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Marlborough College

Marlborough College is a public school (English fee-charging boarding school) for pupils aged 13 to 18 in Marlborough, Wiltshire, England. Founded in 1843 for the sons of Church of England clergy, it is now co-educational. For the academic year 2024/25, Marlborough will charge £16,995 per term for pupils.

History
Founded in 1843 for the education of the sons of Church of England clergy, the school now accepts both boys and girls of all beliefs. Currently there are just over 1000 pupils, approximately 45% of whom are female. New pupils are admitted at the ages of 13+ (Year Nine, referred to as "Shell entry") and 16+ (Lower Sixth).

Marlborough was, in 1968, the first major British independent boys' school to allow girls into the sixth form, setting a trend that many other schools followed. The school became fully co-educational in 1989. The school made a major contribution to the School Mathematics Project (from 1961) and initiated the teaching of Business Studies at A level (from 1968). In 1963 a group of boys, led by the future political biographer Ben Pimlott, wrote a book, Marlborough, an open examination written by the boys, describing life at the school. The writer and television critic T. C. Worsley wrote about predatory masters at the school in his critically acclaimed autobiography Flannelled Fool: A Slice of a Life in the Thirties.

In 2005, the school was one of fifty of the country's leading independent schools which were found by the Office of Fair Trading to have run an illegal price-fixing cartel, exposed by The Times, which had allowed them to drive up fees for thousands of parents. Each school was required to pay a nominal penalty of £10,000, and all agreed to make ex-gratia payments totalling three million pounds into a trust designed to benefit pupils who attended the schools during the period in respect of which fee information was shared. Jean Scott, the head of the Independent Schools Council, said that independent schools had always been exempt from anti-cartel rules applied to business, were following a long-established procedure in sharing the information with each other, and were unaware of the change to the law (on which they had not been consulted). She wrote to John Vickers, the OFT director-general, saying, "They are not a group of businessmen meeting behind closed doors to fix the price of their products to the disadvantage of the consumer. They are schools that have quite openly continued to follow a long-established practice because they were unaware that the law had changed."

In 2010, the Good Schools Guide described Marlborough as a "famous, designer label, co-ed boarding school still riding high." The school is a member of the G20 Schools group. Marlborough College Malaysia, a sister school, opened in Johor in 2012.

In 2024, the school was included in The Schools Index as one of the 150 best private schools in the world and among the top 30 senior schools in the UK.

Buildings
The college is built beside the Mound, the former motte of a Norman castle. No remains of the castle can be seen today. Radiocarbon dating of core samples in the early 2010s indicated that the origins of the Mound date from 2400 BC. This is close to the dates established for Silbury Hill.

The main focus of the college is the Court. This is surrounded by buildings in a number of different styles. At the south end is the back of an early 18th-century mansion, later converted to a coaching inn which was bought as the first building for the school. The main block of what now forms C House, it was built by Charles Seymour, 6th Duke of Somerset and is a Grade I listed building. Next to it are the old stables, now converted into boarding houses. The west side consists of the 1959 red brick dining hall, and a Victorian boarding house now converted to other purposes. The north west corner is dominated by its Victorian Gothic style chapel by the architects George Frederick Bodley and Thomas Garner which has a collection of pre-Raphaelite style paintings by John Roddam Spencer Stanhope and stained glass by Old Marlburian William Morris.

The rest of the Court is surrounded by buildings in styles ranging from the "Jacobethan" (a name coined by Old Marlburian John Betjeman) to classical Georgian and Victorian. The latter, B house (now just called B1), was (along with the College Chapel) designed by the Victorian architect Edward Blore, whose other works included the facade of Buckingham Palace (since remodelled) and the Vorontsovsky Palace in Alupka, Ukraine.

On the other side of the Mound is the Science laboratory, built in 1933. It is an early example of shuttered concrete construction and was listed as a building of architectural significance in 1970.

Houses
Pupils are assigned to one of the houses on entering the school. This is where they make their home while at school. The houses compete against one another in sports.

The houses are divided into in-college houses which are mostly gathered around the central court, and other houses at sites around the western side of the town. Unusually, the older in-college houses were not given names but were referred to by an alphanumeric title. Newer houses have been given names reflecting their location or commemorating a figure from the school's past.

Names of the houses
When the college became fully co-educational in 1989, three girls' houses were opened – Morris, Elmhurst and Mill Mead; New Court was opened in 1991. Morris was moved in 1995 from A house to Field House, which had previously been occupied by B3 and C2. New houses were built to accommodate C3, which had previously shared C house with C1 (in 1989) and C2 (in 1992). In 2012, the college acquired the Ivy House Hotel in Marlborough High Street which opened as a girls' house in the autumn of that year.

Railway locomotive
In 1933, the school lent its name to one of the steam locomotives in the Southern Railway's Schools class, which were named after English public schools. The locomotive bearing the school's name (no. 922, later 30922) was withdrawn in 1961.

Masters

 * 1843–1851 Matthew Wilkinson
 * 1852–1858 George Edward Lynch Cotton
 * 1858–1870 George Granville Bradley
 * 1871–1876 Frederick William Farrar
 * 1876–1903 George Charles Bell
 * 1903–1911 Frank Fletcher
 * 1911–1916 St John Basil Wynne Willson
 * 1916–1926 Cyril Norwood
 * 1926–1939 George Charlewood Turner
 * 1939–1952 Francis Melville Heywood
 * 1952–1961 Thomas Ronald Garnett
 * 1961–1972 John Christopher Dancy
 * 1972–1986 Roger Wykeham Ellis
 * 1986–1993 David Robert Cope
 * 1993–2004 Edward John Humphrey Gould
 * 2004–2012 Nicholas Alexander Sampson
 * 2012–2018 Jonathan Leigh
 * 2018– Louise Moelwyn-Hughes

Other notable schoolmasters

 * Stephen Borthwick, later head of Epsom College
 * Peter Godfrey (choral conductor)

Old Marlburians
Former pupils include the Nobel laureate Sir Peter Medawar, Poet Laureate Sir John Betjeman, wartime poet Siegfried Sassoon, art historian and Soviet spy Anthony Blunt, writer Dick King-Smith, journalists Frank Gardner, James Mates, Tom Newton Dunn and Hugh Pym, YO! Sushi founder Simon Woodroffe, comedian Jack Whitehall, singers Nick Drake and Chris de Burgh, Chancellor of the Exchequer Rab Butler, Home Secretary Henry Brooke, Baron Brooke of Cumnor, Archbishop of Canterbury Geoffrey Fisher, Catherine, Princess of Wales, Pippa Middleton, Princess Eugenie of York, Olivia Grosvenor, Duchess of Westminster, Samantha Cameron, fashion leaders Amanda Harlech and Stella Tennant, and convicted human trafficker Ghislaine Maxwell.

See List of Old Marlburians for notable former pupils. Societies for former pupils include the Marlburian Club.

Terms
There are three academic terms in the year:
 * The Michaelmas Term, from early September to mid December (new boys, girls and lower-sixth candidates are now usually only admitted at the start of the Michaelmas Half);
 * The Lent Term, from mid January to late March;
 * The Summer Term, from late April to late June or early July.

The Memorial Hall
The Memorial Hall was built to commemorate the 749 Old Marlburians who were killed in World War I. Following World War II, the names of those killed in that war were added to a memorial panel in the entrance hall.

The hall is a semi-circular auditorium of stepped seats. There is a stage at the front. Below the seats with access from the outside rear are a number of music practice rooms. The façade of the hall towards the forecourt and road has two entrance lobbies linked together by eight stone columns. The forecourt is paved with stone.

The Hall holds about 800 people so can no longer be used for assemblies of the entire school. It is now most often used for concerts and theatrical productions where the whole school is not expected to attend.

