU\IEI\0269592
 * ICCU: IT\ICCU\MIL\0425080
 * ICCU: IT\ICCU\IEI\0269592
 * ICCU: IT\ICCU\MIL\0425080
 * ICCU: IT\ICCU\IEI\0269592
 * ICCU: IT\ICCU\IEI\0269592
 * ICCU: IT\ICCU\IEI\0269592

title: Doge's Palace


text:
Baltzar von Platen

Baltzar von Platen may refer to:

 * Baltzar von Platen (1766–1829), Swedish naval officer and statesman
 * Baltzar von Platen (1804–1875), Swedish noble and naval officer
 * Baltzar von Platen (inventor) (1898–1984), Swedish inventor

title: Baltzar von Platen


text:
Talk:Tarot

Ridiculous Hyperbole
Do we really need that quote in the introduction paragraph about Tarot being the subject of the "most successful propaganda campaign ever"? It makes those historians sound like crackpots with a bone to pick. If that's true then their work shouldn't be used. But I see that book is cited a lot in this page, and may be a good history of Tarot. If it's not then we should just remove that quote because it sounds ridiculous.

REPENT !!!!!
DISCLAIM TAROT AND ACCEPT JESUS CHRIST AS YOUR TRUE LORD AND SAVIOR. — Preceding unsigned comment added by 69.65.91.78 (talk) 11:27, 18 April 2015 (UTC)
 * The traditional imagery of the tarot is derived from medieval Christianity and the cards were originally used for a trick taking game similar to Rook Smiloid (talk) 03:49, 24 May 2015 (UTC)
 * no 88.230.6.158 (talk) 14:07, 2 May 2022 (UTC)
 * @69.65.91.78. As Smiloid says, the traditional pictures are typical of mediaeval Christianity. Christians may draw on the Bible to reject the occult use of any cards and the use of cartomantic packs with occult designs that have distorted or replaced the traditional pictures. But there is no logical argument in rejecting packs designed for playing games that have no occultic images (the older Italian ones arguably do). They are just playing cards. And historical objections by church and state to card games was primarily due to the problems caused by gambling.

 * @Smiloid. We don't know the original rules, but there is no close resemblance of tarot games to Rook. Rook has four suits, all with the same number of cards and any of which may be named as trumps; Tarot packs have five suits; one is permanently trumps and longer than the others. There are 57 cards in a full Rook pack; 78 in a Tarot pack. The rules of play are also different: Whist rules for Rook with no requirement as in Tarot to play a trump if unable to follow suit. And of course the culture around the games is totally different. Bermicourt (talk) 09:15, 10 January 2023 (UTC)

Discussion at Talk:The Fool (Tarot card) § Requested move 11 August 2022
You are invited to join the discussion at Talk:The Fool (Tarot card) § Requested move 11 August 2022. Shhhnotsoloud (talk) 13:00, 11 August 2022 (UTC)

Wiki Education assignment: Research Process and Methodology - FA22 - Sect 201 - Thu
— Assignment last updated by WZ2372 (talk) 08:13, 29 October 2022 (UTC)

re "See Also'

 * Astragalomancy
 * Zener cards

Why was it reverted?

Both are related to paranormal. Dice orginally a game (like tarot cards were) became a tool for divanation.

ED 2607:FEA8:4A2:4100:3948:5327:3C8A:C4D4 (talk) 02:22, 9 January 2023 (UTC)

 * this is about your edit. DMacks (talk) 03:55, 9 January 2023 (UTC)

 * Thanks DMacks. I reverted the links because this article is primarily about the cards, not divination. The logical place for the the Astragalomancy link is at the Tarot card reading article which is the main article about the use of Tarot cards for divination and which already has similar links. However, we need to be selective because Category:Divination contains nearly 200 articles and the "See also" section is not meant to cover everything. Zener cards are not about divination, they were part of a paranormal experiment, so should be linked from paranormal articles.
 * BTW it is not true to say dice and tarot cards were "orginally a game, but now a tool for divination". Dice are way more commonly used for playing and even tarot cards are widely used in games today, except in Britain and America where we are almost entirely ignorant of their original purpose and current usage. Yet there are even international tournaments in games like Königrufen which use Tarot cards and many areas of Europe play Tarot card games. Bermicourt (talk) 08:24, 9 January 2023 (UTC)
 * Thank you DMack. What is wiki's policy on "see other"? Would you know?
 * Ed 2607:FEA8:4A2:4100:BC20:F80A:3FA9:DAD9 (talk) 00:18, 11 January 2023 (UTC)