The Chapel

The current Chapel is the second to be built at the school. The first was opened in 1848 but by 1880 the school numbers had outgrown its space. After consideration of expanding the existing building, it was demolished in 1884 and a new Chapel was designed and built.

The new Chapel, designed in the Late Decorated Gothic style, was dedicated to St Michael and All Angels and was consecrated in 1886. The original colour scheme of greens and browns was much loved by Sir John Betjeman and there are twelve large Pre-Raphaelite murals by Spencer Stanhope which depict various Biblical scenes involving angels. Those on the north side show scenes from the Old Testament while the six on the south side are from the New Testament.

Two other artistic features are the Scholars' Window on the south side, which was designed by Edward Burne-Jones and made by Old Marlburian William Morris, and a sculpture of "The Virgin and Child" by Eric Gill near the west door.

In 2010, the chapel was closed owing to structural defects. After being repaired, it was declared safe to use.

Performance areas
All music halls and performance areas are fitted with soundproof windows which prevent sound from escaping, even while open, as well as walls engineered to prevent sound crossing at right angles. The floors of the centres also float on a bed of air, so as to maintain good soundproofing.

The Blackett Observatory
The Blackett Observatory houses a 10-inch-aperture Cooke refractor on a motorised equatorial mount. The telescope dates from 1860 and was used professionally at the Radcliffe Observatory at Oxford University. When the Observatory was relocated to South Africa in the 1930s, Sir Basil Blackett, a president of the Marlburian Club, raised the funds to purchase it and have the observatory built on the playing fields of the college.

In 1997 a restoration effort was started which was finished in 2002 when the telescope was reopened for use. It is currently used to teach astronomy and is also open to local astronomers from outside the college.

Sports history and facilities
A fully operational army-only CCF detachment operates at the college under the supervision of a resident SSI (school staff instructor). Weekly parades take place at the parade ground adjacent to the armoury, with occasional off-campus activities, such as range-days or overnight exercises.

Next to the CCF parade ground is a six-lane .22 rifle range. Rifle shooting has had a long history at the college, with teams representing the school since 1862. By the 1890s, the "difficulty" of finding a replacement sport during the Easter term led to hockey matches being regularly played against Clifton College, with the sport consequently  becoming  popular with other public schools and sporting communities.

title: Marlborough College


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Te Kooti

Te Kooti Arikirangi Te Turuki (c. 1832–1893) was a Māori leader, the founder of the Ringatū religion and guerrilla fighter.

While fighting alongside government forces against the Hauhau in 1865, he was accused of spying. Exiled to the Chatham Islands without trial along with captured Hauhau, he experienced visions and became a religious leader. In 1868 he led the escape of 168 prisoners, seizing the schooner Rifleman and sailing back to the North Island where he began a series of raids. A resultant military reprisal campaign became known as Te Kooti's War. He was pardoned in 1883 but continued to be active in spreading the Ringatū message of peace and reclaiming land from Pakeha.

Early life
Te Kooti's early years are obscure. He was born at Te Pā-o-Kahu in the Gisborne region as a son of Hōne Rangipātahi (father) and Hine Turākau (mother), of the Rongowhakaata tribe (iwi). Their sub-tribe (hapū) was Ngāti Maru, whose villages were situated near the Awapuni lagoon, where the Waipaoa River runs into the ocean. Arikirangi is thought to be the original name of Te Kooti. His birth date is thought to be approximately 1832.

Toiroa Ikariki (Ikarihi), a matakite (visionary) of Nukutaurua on Māhia Peninsula, prophesied the birth of Te Kooti (as well as the coming of white people, the Pākehā):

The song is dated 1766. The Pakerewhā were strangers with red or white skin and Arikirangi was a grandchild of Toiroa, still to be born.

Te Kooti is understood to be his Christian baptismal name.

Te Kooti was apparently a very troublesome boy to his father, who tried to kill him. In 1852, he became notorious as one of a group of young Māori causing trouble in the Gisborne district. He took on the role of a "social bandit", breaking into settlers' homes and stealing goods as part of a plunder party. He was sent to the Mission School at Whakatō, near Manutūkē. In 1846–1847 he was taught by Samuel Williams. Samuel and his uncle, William Williams "helped the boy to find a new world in the Bible".

But his reputation was still suffering, also after contacts with the Reverend Thomas Samuel Grace, who was to replace William Williams for a few years (1850–1853). Local chiefs were asked by settlers to work with the local runanga (Māori council) to solve problems with Te Kooti but Te Kooti's men persisted in taking pigs, horses, cattle and alcohol, angering the runanga run by senior chiefs. As a result, Te Kooti's pā was attacked by Te Aitanga-a-Māhaki. Many prisoners were taken but Te Kooti escaped.

He had to leave home and went to sea on different ships that traded along the coasts of the North Island.

Exile
In 1865 while fighting with government forces to suppress the Pai Marire (or Hauhau cult), he was arrested as a spy while trying to contact his brother who was fighting with the Hauhau, and exiled to the Chatham Islands, together with the rebels he had been fighting against. He was never tried and took every opportunity to demand a trial. Some say he got his name from this, "Kooti" (pronounced [ kɔːti] like "Courty"), others that it was a Māori version of the last name "Coates". If he did supply the Pai Marire with guns as is alleged, he also took part in a battle against them. There are allegations he fired blanks on this occasion.

While on the Chatham Islands Te Kooti experienced visions and became a religious leader. Te Kooti was referred to by other prisoners as Tawhaki, the twice born, after his unexpected survival from tuberculosis. He also performed some sleight of hand, such as using matchheads to set his hand on fire above the altar during a church service. These tricks swayed the Māori prisoners on Chatham Islands, and when some of the chiefs present on the island were sent back to the mainland, Te Kooti took advantage of the situation to become the local leader. Only Te Kooti's uncle was not impressed by these tricks, which he saw right through. Nevertheless, Te Kooti established a faith named Ringatū ("upraised hand") which gained many followers, and is still present in New Zealand society today.

During this time on the Chatham Islands, Te Kooti (or Te Koti as he signed in the documents) was married in a civil marriage to Maata Te Owai on 27 July 1867. The marriage documents reveal that he was born in 1832.

Escape
In 1868, expecting a resupply boat, Te Kooti prophesied that two boats would soon arrive to take them off the island. Normally the prisoners worked on a farm but using the excuse of rain a number of convicts were able to enter the redoubt. There were actually only 6 guards on the whole Island as the majority had been removed in April to Hokitika where a Fenian uprising was feared. On 4 July 1868, Te Kooti led an escape, and with 168 other prisoners seized the schooner Rifleman, with supplies and rifles, scuttled another vessel the Florence so that the alarm could not be raised and set off back to the North Island. One Chatham Island sergeant was killed because of a personal grievance. The Pākehā sailors were allowed to live and set sail for the coast of New Zealand with help from the Māori hijackers. The sailors attempted to sail towards Wellington, but with Te Kooti's expertise at sailing were caught and told they would be thrown overboard if they did not keep a course for the East Coast. On the fourth day at sea, the ship was becalmed and Te Kooti declared that a sacrifice was needed. Te Kooti had his uncle, Te Warihi Otini, thrown overboard and soon afterwards the ship made headway again.

Upon their arrival at Whareongaonga in Poverty Bay, Te Kooti asked the Māori King Movement and the Tuhoe tribes for refuge but was rejected. He also sought dialogue with the colonial government but was rebuffed. He sent a statement to the effect that if the government wanted a war, he would give it to them in November.

At war
On 10 November 1868, Te Kooti and his followers attacked the township of Matawhero on the outskirts of Gisborne. Some 54 people were slaughtered, including women and children. The dead included 22 local Māori as well as European settlers. This was probably a revenge attack, motivated by Te Kooti's imprisonment as a spy.

Te Kooti was then pursued by colonial and sympathetic Māori forces. His community was surrounded at Ngatapa and besieged, but Te Kooti and his warriors managed to escape.

From there, Te Kooti was chased to Te Pōrere where he set up a pā. He was defeated at the subsequent Battle of Te Pōrere. While Te Kooti escaped, he left many dead and wounded. Te Kooti himself was shot in the finger on his escape.

From there, Te Kooti escaped into the Urewera and made an alliance with the Tuhoe leadership.

From 1869 to 1872, Te Kooti and his followers raided throughout the central North Island while being pursued by their colonial and Māori enemies. His power was only broken once his Tuhoe allies were systematically conquered by his enemies. But once again Te Kooti managed to escape, this time to the King Country where he spent the next decade under the protection of the Māori King. Te Kooti used this time to develop his religion.

Pardon and later life
In 1878 Te Kooti was thrown out of a hui at Hikurangi, which had been called by the government, because he had broken the ban on alcohol that was enforced by King Tāwhiao. Te Kooti stormed out of the meeting and went into a wild rage. In the morning he returned covered in albatross feathers, shuffling and bent over, having taken on the persona of a shuffling old man. Te Kooti is portrayed in this narrative as Tawhaki, the twice born. He threw off his disguise and lightning flashed from his armpits. The feathers were to show divinely inspired peace, according to the story.

In 1883, Te Kooti was pardoned by the government and began to travel New Zealand. His followers grew and he decided to return to his old home. However, his past violence had not been forgotten and the local magistrate arrested him and imprisoned him, citing an anticipatory breach of the peace. Te Kooti was released on the condition that he never again try to return to his old home. Te Kooti appealed this decision, and was initially successful, but in 1890 the Court of Appeal ruled that the terror and alarm that Te Kooti's reappearance would have entailed justified the magistrate's decision.

In fiction

 * Shadbolt, Maurice – Season of the Jew. Publ. Hodder & Stoughton, London & W.W. Norton, New York, 1987

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

title: Te Kooti


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Betty Compson

Betty Compson (born Eleanor Luicime Compson; March 19, 1897 – April 18, 1974) was an American actress and film producer who got her start during Hollywood's silent era. She is best known for her performances in The Docks of New York and The Barker, the latter of which earned her an Academy Award nomination for Best Actress.

Early life
Compson was born on March 19, 1897, the daughter of Virgil and Mary ( Rauscher) Compson, in Beaver, Utah, at a mining camp. Her father was a mining engineer, a gold prospector, and a grocery store proprietor, and her mother was a maid in homes and in a hotel.

Compson graduated from Salt Lake High School. Her father died when she was young, and she obtained employment as a violinist at 16 at a theater in Salt Lake City.

Career
Playing in vaudeville sketches with touring circuits, Compson got noticed by Hollywood producers. While touring, she was discovered by comedic producer Al Christie and signed a contract with him. Her first silent film, Wanted, a Leading Lady, was in November 1915.

She made 25 films in 1916 alone, although all of them were shorts for Christie with the exception of one feature, Almost a Widow. She continued this pace of making numerous short films well into the middle of 1918 when after a long apprenticeship with Christie, she started making features exclusively. Compson's star began to rise with the release of the 1919 feature The Miracle Man (1919) for George Loane Tucker. Paramount signed Compson to a five-year contract with the help of Tucker. Her popularity allowed her to establish her own production company, which provided her creative control over screenplays and financing. Her first movie as producer was Prisoners of Love (1921). She played the role of Blanche Davis, a girl born to wealth and cursed by her inheritance of physical beauty. Compson selected Art Rosson to direct the feature. The story was chosen from a work by actress and writer Catherine Henry.

After completing The Woman With Four Faces (1923), Paramount refused to offer her a raise (her salary was $2,500 per week), and she refused to sign without one. Instead, she signed with a motion picture company in London. There she starred in a series of four films directed by Graham Cutts, a well-known English filmmaker.

The first of these was a movie version of an English play called Woman to Woman (1923), the screenplay for which was co-written by Cutts and Alfred Hitchcock. Part of The White Shadow (in which she played a dual role), another Cutts/Hitchcock collaboration. Woman to Woman proved to be popular enough for Jesse Lasky to offer top dollar to return to Paramount. Back in Hollywood, she starred in The Enemy Sex, directed by James Cruze, as well as the sound film The Great Gabbo in 1929, with Eric von Stroheim--his first sound picture. Compson and Cruze were married in 1925; they divorced in 1929. Her contract with Paramount was not renewed, and she decided to freelance, working with lower-budget studios such as Columbia in The Belle of Broadway and Chadwick in The Ladybird. During this time, she was suggested as a replacement for difficult Greta Garbo in the MGM feature Flesh and the Devil opposite John Gilbert. She eventually worked for the studio with former The Miracle Man co-star Lon Chaney in The Big City.

In 1928, she appeared in a First National Pictures part-talkie, The Barker. Her performance as manipulative carnival girl Carrie garnered her a nomination for the Academy Award for Best Actress, although she lost to Mary Pickford in Coquette. In Court-Martial, a 1928 silent film, she became the first actress to portray Old West outlaw Belle Starr on film. In the same year, she appeared in the acclaimed Josef von Sternberg film The Docks of New York in a sympathetic portrayal of a suicidal prostitute.

These films caused Compson's popularity to re-emerge, and she became a busy actress in the new talking cinema. In fact, Chaney offered her the female lead in his first talkie The Unholy Three, but she was too busy and instead suggested friend Lila Lee. Unlike a number of other female stars of silent film, it was felt that her voice was recorded exceptionally well. Although she was not a singer, she appeared in a number of early musicals in which her singing voice was dubbed.

Later career
Now divorced from Cruze, Compson's career continued to flourish, starring in nine films in 1930 alone. However, her last hit proved to be in The Spoilers, alongside Gary Cooper. She was unable to score a success and only secured roles in "poverty row" studios.

One major film in which she did not appear was Gone with the Wind; although she shot a Technicolor screen test for the role of Belle Watling, she was not cast in the role. In 1941, Compson appeared in a small role in an Alfred Hitchcock film, Mr. & Mrs. Smith. Most of her later films were low-budget efforts. Compson's last film was 1948's Here Comes Trouble; after retiring from the screen, she began a cosmetic line and helped her husband run a business called Ashtrays Unlimited.

Personal life
After her marriage with Cruze ended, Compson married two more times. Her marriage to agent/producer Irving Weinberg ended in divorce, and her marriage to Silvius Gall ended with Gall's death in 1962. She had no children.

Death
Compson died April 18, 1974, of a heart attack at her home in Glendale, California, aged 77. She was interred in San Fernando Mission Cemetery in San Fernando, California. For her contributions to the motion picture industry, Compson has a star on the Hollywood Walk of Fame at 1751 Vine Street.

Filmography
For main film selections see Betty Compson filmography.

title: Betty Compson


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Chapel

A chapel (from cappella) is a Christian place of prayer and worship that is usually relatively small. The term has several meanings. First, smaller spaces inside a church that have their own altar are often called chapels; the Lady chapel is a common type of these. Second, a chapel is a place of worship, sometimes interfaith, that is part of a building, complex, or vessel with some other main purpose, such as a school, college, hospital, palace or large aristocratic house, castle, barracks, prison, funeral home, cemetery, airport, or a military or commercial ship. Third, chapels are small places of worship, built as satellite sites by a church or monastery, for example in remote areas; these are often called a chapel of ease. A feature of all these types is that often no clergy were permanently resident or specifically attached to the chapel.

For historical reasons, chapel is also often the term used by independent or nonconformist denominations for their places of worship in England and especially in Wales, even where they are large and in practice they operate as a parish church.