@Bermicourt::You said "primary" but not totally.
 * So divination (or Cartomancy) is not mentioned in the article?
 * "Zener cards" are cards are they not?
 * Zener cards are not just used for paranormal experiments but by some also as a tool to develope ESP clairvoyancy.
 * Ed 2607:FEA8:4A2:4100:BC20:F80A:3FA9:DAD9 (talk) 00:34, 11 January 2023 (UTC)
 * Wiki policy on the "See also" section is at MOS:SEEALSO. The section is not essential and, if used, should not be overly long. This article's focus is on Tarot cards; their use in games and divination is covered in detail elsewhere. So there is a section on cartomantic use, but it's only an overview because the main article is at Tarot card reading. The latter is logically where divinatory links should be added, not here. Otherwise we could add links to every tarot card game in the world as well.
 * Zener cards are cards, but so are business cards, postcards, Christmas cards and birthday cards. They have nothing to do with Tarot cards and are not used for divinatory purposes according to the article. Even if they were, I would argue that the subject is not even notable enough to link from Tarot card reading; otherwise editors would have carte blanche to add every article listed at Category:Divination which then violates MOS:SEEALSO. See also sections should not be endless lists or a substitute for categories. Bermicourt (talk) 10:23, 11 January 2023 (UTC)
 * I would say business cards, post cards, Christmas cards, birthday cards are not like playing cards. They are not randomly shuffled like Tarot and Zener cards are and are in a deck. They are not used in a single like business, post cards, birthday and Christmas cards are. Also not gifted.
 * Both Tarot cards and Zener cards are used by "occultests".

Also would "Tarot card reading" be suited for "See also"?
 * Ed 2607:FEA8:4A2:4100:C115:C822:D04B:FC78 (talk) 10:13, 17 January 2023 (UTC)

 * This isn't a topic-area with which I'm familiar (it's just on my watchlist due to it being a tempting target for vandalism and POV editing). So I can't speak to what is specifically relevant. But I can say that the SEEALSO guideline says one should not list entries that are already in the article itself. Therefore tarot card reading should not be listed because it is linked in the first parargraph. DMacks (talk) 12:51, 17 January 2023 (UTC)

Pack vs. Deck
"Deck of Cards" sounds more correct than a "Pack of Cards". 24.51.192.49 (talk) 12:24, 26 February 2023 (UTC)

 * They're the same thing, but broadly speaking "deck" is American and "pack" is British/European and possibly used in other English-speaking countries outside of North America. Plus "pack" is the usual term used by scholarly sources on Tarot cards. HTH. Bermicourt (talk) 20:35, 26 February 2023 (UTC)

"Distribution" section heading
Would it be better to clarify that this section is about geographic distribution in history? (Proposed suggestion: rename section to "Geographical distribution") I thought it was somewhat misleading and was expecting to see a distribution of the cards in the major and minor arcana. 2600:1700:4579:B80:A7:F866:2B5:497E (talk) 05:17, 7 March 2023 (UTC)

title: Talk:Tarot


text:
Vitamin deficiency

Vitamin deficiency is the condition of a long-term lack of a vitamin. When caused by not enough vitamin intake it is classified as a primary deficiency, whereas when due to an underlying disorder such as malabsorption it is called a secondary deficiency. An underlying disorder can have 2 main causes:
 * Metabolic causes: Genetic defects in enzymes (e.g. kynureninase) involved in the kynurenine pathway of synthesis of niacin from tryptophan can lead to pellagra (niacin deficiency).
 * Lifestyle choices: Lifestyle choices and habits that increase vitamin needs, such as smoking or drinking alcohol. Government guidelines on vitamin deficiencies advise certain intakes for healthy people, with specific values for women, men, babies, children, the elderly, and during pregnancy or breastfeeding. Many countries have mandated vitamin food fortification programs to prevent commonly occurring vitamin deficiencies.

Conversely, hypervitaminosis refers to symptoms caused by vitamin intakes in excess of needs, especially for fat-soluble vitamins that can accumulate in body tissues.