The earliest Christian places of worship are now often referred to as chapels, as they were not dedicated buildings but rather a dedicated chamber within a building. Most larger churches had one or more secondary altars which, if they occupied a distinct space, would often be called a chapel. In Russian Orthodox tradition, the chapels were built underneath city gates, where most people could visit them; a famous example is the Iberian Chapel.

Although chapels frequently refer to Christian places of worship, they are also found in Jewish synagogues and do not necessarily denote a specific denomination. In England—where the Church of England is established by law—interdenominational or interfaith chapels in such institutions may be consecrated by the local Anglican bishop. Chapels that are not affiliated with a particular denomination are commonly encountered as part of a non-religious institution such as a hospital, airport, university or prison. Many military installations have chapels for the use of military personnel, normally under the leadership of a military chaplain.

History
The earliest Christian places of worship were not dedicated buildings but rather a dedicated chamber within a building, such as a room in an individual's home. Here one or two people could pray without being part of a communion/congregation. People who like to use chapels may find it peaceful and relaxing to be away from the stress of life, without other people moving around them.

The word chapel, like the associated word chaplain, is ultimately derived from Latin. More specifically, the word is derived from a relic of Saint Martin of Tours: traditional stories about Martin relate that while he was still a soldier, he cut his military cloak in half to give part to a beggar in need. The other half he wore over his shoulders as a "small cape" (cappella). The beggar, the stories claim, was Christ in disguise, and Martin experienced a conversion of heart, becoming first a monk, then abbot, then bishop. This cape came into the possession of the Frankish kings, and they kept the relic with them as they did battle. The tent which kept the cape was called the capella and the priests who said daily Mass in the tent were known as the capellani. From these words, via Old French, we get the names "chapel" and "chaplain".

The word also appears in the Irish language (Gaelic) in the Middle Ages, as Welsh people came with the Norman and Old English invaders to the island of Ireland. While the traditional Irish word for church was eaglais (derived from ecclesia), a new word, séipéal (from cappella), came into usage.

In British history, "chapel" or "meeting house" were formerly the standard designations for church buildings belonging to independent or Nonconformist religious societies and their members. They were particularly associated with the pre-eminence of independent religious practice in rural regions of England and Wales, the northern industrial towns of the late 18th and 19th centuries, and centres of population close to but outside the City of London. As a result, "chapel" is sometimes used as an adjective in England and Wales to describe the members of such churches: for example in the sentence "I'm Chapel."

Types of chapel

 * A bridge chapel is a small place of Christian worship, built either on, or immediately adjacent to, a road bridge; they were commonly established during pre-Reformation mediaeval era in Europe.
 * A castle chapel, in European architecture, is a chapel built within a castle.
 * A parecclesion or parakklesion is a type of side chapel found in Byzantine architecture.
 * A capilla posa (Posa chapel) is an architectural feature of the monastery-ensembles of Mexico in the 16th century, consisting of four vaulted quadrangular buildings located at the ends of the atrium outside them.
 * A capilla abierta (open chapel) is one of the most distinct Mexican church construction forms, mostly built in the 16th century during the early colonial period.
 * A proprietary chapel is one that originally belonged to a private individual. In the 19th century they were common, often being built to cope with urbanisation. Frequently they were established by evangelical philanthropists with a vision of spreading Christianity in cities whose needs could no longer be met by the parishes. Some functioned more privately, with a wealthy person building a chapel so that they could invite their favorite preachers. They are anomalies in the English ecclesiastical law, having no parish area, but being permitted to have an Anglican clergyman licensed there. Historically many Anglican churches were proprietary chapels. Over the years they have often been converted into normal parishes.
 * A court chapel is a chapel as a musical ensemble associated with a royal or noble court. Most of these are royal (court) chapels, but when the ruler of the court is not a king, the more generic "court chapel" is used, for instance for an imperial court.
 * A royal chapel is a chapel associated with a monarch, a royal court, or in a royal palace.

Modern usage
While the word chapel is not exclusively limited to Christian terminology, it is most often found in that context. Nonetheless, the word's meaning can vary by denomination, and non-denominational chapels (sometimes called "meditation rooms") can be found in many hospitals, airports, and even the United Nations headquarters. Chapels can also be found for worship in Judaism.

"Chapel" is in particularly common usage in the United Kingdom, and especially in Wales, for Nonconformist places of worship; and in Scotland and Ireland for Roman Catholic churches. In England and Wales, due to the rise in Nonconformist chapels during the late 18th and early 19th centuries, by the time of the 1851 census, more people attended the independent chapels than attended the state religion's Anglican churches. (The Anglican Church does not function as the established church in Scotland.)

In Roman Catholic Church canon law, a chapel, technically called an "oratory", is a building or part thereof dedicated to the celebration of services, particularly the Mass, which is not a parish church. This may be a private chapel, for the use of one person or a select group (a bishop's private chapel, or the chapel of a convent, for instance); a semi-public oratory, which is partially available to the general public (a seminary chapel that welcomes visitors to services, for instance); or a public oratory (for instance, a hospital or university chapel).

Chapels that are built as part of a larger church are holy areas set aside for some specific use or purpose: for instance, many cathedrals and large churches have a "Lady chapel" in the apse, dedicated to the Virgin Mary; parish churches may have such a Lady chapel in a side aisle or a "chapel of Reservation" or "Blessed Sacrament chapel" where the consecrated bread of the Eucharist is kept in reserve between services, for the purpose of taking Holy Communion to the sick and housebound and, in some Christian traditions, for devotional purposes.

Common uses of the word chapel today include:
 * Side-chapel – a chapel within a cathedral or larger church building.
 * Lady chapel – really a form of side chapel, but notable separately as such chapels are common in the Roman Catholic Church and the Anglican Communion. They are dedicated to the veneration of the Blessed Virgin Mary.
 * Ambassador's chapel – originally created to allow ambassadors from Catholic countries to worship whilst on duty in Protestant countries.
 * Bishop's chapel – in Anglican and Roman Catholic canon law, bishops have the right to have a chapel in their own home, even when travelling (such personal chapels may be granted only as a favor to other priests)
 * Chapel of rest – not a place of worship as such, but a comfortably decorated room in a funeral director's premises, where family and friends can view the deceased before a funeral.
 * Chapel of ease – constructed in large parishes to allow parishioners easy access to a church or chapel.
 * College chapel - located on college or university campuses that are or were once affiliated with a religion
 * Multifaith chapel – found within hospitals, airports and universities, etc.; often converted from being exclusively Christian.
 * Summer chapel – a small church in a resort area that functions only during the summer when vacationers are present.
 * Wayside chapel or country chapel – small chapels in the countryside
 * Military chapel – U.S. military bases often have chapels designated for use by varying denominations. As no specific denomination or faith is the "owner", such a site is commonly referred to as a chapel instead of a church, mosque, or synagogue. Service members can often receive services for nondenominational Christian, Roman Catholic, Islamic, and Jewish faiths, as well as information for other services in the local area.
 * Wedding chapel – a venue for weddings.
 * Funeral chapel – a venue for funerals at a funeral home, cemetery or crematorium.

The first airport chapel was created in 1951 in Boston for airport workers but grew to include travelers. It was originally Catholic, but chapels today are often multifaith.

title: Chapel


text:
The Barker

The Barker is a 1928 American part-talkie pre-Code romantic drama film produced and released by First National Pictures, a subsidiary of Warner Bros., acquired in September 1928. The film was directed by George Fitzmaurice and stars Milton Sills, Dorothy Mackaill, Betty Compson, and Douglas Fairbanks Jr. The Barker is a part-talkie with talking sequences and sequences with synchronized musical scoring and sound effects. The film was adapted by Benjamin Glazer, Joseph Jackson and Herman J. Mankiewicz from the play by Kenyon Nicholson.

The Broadway play of the same name which opened at the Biltmore Theatre January 18, 1927 and ran until July 1927 for 221 performances. In the stage production Walter Huston was "Nifty" and a still relatively unknown Claudette Colbert was "Lou", played in the film by Dorothy Mackaill.

Plot
The film tells the story of a woman, Lou (Dorothy Mackaill), who comes between a man, Nifty Miller (Milton Sills), and his estranged son Chris (Douglas Fairbanks Jr.). Nifty is a carnival barker who is in love with a dancing girl and is ambitious to have his son, Chris, become a lawyer. Chris has other ideas and during his vacation he hops a freight, joins the carnival, and weds a dancing girl (Mackaill). Eventually, Chris fulfills the ambition his father had for him.

Cast

 * Dorothy Mackaill as Lou
 * Milton Sills as Nifty Miller, the barker
 * Douglas Fairbanks Jr. as Chris Miller
 * Betty Compson as Carrie
 * Sylvia Ashton as Ma Benson
 * George Cooper as Hap Spissel
 * S. S. Simon as Col. Gowdy
 * Tom Dugan as Stuttering Spieler

Uncredited:
 * Bobby Dunn as Hamburger concessionaire
 * Pat Harmon as Heckler
 * Bynunsky Hyman as Fire Eater
 * Gladden James as Member of Hawaiian Trio
 * Charles Sullivan as Man in audience
 * Pat West as Bartender

Preservation
The film survives intact with its talking sequences and has been preserved by the UCLA Film and Television Archive and the Museum of Modern Art.

Remakes
The Barker was remade as Hoop-La (1933) with Clara Bow and as Diamond Horseshoe (1945) with Betty Grable. Japanese director Yasujirō Ozu remade this film (without crediting the original) as A Story of Floating Weeds (1934) and again as Floating Weeds (1959).

title: The Barker


text:
Monday's Warriors

Monday's Warriors is a 1990 historical novel by New Zealand author Maurice Shadbolt. It is part two of his New Zealand Wars trilogy.

Premise
Set in mid-nineteenth century New Zealand, the story is a semi-fictionalized account of Titokowaru's War, told from the perspective of Kimball Bent. Bent was an historical individual born in the United States, but had enlisted in the British army, where he was eventually posted to the Taranaki region of colonial New Zealand. Bent deserted and joined up with a local Māori chief of the Ngā Ruahine iwi, where he became accepted as a member of the local tribe. In 1867, Bent joined other Ngāti Ruanui led by Tītokowaru in their war against the colonists in Taranaki.

title: Monday's Warriors


text:
Talk:The Barker

Silent film with spoken dialogue
"The Barker is a silent film with some spoken dialogue." Eh? Ortolan88
 * Yes, this film is a 'cusp' film, one of the few that shows the transition from silent to talkies quite well. It's basically a silent film, however there are a few places where there is some dialogue.  SkierRMH 05:37, 22 March 2007 (UTC)

title: Talk:The Barker


text:
So Long, Astoria

So Long, Astoria is the fourth studio album by American rock band The Ataris, released on March 4, 2003. The album's title song alludes to the 1985 film The Goonies, which is set in Astoria, Oregon.

Background
In February 2001, The Ataris released their third album End Is Forever through independent label Kung Fu Records. In May, vocalist/guitarist Kris Roe revealed that the group would start writing for their next album later in the year. In June, guitarist Marco Peña left the group due to creative and personal differences. He was replaced by their guitar tech John Collura, formerly of the band Beefcake. Roe said Collura "definitely brought us back to [being the] best of friends", as well making them "realize that this band has got a lot of life in it". Also in June, the group contributed a new track to the Warped Tour 2001 compilation, "Looking Back on Today". The band signed with major label Columbia Records in July. Roe explained: "We wanted to go somewhere where we knew that even if our record didn't do well, that we would have a career still as a band".

Later in July, Roe revealed that the group would be releasing their next album in mid-2002 and that it would be in the musical style of their second album Blue Skies, Broken Hearts...Next 12 Exits (1999). In October, Roe said the album was tentatively titled Don't Ever Compromise What You Believe. In December, the group said they had 13 songs that they were working on, and were planning to record in March 2002. In January 2002, the group contributed a new song to the Orange County soundtrack. In April, Roe said the group were expected to begin recording in May. When looking for producers, bassist Mike Davenport said a few names came up: "Lou [Giordano] was always my choice. Ric Ocasek said [']I don't get it.' Mark Trombino told us to keep writing." Davenport pushed for Giordano, "and the minute [Roe and Giordano] spoke, it worked." In early July, Roe said the album would be titled So Long, Astoria. Later that month, Giordano was enlisted as the album's producer and that recording would finally occur in August.

Recording
Demos were initially tracked at drummer Chris Knapp's house in Hollywood, California. Roe said they "never got anything done" and subsequently went to Orange Whip Recording in Santa Barbara, California to record more demos. With the aid of Angus Cooke and Thom Flowers, demos were recorded live-in-the-studio with minimal overdubs. Roe said they spent "a lot of time fine tuning" the songs before the album sessions. He added that the demos "capture[d] a certain honesty" and toyed with releasing the demos in lieu of recording a proper album. The group went into pre-production with Giordano, despite him thinking that the songs were "already pretty complete '"as is'", according to Roe. Recording began on August 19 and ended on November 1. Sessions took place at Ocean Studios in Burbank, California, Grandmaster Recorders in Hollywood, California and Orange Whip Recording.

Giordano produced all of the songs except for "Looking Back on Today", which was produced by Thom Flowers, Elissa Meihsner and Eric Palmquist. Bradley Cooke, Andrew Alekel and Flowers acted as engineers with assistance from Jason Nelson, Dean Cupp and Dave Ashton. Giordano mixed all of the songs, except for "The Saddest Song" and "My Reply", at Larrabee Studios in Hollywood, California. "The Saddest Song" and "My Reply" were mixed by Jack Joseph Puig. Additional tracking was done by Angus Cooke and Meihsner at Orange Whip Recording, while additional tracking was done by Ashton at Larrabee Studios. Several other people contributed to the album: James Muhawi (piano on "The Saddest Song"), Angus Cooke (cello), Jonathan Cox (programming), and Glen Phillips of Toad the Wet Sprocket, Mike Herrera of MxPx and Tim Pagnotta of Sugarcult (backing vocals).

Composition
Early in the writing process for the record, Roe found a book that gave him the theme for the album. The book, which was Go Now by Richard Hell, contained a chapter "where he had a quote that said memories are better than life ... I wanted this record to portray, that life is only as good as the memories we make." Roe said the group "focus[ed] on writing good songs [and] straightforward rock songs". Musically, the album's sound has been described as pop punk,   pop rock, punk rock and rock, drawing comparison to Blink-182, Green Day, Good Charlotte, New Found Glory, Lit and A, with Roe sounding like A frontman Jason Perry. All of the songs were written by Roe, except for "The Hero Dies in This One" and "All You Can Ever Learn Is What You Already Know" by Roe, Collura, Davenport and Knapp, and "The Boys of Summer" by Don Henley and Michael Campbell.

"So Long, Astoria" is about Roe writing songs in his bedroom in Anderson, Indiana. The track was reminiscent of Matchbox Twenty; its name is a reference to the town Astoria, Oregon in the film The Goonies (1985). "Takeoffs and Landings" deals with saying goodbye to a long-distance partner. "In This Diary", alongside "Summer '79" talk about nights out in town and pulling pranks. Discussing "In This Diary", Roe said he attempted to "encapsulate one of the most fun summers we’ve had". Roe wrote "My Reply" about a fan who was in a hospital and close to death. "Unopened Letter to the World" details the life of American poet Emily Dickinson. "The Saddest Song" is about Roe's relationship with his estranged daughter and his upbringing without a father.