The history of the discovery of vitamin deficiencies progressed over centuries from observations that certain conditions – for example, scurvy – could be prevented or treated with certain foods having high content of a necessary vitamin, to the identification and description of specific molecules essential for life and health. During the 20th century, several scientists were awarded the Nobel Prize in Physiology or Medicine or the Nobel Prize in Chemistry for their roles in the discovery of vitamins.

Defining deficiency
A number of regions have published guidelines defining vitamin deficiencies and advising specific intakes for healthy people, with different recommendations for women, men, infants, the elderly, and during pregnancy and breast feeding including Japan, the European Union, the United States, and Canada. These documents have been updated as research is published. In the US, Recommended Dietary Allowances (RDAs) were first set in 1941 by the Food and Nutrition Board of the National Academy of Sciences. There were periodic updates, culminating in the Dietary Reference Intakes. Updated in 2016, the US Food and Drug Administration published a set of tables that define Estimated Average Requirements (EARs) and (RDAs). RDAs are higher to cover people with higher than average needs. Together, these are part of Dietary Reference Intakes. For a few vitamins, there is not sufficient information to set EARs and RDAs. For these, an Adequate Intake is shown, based on an assumption that what healthy people consume is sufficient. Countries do not always agree on the amounts of vitamins needed to safeguard against deficiency. For example, for vitamin C, the RDAs for women for Japan, the European Union (called Population Reference Intakes) and the US are 100, 95 and 75 mg/day, respectively. India sets its recommendation at 40 mg/day.

Food fortification
Food fortification is the process of adding micronutrients (essential trace elements and vitamins) to food as a public health policy which aims to reduce the number of people with dietary deficiencies within a population. Staple foods of a region can lack particular nutrients due to the soil of the region or from inherent inadequacy of a normal diet. Addition of micronutrients to staples and condiments can prevent large-scale deficiency diseases in these cases.

As defined by the World Health Organization (WHO) and the Food and Agriculture Organization of the United Nations (FAO), fortification refers to "the practice of deliberately increasing the content of an essential micronutrient, i.e., vitamins and minerals in a food irrespective of whether the nutrients were originally in the food before processing or not, so as to improve the nutritional quality of the food supply and to provide a public health benefit with minimal risk to health", whereas enrichment is defined as "synonymous with fortification and refers to the addition of micronutrients to a food which are lost during processing". The Food Fortification Initiative lists all countries in the world that conduct fortification programs, and within each country, what nutrients are added to which foods. Vitamin fortification programs exist in one or more countries for folate, niacin, riboflavin, thiamin, vitamin A, vitamin B6, vitamin B12, vitamin D and vitamin E. As of 21 December 2018, 81 countries required food fortification with one or more vitamins. The most commonly fortified vitamin – as used in 62 countries – is folate; the most commonly fortified food is wheat flour.

Genetic engineering
Starting in 2000, rice was experimentally genetically engineered to produce higher than normal beta-carotene content, giving it a yellow/orange color. The product is referred to as golden rice (Oryza sativa). Biofortified sweet potato, maize, and cassava were other crops introduced to enhance the content of beta-carotene and certain minerals.

When eaten, beta-carotene is a provitamin, converted to retinol (vitamin A). The concept is that in areas of the world where vitamin A deficiency is common, growing and eating this rice would reduce the rates of vitamin A deficiency, particularly its effect on childhood vision problems. As of 2018, fortified golden crops were still in the process of government approvals, and were being assessed for taste and education about their health benefits to improve acceptance and adoption by consumers in impoverished countries.

Hypervitaminosis
Some vitamins cause acute or chronic toxicity, a condition called hypervitaminosis, which occurs mainly for fat-soluble vitamins if over-consumed by excessive supplementation. Hypervitaminosis A and hypervitaminosis D are the most common examples. Vitamin D toxicity does not result from sun exposure or consuming foods rich in vitamin D, but rather from excessive intake of vitamin D supplements, possibly leading to hypercalcemia, nausea, weakness, and kidney stones.

The United States, European Union and Japan, among other countries, have established "tolerable upper intake levels" for those vitamins which have documented toxicity.