"Summer '79" sees Roe reminiscing on days when spent as a teenager sneaking into drive-in theatres and listening to Queen. "The Hero Dies in This One" refers to past girlfriends that had been left behind. Collura said "The Boys of Summer" was included due to Roe's nostalgia for it, and "it just kind of fit into the rest of the record." He altered one line, switching a reference from Deadhead to Black Flag. "Radio #2" was indebted to "Radio" by Teenage Fanclub. Roe wrote "Looking Back on Today" about his wife, and called it the sole relationship-centric song on the album. Roe said "Eight of Nine" is about a number of "really close calls that we've had with death."

Release
In October 2002, it was announced that So Long, Astoria would be released in March 2003. On January 12, the group posted the songs "Takeoffs and Landings" and "In This Diary" online. "In This Diary" was released to radio on February 11. So Long, Astoria was released on March 4 through Columbia Records. The Japanese version included the bonus tracks "A Beautiful Mistake" and "I Won't Spend Another Night Alone", an acoustic version of "The Saddest Song", and a cover of the Ramones song "Rock 'N' Roll High School". A music video for "In This Diary" was posted online on March 3, directed by Steven Murashige. Roe said the video was mainly crowd-focused as the group wanted to channel their stage performance and energy. On May 19, "In This Diary" was released as a CD single. It featured "A Beautiful Mistake", a demo of "Eight of Nine", a live version of "In This Diary", and "Rock 'N' Roll High School" as B-sides.

"My Reply" was set to be the group's next single, but "The Boys of Summer" was released to radio on June 3 instead. This was a result of the K-Rock and KROQ radio stations playing the track, with others following shortly after. Collura said the group did not want to release the track as a single. He added that they were naïve to assume it would be released as such, since it wasn't promoted as one, "That was all American radio doing that on its own". Roe revealed Columbia Records had warned the band about including the track on the album in the first place as there would be "a chance that somebody's going to put it out as a single". The video treatment for the song's music video, which was directed by Murashige, was initially intended for "My Reply" until it was adjusted for "The Boys of Summer". Roe said the video was about "the story of a darker summer" and features "a girl trying to let go of a lot of the things she had in the summer."

The Ataris released their first video album Live at Capitol Milling in July 2003, which featured the music video for "In This Diary" (directed by Marc Smerling), the making-of video, and live performances taken from music video shoot. In August, Davenport revealed a music video had been filmed for "My Reply", but was "so far from coming out". He added, "It's animated, and it's like A-ha meets White Stripes." On September 8, "The Boys of Summer" was released as a CD single. It featured live versions of "Takeoffs and Landings" and "Unopened Letter to the World", "A Beautiful Mistake" and an acoustic version of "In This Diary" as B-sides. "The Saddest Song" was released to radio on September 9. In February 2004, the band released the live album Live at the Metro, which had been recorded the previous October. In addition to the show, it featured acoustic renditions, one of which was from So Long, Astoria.

Touring
In November and December 2002, the group went on a US tour with Sugarcult, Autopilot Off and Rufio. During the tour, the group premiered material from So Long, Astoria. In late December and January 2003, the group embarked on the Australian leg of the Kung Fu Records Tour with the Vandals. The day following the album's release, an in-store performance was held at a record store in Tempe, Arizona. However, due to 1,000 people showing up, the performance was moved to the Arizona State University campus. In mid-March, the band appeared on Total Request Live and Late Night with Conan O'Brien. Following this, they toured with the Juliana Theory and Further Seems Forever on a two-month tour of the US. On May 8, the band appeared on The Late Late Show. In mid-June, the group performed at KROQ's Weenie Roast festival.

From June to August, the Ataris toured as part of the 2003 Warped Tour. On July 11, the group appeared on Jimmy Kimmel Live!. The group performed at the 2003 MLB All-Star Game in late July. In August and September, the band embarked on a European tour, with Matchbook Romance. In October and November 2003, the band embarked on the VW Music Ed Tour with Vendetta Red. In November, the group went on a US tour with Planes Mistaken for Stars, Vendetta Red, Hopesfall, The Go Reflex and Squirtgun. The group appeared on The Late Late Show and The Jay Leno Show on December 1 and December 29, respectively. In February and March 2004, the group went on a UK tour with Planes Mistaken for Stars and Cursive. In April, the group went on a tour of Canada. In May, the group co-headlined the RiverFusion festival with Something Corporate. They then played a few shows with the National Trust, which consisted of Roe and Matt Hart of Squirtgun, and appeared at Hellfest.

Critical response
Initial critical response to So Long, Astoria was very average. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 57, based on seven reviews.

Commercial performance and legacy
So Long, Astoria sold 33,000 in its first week, debuting at number 24 on the Billboard 200. It charted at number 38 in Australia and number 92 in the UK. "In This Diary" charted at number 11 on the Alternative Songs chart. "The Saddest Song" charted at number 27 on the Alternative Songs chart. "The Boys of Summer" charted at number two on the Alternative Songs chart, number 10 on the Mainstream Top 40 chart, number 18 on the Adult Top 40 chart, number 20 on the Hot 100 chart, number 22 on the Radio Songs chart, number 36 on the Mainstream Rock chart, in the US. It also charted at number 17 in New Zealand, number 24 in Australia, number 49 in the UK, and number 87 in Switzerland. In August, So Long, Astoria was certified gold in the US. By November, the album had sold 516,000 copies. In March 2006, "The Boys of Summer" was certified gold in the US. In December 2013, sales stood at 693,000 copies.

The album was included at number 25 on Rock Sound's "The 51 Most Essential Pop Punk Albums of All Time" list. They later ranked it at number 97 on the list of best albums in their lifetime. In December 2013, the band released demos that had been recorded for the album. In February and March 2014, the group performed the album in its entirety in the US. They were supported by Versus the World, Authority Zero, Drag the River and Gasoline Heart. To promote the tour, a short documentary was made in the style of VH1's music documentary series Classic Albums. In June 2016, the group performed in Australia, playing songs solely from Blue Skies, Broken Hearts...Next 12 Exits and So Long, Astoria. In February 2018, the group went on a celebratory 15th anniversary tour for the album in the UK.

Track listing
All songs written by Kris Roe, except where noted.

Personnel
Credits adapted from liner notes.

The Ataris
 * Kris Roe – lead vocals, rhythm guitar, moog synthesizer, mellotron
 * Mike Davenport – bass guitar
 * John Collura – lead guitar, backing vocals
 * Chris Knapp – drums

Additional musicians
 * James Muhawi – piano (track 6)
 * Angus Cooke – cello
 * Johnathan Cox – programming
 * Glen Phillips – backing vocals
 * Mike Herrera – backing vocals
 * Tim Pagnotta – backing vocals

Production
 * Lou Giordano – producer, mixing
 * Thom Flowers – producer (track 12), engineer
 * Elissa Meihsner – producer (track 12), additional tracking
 * Eric Palmquist – producer (track 12)
 * Bradley Cooke – engineer
 * Andrew Alekel – engineer
 * Jason Nelson – assistant engineer
 * Dean Cupp – assistant engineer
 * Dave Ashton – assistant engineer, additional tracking
 * Jack Joseph Puig – mixing (tracks 4 and 6)
 * Angus Cooke – additional tracking

Artwork
 * Danny Clinch – band photos
 * Chuck Meyer – water tower photos
 * Kris Roe – other art photos
 * Sergie Loobkoff – art direction, design

title: So Long, Astoria


text:
Jeanne Eagels

Jeanne Eagels (born Eugenia Eagles; June 26, 1890 – October 3, 1929) was an American stage and film actress. Eagels appeared in many Broadway productions, and in the emerging medium of sound films. She was posthumously nominated for the Academy Award for Best Actress for her 1929 role in The Letter after dying suddenly that year at the age of 39.