History
In 1747, the Scottish surgeon James Lind discovered that citrus foods helped prevent scurvy, a particularly deadly disease in which collagen is not properly formed, causing poor wound healing, bleeding of the gums, severe pain, and death. In 1753, Lind published his Treatise on the Scurvy, which recommended using lemons and limes to avoid scurvy, which was adopted by the British Royal Navy. This led to the nickname limey for British sailors. Lind's discovery, however, was not widely accepted by individuals in the Royal Navy's Arctic expeditions in the 19th century, where it was widely believed that scurvy could be prevented by practicing good hygiene, regular exercise, and maintaining the morale of the crew while on board, rather than by a diet of fresh food.

During the late 18th and early 19th centuries, the use of deprivation studies allowed scientists to isolate and identify a number of vitamins. Lipid from fish oil was used to cure rickets in rats, and the fat-soluble nutrient was called "antirachitic A". Thus, the first "vitamin" bioactivity ever isolated, which cured rickets, was initially called "vitamin A"; however, the bioactivity of this compound is now called vitamin D. In 1881, Russian medical doctor Nikolai I. Lunin studied the effects of scurvy at the University of Tartu. He fed mice an artificial mixture of all the separate constituents of milk known at that time, namely the proteins, fats, carbohydrates, and salts. The mice that received only the individual constituents died, while the mice fed by milk itself developed normally. He made a conclusion that substances essential for life must be present in milk other than the known principal ingredients. However, his conclusions were rejected by his advisor, Gustav von Bunge.

In East Asia, where polished white rice was the common staple food of the middle class, beriberi resulting from lack of vitamin B1 was endemic. In 1884, Takaki Kanehiro, a British-trained medical doctor of the Imperial Japanese Navy, observed that beriberi was endemic among low-ranking crew who often ate nothing but rice, but not among officers who consumed a Western-style diet. With the support of the Japanese Navy, he experimented using crews of two battleships; one crew was fed only white rice, while the other was fed a diet of meat, fish, barley, rice, and beans. The group that ate only white rice documented 161 crew members with beriberi and 25 deaths, while the latter group had only 14 cases of beriberi and no deaths. This convinced Takaki and the Japanese Navy that diet was the cause of beriberi, but they mistakenly believed that sufficient amounts of protein prevented it. That diseases could result from some dietary deficiencies was further investigated by Christiaan Eijkman, who in 1897 discovered that feeding unpolished rice instead of the polished variety to chickens helped to prevent beriberi. The following year, Frederick Hopkins postulated that some foods contained "accessory factors" — in addition to proteins, carbohydrates, fats etc. — that are necessary for the functions of the human body. Hopkins and Eijkman were awarded the Nobel Prize for Physiology or Medicine in 1929 for their discoveries.

In 1910, the first vitamin complex was isolated by Japanese scientist Umetaro Suzuki, who succeeded in extracting a water-soluble complex of micronutrients from rice bran and named it aberic acid (later Orizanin). He published this discovery in a Japanese scientific journal. When the article was translated into German, the translation failed to state that it was a newly discovered nutrient, a claim made in the original Japanese article, and hence his discovery failed to gain publicity. In 1912 Polish-born biochemist Casimir Funk, working in London, isolated the same complex of micronutrients and proposed the complex be named "vitamine". It was later to be known as vitamin B3 (niacin), though he described it as "anti-beri-beri-factor" (which would today be called thiamine or vitamin B1). Funk proposed the hypothesis that other diseases, such as rickets, pellagra, coeliac disease, and scurvy could also be cured by vitamins. Max Nierenstein, a friend and reader of Biochemistry at Bristol University, reportedly suggested the "vitamine" name (from "vital amine"). The name soon became synonymous with Hopkins' "accessory factors", and by the time it was shown that not all vitamins are amines the word was already ubiquitous. In 1920, Jack Cecil Drummond proposed that the final "e" be dropped to deemphasize the "amine" reference, after researchers began to suspect that not all "vitamines" (in particular, vitamin A) have an amine component.

In 1930, Paul Karrer elucidated the correct structure for beta-carotene, the main precursor of vitamin A, and identified other carotenoids. Karrer and Norman Haworth confirmed Albert Szent-Györgyi's discovery of ascorbic acid and made significant contributions to the chemistry of flavins, which led to the identification of lactoflavin. For their investigations on carotenoids, flavins and vitamins A and B2, Karrer and Haworth jointly received the Nobel Prize in Chemistry in 1937. In 1931, Albert Szent-Györgyi and a fellow researcher Joseph Svirbely suspected that "hexuronic acid" was actually vitamin C, and gave a sample to Charles Glen King, who proved its anti-scorbutic activity in his long-established guinea pig scorbutic assay. In 1937, Szent-Györgyi was awarded the Nobel Prize in Physiology or Medicine for this discovery. In 1938, Richard Kuhn was awarded the Nobel Prize in Chemistry for his work on carotenoids and vitamins, specifically B2 and B6. In 1943, Edward Adelbert Doisy and Henrik Dam were awarded the Nobel Prize in Physiology or Medicine for their discovery of vitamin K and its chemical structure. In 1967, George Wald was awarded the Nobel Prize in Physiology or Medicine (jointly with Ragnar Granit and Haldan Keffer Hartline) for the discovery that vitamin A could participate directly in a physiological process.

title: Vitamin deficiency


text:
Talk:Conservation in the United Kingdom

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I applaud the valiance of this attempt! What a tangled mess to have to try to unravel. Wow.

Now then:

1. Is the National Trust really a govt body??? I sort of think it sort of isn't. But I am not up for a row about it.

2. You could link "National Trust" directly to the relevant page, at the moment it goes to a disambiguation page becase of the many bodies with the same name. If I get a chance I might do this. (done it)

hope this helps ... Nevilley

In the interests of tidiness, I took out the bullets that were creating empty entries on lists that have one or more entries: everything wiki is a work in progress, and new items can be added. I left the bullets as place-holders where they say "please write this list", though. Vicki Rosenzweig

How far down does this list go? There must be a lot of local county conservation organisations - my local one is the Worcestershire Nature Conservation Trust, and there are probably a lot of others like it. Then there are the single species conservation organisations, like the British Hedgehog Preservation Society, British Butterfly Consevation, local badger groups, otter conservation groups.... Malcolm Farmer

This page is a great idea but seems overly complex - what exactly is 'Objects of Conservation'? It seems a bit vague. Are museums really 'conservation' in this context? Is the British Wool Marketing Board really a conservation body? I think perhaps grouping 'conservation bodies' and 'conservation designations' together would work better, rather than putting everything by country. In fact, they might even need separate pages, when you get to the level of detail Malcolm is talking about. Supergolden 16:09, 22 September 2005 (UTC)

 * You're absolutely right - so, once more, get editing and be bold! Naturenet | Talk 23:04, 22 September 2005 (UTC)

Energy use and conservation in the United Kingdom
I'm not sure how these two articles relate. Should they be merged? Maybe the we could have two articles Energy use in the UK and a Conservation in the UK. Clerks 17:27, 3 January 2007 (UTC)

 * I think you'll find that this represents two different and quite distinct uses of the word 'conservation'. See if you can find any common ground between the two articles - I couldn't. Naturenet | Talk 19:15, 3 January 2007 (UTC)

A list in actuality
Should this not be moved to List of organisations involved in conservation in the United Kingdom ? Jabbi (talk) 23:50, 11 September 2022 (UTC)

title: Talk:Conservation in the United Kingdom


text:
Paul Morrissey

Paul Morrissey (born February 23, 1938) is an American film director, known for his early association with Andy Warhol. His most famous films include Flesh, Trash (1970), Heat, Flesh for Frankenstein (1973) and Blood for Dracula (1974), all starring Joe Dallesandro, and the 1980's New York trilogy Forty Deuce (1982), Mixed Blood and Spike of Bensonhurst (1988).

From 1965 to 1973, Morrissey ran the publicity and filmmaking activity for Warhol at The Factory (first at 231 E. 47th St. and then at 33 Union Square West in New York City). Additionally, between 1966 - 67, he managed the Velvet Underground and Nico and co-conceived and named Warhol's traveling multi-media Happening the Exploding Plastic Inevitable. In 1969, alongside Warhol and publisher John Wilcock, Morrissey launched the print magazine Interview hiring its longtime editor Bob Colacello in autumn 1970.

In 1971, Warhol and Morrissey purchased Eothen in Montauk, New York, a 12-hectare oceanfront estate on the Long Island shore for $225,000. Morrissey would sell the estate in 2006 to J. Crew CEO Millard Drexler.