Early life
Eugenia Eagles was the second of six children born to Edward, of German and French Huguenot descent, and his wife Julia Eagles (née Sullivan), who was of Irish descent. Her birth year – depending on the source – is given as 1888, 1890 (official bio year), 1891, 1892, 1893 (death certificate), or 1894. Jeanne, who later changed the spelling of her surname to "Eagels", would later claim that her father was a Spanish architect and she was born in Boston. In reality, she was born in Kansas City, Missouri and her father was a carpenter.

Eagels attended St. Joseph's Catholic School and Morris Public School. She quit school shortly after her First Communion to work as a cash girl in a department store.

Career
Eagels began her acting career at a young age in Kansas City, appearing in a variety of small venues. She left Kansas City around the age of 15 and toured the midwestern U.S. with the Dubinsky Brothers' traveling theater show as a dancer. She later played the leading lady in several comedies and dramas put on by the Dubinskys, who later founded AMC Theatres. As a teenager, she married Maurice Dubinsky, who frequently played a villain.

Around 1911, she moved to New York City and worked in chorus lines. Her hair was brown, but she bleached it when she went to New York. During this period, one of her acting coaches was Beverley Sitgreaves. She was in the supporting cast of Mind the Paint Girl at the Lyceum Theatre in September 1912. Eagels played opposite George Arliss in three plays in 1916 and 1917. In 1915, she appeared in her first motion picture. She also made three films for Thanhouser Film Corporation in 1916–17. In 1918, she appeared in Daddies, a David Belasco production. She quit this show due to illness and subsequently traveled to Europe. She appeared in several other Broadway shows between 1919 and 1921.

In 1922, she had her first starring role, in the play Rain by John Colton and Clemence Randolph, based on a short story by Somerset Maugham. In this, her favorite role, Eagels played Sadie Thompson, a free-wheeling and promiscuous spirit who confronts a fire-and-brimstone preacher on a South Pacific island. She went on tour with Rain for two more seasons and returned to Broadway to give a farewell performance in 1926.

In 1926, Eagels was offered the part of Roxie Hart in Maurine Dallas Watkins's play Chicago, but she walked out during rehearsals. She next appeared in the comedy Her Cardboard Lover (1927) with Leslie Howard, touring for several months. After missing a few performances due to ptomaine poisoning, Eagels returned to the cast in July 1927 for an Empire Theater show.

After a season on Broadway, she took a break to make a movie. She appeared opposite John Gilbert in the MGM film Man, Woman and Sin (1927), directed by Monta Bell. In 1928, after failing to appear for a performance of Her Cardboard Lover in Milwaukee, Wisconsin, Eagels was banned from the stage for 18 months by Actors Equity. The ban did not stop Eagels from working in film, and she made two sound films for Paramount Pictures, The Letter and Jealousy, both released in 1929.

Personal life
Eagels was married twice. Her first marriage was to actor Morris Dubinsky whom she married when she was a teenager. The couple reportedly had a son who either died (causing Eagels to have a nervous breakdown) or who was placed for adoption after the couple separated. Eagels and Dubinsky eventually divorced. In August 1925, Eagels married Edward Harris "Ted" Coy, a former football star at Yale University who became a stockbroker. They had no children and divorced in July 1928.

Death and legacy
During the peak of her success, Eagels began abusing drugs and alcohol and eventually developed an addiction. She went to several sanatoriums in an effort to kick her dependency. By the mid-1920s, she had begun using heroin. When she entered her 30s, Eagels began suffering from bouts of ill health that were exacerbated by her excessive substance abuse.

In September 1929, Eagels underwent eye surgery at St. Luke's Hospital in New York City. At the time, she was also suffering from breathing problems and neuritis. After a ten-day stay, Eagels returned to her apartment on Park Avenue. On October 3, 1929, Eagels and her secretary walked to the Park Avenue Hospital where Eagels had an appointment. While talking to the doctor, she began having convulsions and died shortly thereafter. The assistant chief medical examiner who performed Eagels' autopsy concluded that she died of "alcoholic psychosis". The medical examiner stated that while Eagels had not consumed alcohol in the two days preceding her death, she had been "acting strangely" and suffering from hallucinations three or four days before she died. Toxicology reports revealed that Eagels still had alcohol in her organs when she died in addition to heroin and chloral hydrate (a sedative that Eagels regularly took to sleep). Her death was attributed to an overdose of the chloral hydrate.

After services in New York at the Frank E. Campbell Funeral Chapel, Eagels received a second funeral service when her body was returned to Kansas City on October 7, where she was buried in Calvary Cemetery. She was survived by her mother Julia Eagles and several brothers and sisters.

Eagles was nominated posthumously for Best Actress for her role in The Letter at the 2nd Academy Awards in 1930. She was the first performer to be nominated by the Academy after her death, though hers, like all the nominations at the 2nd Academy Awards, was unofficial, being among several actresses "under consideration" by a board of judges. In 1957, a mostly fictionalized film biography entitled Jeanne Eagels was made by Columbia Pictures, with Eagels portrayed by Kim Novak. Eagels' family sued Columbia over the way Eagels had been depicted in the movie.

title: Jeanne Eagels


text:
Joe Cornish

Joseph Murray Cornish (born 20 December 1968) is an English comedian and filmmaker. With his long-time comedy partner, Adam Buxton, he forms the comedy duo Adam and Joe. In 2011, Cornish released his directorial debut Attack the Block. He also co-wrote The Adventures of Tintin with Steven Moffat and Edgar Wright, and Ant-Man, with Wright, Adam McKay, and Paul Rudd.

Early life
Cornish was educated at the independent Westminster School in central London, where he became friends with both Adam Buxton and Louis Theroux. At age 18, he went on to study at the Bournemouth Film School.

The Adam and Joe Show
The Adam and Joe Show was an ironic pop culture sketch show written, presented and directed by the duo. The show found cult success during its four series between 1996 and 2001. The best-known segments featured hit feature films recreated with stuffed toys, British television shows parodied using Star Wars action figures, and Vinyl Justice, in which the pair invaded rock stars' homes and searched their record collections for embarrassing records.

Since the end of The Adam and Joe Show, Cornish has continued to work in British television and radio as a presenter, writer and director, both with and without Buxton. He wrote and presented the BBC Radio 4 film programme Back Row between 2002 and 2003.

In 2001, he fronted the topical discussion show This Week Only, alongside Nick Frost and Lauren Laverne.

In 2007, he and Buxton began presenting Adam and Joe, a radio show on BBC Radio 6 Music. This was put on hold during 2010 while Cornish directed Attack the Block; a new series began on Saturday 2 April 2011.

Film and TV
Cornish has made a number of behind the scenes documentaries/video diaries. They include Cornish following the making of Little Britain series 2, which was screened on BBC Three and is included on the Little Britain Series 2 DVD; a video diary of his brief cameo as a zombie, which appears on the UK Shaun of the Dead DVD; and Hot Fuzz: The Fuzzball Rally, where he followed his friends and collaborators, Edgar Wright, Nick Frost and Simon Pegg on the US press tour for their film Hot Fuzz. There have been two cuts of the Fuzzball Rally: a 28-minute version was included on the Hot Fuzz HD DVD (UK/US) and a 71-minute version was included on both the 3-Disc Collectors Edition DVD (US) and the Blu-ray Disc (US/UK) of Fuzz. The documentary caused the latter's certification to be changed from a 15 certificate to an 18 certificate, due to the very strong language the documentary contains.