In 1998, Morrissey was given the Jack Smith Lifetime Achievement Award at the Chicago Underground Film Festival.

Early life and career
Born to Irish Catholic parents Joseph and Eleanor Morrissey, Paul Joseph Morrissey grew up in Yonkers across from the Woodlawn section of the Bronx. The second youngest of five children, Morrissey attended Fordham Prep and Fordham University, both Catholic schools. Upon graduation, he enlisted with the United States Army, going through basic training at Fort Benning and Fort Dix, achieving the rank of First Lieutenant. While on reserves from active duty, he moved to the East Village in late 1960 opening the Exit Gallery, a small cinematheque at 36 E. 4th St., where he programmed a mix of underground films and documentaries including Icarus (1960), the first film by Brian De Palma. Simultaneously, Morrissey began making his own short, silent 16mm comedies including Mary Martin Does It (1962), Taylor Mead Dances (1963) and Like Sleep (1964).

Introduced by poet and filmmaker Gerard Malanga, he first met Andy Warhol in June 1965 at the Astor Place Playhouse where Morrissey was having a retrospective of his work. Warhol, taken by Morrissey's resourcefulness and filmmaking expertise, invited him to the Factory to assist him with his next project Space, filmed at the E. 47th St. Factory in July 1965 and featuring Edie Sedgwick, Danny Fields, Donald Lyons (a friend of Morrissey's from his Fordham University days) and folk-singer Eric Andersen. Several more Warhol-Morrissey collaborations followed including My Hustler (1965), The Velvet Underground and Nico: A Symphony of Sound (1966), More Milk, Yvette (1966), Chelsea Girls (1966), Imitation of Christ (1967), Tub Girls (1967), Bike Boy (1967), I, a Man (1967), San Diego Surf (1968) and Lonesome Cowboys (1968).

While filming a scene in the Manhattan apartment of John Wilcock for Andy Warhol's 25 hour movie Four Stars, Morrissey first met Joe Dallesandro who happened to have friends living in the same building. Morrissey immediately cast him in a scene that would later appear in Loves of Ondine (1967), Dallesandro's first appearance in a Factory film.

After the attempt on Warhol's life in June 1968 by Valerie Solanas, Morrissey directed his first solo feature Flesh. Produced for $4,000 by Andy Warhol and starring Joe Dallesandro alongside Maurice Braddell, Geri Miller, Geraldine Smith, Patti D'Arbanville, Louis Waldon, Jackie Curtis and Candy Darling the film became a box office hit in West Germany with over 3 million tickets sold.

The commercial and popular success of Flesh continued into the 1970s with two more films directed by Morrissey, produced by Warhol and starring Dallesandro: Trash, featuring Jane Forth and Holly Woodlawn, the first transgender actress ever cast as the girlfriend of a lead character, and Heat, a satire about Hollywood based on Sunset Boulevard starring Dallesandro alongside Sylvia Miles.

In 1971, Morrissey would executive produce and direct Women in Revolt, a send-up of the Women's liberation movement starring trans Warhol superstars Jackie Curtis, Holly Woodlawn and Candy Darling. A film still of Candy Darling from Women in Revolt appears on the cover of the "Sheila Take a Bow" single by The Smiths, the second such instance of a Morrissey film appearing on the cover of a Smiths record.

Reflecting on this period in an interview with Lucy Hughes-Hallett for British Vogue in March 1978, Morrissey said: "To me, moviemaking is dealing with personalities, people who are always the way they are in every film, like John Wayne or Clint Eastwood, that kind of film-star personality which is not very fashionable now. It doesn’t really matter what the camera’s doing as long as the people are worth watching.”

Post-Factory years
In March 1973, Morrissey went to Rome and directed two back-to-back features Flesh for Frankenstein (1973) and Blood for Dracula (1974) starring Dallesandro and Udo Kier. Produced by Carlo Ponti and presented by Andy Warhol, their international success propelled Morrissey out of the Factory and into his first and only attempt at directing a studio film The Hound of the Baskervilles, co-written by Morrissey, Peter Cook and Dudley Moore. A commercial and critical flop, Morrissey moved to Los Angeles in the late 1970s and returned to independently produced features starting with Madame Wang's (1981), a satire on the LA punk-rock scene, starring Patrick Schoene alongside Morrissey's niece Christina Indri.

Returning to New York City in the early 1980s, Morrissey began a collaboration with playwright and screenwriter Alan Bowne, directing a film version of his 1981 play Forty Deuce (1982) starring Orson Bean and Kevin Bacon. Morrissey worked again with Bowne on the screenplays for Mixed Blood (1985) and Spike of Bensonhurst (1988) completing a trilogy of films taking a satirical, empathetic look at the political, social and moral decay of New York City and its outer bouroughs during the Ed Koch years.

When film critic Jonathan Rosenbaum asked Morrissey in a 1975 interview for Oui why he portrayed drug addicts and street hustlers with such sympathy despite his personal convictions as a lifelong conservative Catholic, Morrissey responded: "'A human being is a sympathetic entity. No matter how terrible a person might be, someone with an artist’s point of view will try to render his individuality without condescension or contempt. That’s the natural function of a dramatist. The movies I’ve made have no connection to my personal beliefs. They don’t say, 'Do this', or 'Don't do that'. They portray a kind of emptiness in people who are living through a transitional cultural period when they don’t know who they are or what to do.'"

Morrissey's most recent feature News From Nowhere (2010) made its U.S. debut at Film at Lincoln Center in fall 2010.

Speaking to screenwriter and biographer Gavin Lambert, filmmaker George Cukor said of Morrissey's work: "'He makes a marvelous kind of world, and a marvelous kind of mischief, holding nothing back and just watching it happen. 'Personal expression' is a much abused expression, but these films are real expression. . .Nobody has done anything like it. The selection of people, the casting, is absolutely brilliant and impertinent. The life they see, the gutter they see, or the world they see is so funny and agonizing, and they see it so vividly, with such original humor.”"

Filmography

 * Ancient History (short) 1961
 * Dream and Day Dream (short) 1961
 * Mary Martin Does It (short) 1962
 * Civilization and Its Discontents (short) 1962
 * Taylor Mead Dances (short) (1963)
 * Peaches and Cream (short) (1964)
 * Merely Children (short) (1964)
 * About Face (short) (1964)
 * The Origin of Captain America (short) (1964)
 * Like Sleep (short) (1964)
 * All Aboard the Dreamland Choo-Choo (short) (1965)
 * My Hustler (1965)
 * Paul Swan (1965)
 * More Milk, Yvette (1966)
 * Hedy (1966)
 * Chelsea Girls (1966)
 * The Velvet Underground and Nico: A Symphony of Sound (1966)
 * Imitation of Christ (1967)
 * Tub Girls (1967)
 * I, a Man (1967)
 * Bike Boy (1967)
 * Loves of Ondine (1967)
 * The Nude Restaurant (1967)
 * Four Stars
 * San Diego Surf (1968)
 * Flesh (1968)
 * Lonesome Cowboys (1968)
 * Trash (1970)
 * I Miss Sonia Henie (short) (1971)
 * Women in Revolt (1971)
 * Heat (1972)
 * L'Amour (1973)
 * Flesh for Frankenstein (1973)
 * Blood for Dracula (1974)
 * The Hound of the Baskervilles (1978)
 * Madame Wang's (1981)
 * Forty Deuce (1982)
 * Mixed Blood (1985)
 * Beethoven's Nephew (1985)
 * Spike of Bensonhurst (1988)
 * Changing Fashions (short) (1993)
 * Veruschka: A Life for the Camera (documentary) (2005)
 * News from Nowhere (2010)

title: Paul Morrissey


text:
Talk:Anderson County, South Carolina

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Wondering how to edit this U.S. County Entry? The WikiProject U.S. Counties standards might help.

Ok, I suppose someone thinks this is funny. If I knew the actual numbers, I correct it, but this is pure vandalism. "As of the census² of 2000, there were 165,740 people, 649 households, and 4 families residing in the county" Kf4mgz (talk) 17:29, 31 December 2007 (UTC)

I live in this general vicinity, and I can say with confidence that this article is written a bit like an advertisement. It's subtle, yes, but still--an adverisemen. The-sigmatic (talk) 02:24, 7 December 2009 (UTC)

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Talk:Bamberg County, South Carolina

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Talk:Barnwell County, South Carolina

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