He made a brief appearance in Hot Fuzz as a white suited and bemasked Scenes-of-Crime Officer named "Bob". In 2017, he made a cameo in Star Wars: The Last Jedi alongside Wright, where both played Resistance fighters.

In 2006, he was announced as co-writer on a feature film adaptation of the Marvel Comics comic book character Ant-Man, with Shaun of the Dead director Edgar Wright. Both Wright and Cornish received story by and screenplay credit on the finished film, after Wright's departure from the project in 2014. Wright and Cornish also rewrote Steven Moffat's script for The Adventures of Tintin co-starring Simon Pegg, for Steven Spielberg and Peter Jackson. In November 2013, Cornish was tipped to be J. J. Abrams' lead choice for director of the upcoming Star Trek Beyond. However, Roberto Orci was ultimately chosen to direct, before leaving the project in late 2014.

In December 2020, the popular middle grade thriller series Lockwood & Co. was announced to be going to Netflix, adapted by Cornish.

Cornish has continued his work in television comedy, directing parts of the pilot of Modern Toss, and the pilot to Channel 4's Blunder. According to an interview in Word Magazine, he pulled out of directing the series of Blunder due to creative differences with Channel 4 and the production company. In early 2007, he directed the video for Charlotte Hatherley's single "I Want You to Know".

Attack the Block
On 13 May 2011, Optimum Releasing released Attack the Block, Cornish's directorial debut, which was executive produced by his friend and collaborator, Edgar Wright, and produced by Film4, Big Talk Pictures, the UK Film Council and Optimum's French parent company StudioCanal (which would later rebrand Optimum under their name four months after the film's British release). The film is a science fiction action horror comedy set in South London that pitches a gang of youths against an alien invasion. The film initially had no US distributor, but after the reaction of the press and attendees at the SXSW premiere, the US rights were purchased by Screen Gems for theatrical release on 29 July 2011.

The Kid Who Would Be King
Cornish's second film was the fantasy adventure The Kid Who Would Be King, starring Louis Ashbourne Serkis. Filming took place in Tintagel. The film, also featuring Patrick Stewart and Rebecca Ferguson, was released on 25 January 2019.

Future projects
In June 2012, it was announced that Cornish had been signed as director of a future film adaptation of Neal Stephenson's classic 1992 novel Snow Crash for Paramount Pictures. In May 2020, it was announced that Cornish would direct and write the TV series adaptation of Lockwood & Co. for Netflix. In April 2021, it was announced that Cornish would direct and write an adaptation of Starlight for 20th Century Studios. In May 2021, it was announced that Cornish would write, direct, and produce the sequel to Attack the Block.

Filmography
Film

Cameo roles

Television

title: Joe Cornish


text:
The Letter (1940 film)

The Letter is a 1940 American crime film noir melodrama directed by William Wyler, and starring Bette Davis, Herbert Marshall and James Stephenson. The screenplay by Howard E. Koch is based on the 1927 play of the same name by W. Somerset Maugham derived from his own short story. The play was first filmed in 1929, by director Jean de Limur. The story was inspired by a real-life scandal involving the Eurasian wife of the headmaster of a school in Kuala Lumpur who was convicted in a murder trial after shooting dead a male friend in April 1911. She was pardoned by the local sultan after a public furor.

Plot
Leslie Crosbie, the wife of a British rubber plantation manager in Malaya, shoots dead Geoffrey Hammond, a well-known member of the expatriate community. Leslie tells the servant to send for the new district officer and her husband Robert, who is loading rubber for shipment. Crosbie returns, delivered by his attorney, a close family friend. Leslie claims that she killed Hammond to save her honor. She is placed under arrest, jailed in Singapore, and charged with murder. Her eventual acquittal seems a foregone conclusion, as the White community not only believes her story but feels she had acted heroically. Only the attorney, Howard Joyce, harbors suspicion. His clerk, Ong Chi Seng, tells him a letter exists that Leslie wrote to Hammond the day of the shooting, imploring him to come that night while Robert was away.

Ong tells Joyce that the original is in the possession of Hammond's widow, a Eurasian woman who lives in the Chinese quarter. He shows Joyce a copy, revealing Leslie's clear culpability in her ex-lover's murder, and conveys that the original is for sale, at a staggering price. Joyce then confronts Leslie, who first denies then breaks down and confesses to having written it. She manipulates him into agreeing to buy it back despite the risk to his career.

Joyce tells Robert about the letter without divulging its content or true price, which will exhaust nearly all of Robert's savings. Ong informs Joyce that Hammond's widow demands Leslie come personally to make the payoff, so Joyce arranges for the court to have her released into his custody to "regain her health".

In the Chinese quarter Leslie obtains the letter from the angry widow. She is acquitted.

In the aftermath of the trial Robert announces to Leslie and Joyce that he plans to buy a rubber plantation in Sumatra to give him and Leslie a fresh start. It will require all his savings, plus a mortgage, but he can hardly contain his excitement. Joyce informs him of the true cost of the letter, which Robert insists on reading. He is devastated to learn that Leslie had lied about the killing and had been unfaithful with Hammond for years.

As a party celebrating the acquittal gets underway, Leslie discovers a dagger on her porch which she recognizes from the shop where she retrieved the letter. Immediately aware of the implication, she nevertheless joins the party before retreating to her room to lose herself in her lacework. Robert brags to his friends about his Sumatran fantasy, but collapses in gin and misery.

Robert offers to forgive Leslie if she can swear her love to him. She does, but then abruptly confesses that she still loves Hammond.

Robert rushes from the room. Opening the door to the garden, Leslie sees the dagger is now gone. She recognizes the inevitability of her fate, and ghosts down the garden path toward it. Outside the gate, Leslie is grabbed from behind and held by her own manservant while Hammond's widow stabs her with the dagger.

The two murderers attempt to slip away, but are stopped within steps by the flashlight of a policeman, who leads them silently away.

Cast

 * Bette Davis as Leslie Crosbie
 * Herbert Marshall as Robert Crosbie
 * James Stephenson as Howard Joyce
 * Frieda Inescort as Dorothy Joyce
 * Gale Sondergaard as Mrs. Hammond
 * Bruce Lester as John Withers
 * Elizabeth Earl as Adele Ainsworth
 * Cecil Kellaway as Prescott
 * Sen Yung as Ong Chi Seng
 * Doris Lloyd as Mrs. Cooper
 * Willie Fung as Chung Hi
 * Tetsu Komai as Head Boy

Production
The Production Code Administration rejected the original story adaptation that Warner Bros. submitted on the grounds that it contained adultery and unpunished murder, so a new final scene was added in which the widow Hammond takes her revenge. The character of Mrs. Hammond was also changed from Hammond's Chinese mistress to his Eurasian wife to placate the Hays code.

Director William Wyler and star Bette Davis, who had previously worked together on Jezebel, disagreed about the climactic scene in which Leslie admits to her husband she still loves the man she murdered. Davis felt no woman could look at her husband when she admits such a thing. Wyler disagreed, and Davis walked off the set. She later returned and did it Wyler's way, but ever after, Davis insisted her approach would have been better.

Wyler also argued with Warner Bros. head Jack L. Warner over the casting of British actor James Stephenson as attorney Howard Joyce. Warner originally had suggested Stephenson for the role, but after Wyler cast him, the studio head had second thoughts and thought the role was too important to cast an unknown in it. Wyler stood firm, and Stephenson's performance earned him an Oscar nomination.

Herbert Marshall also appeared in the 1929 version, in which he plays the lover who is killed by Leslie. The 1940 film begins with the shooting. The 1929 version opens with the confrontation between Leslie and Geoff that preceded it.

Reception
The film was a huge hit with the public, and received seven Academy Award nominations (for Outstanding Production, Best Director, Best Actress (Davis), Best Supporting Actor (Stephenson), Best Cinematography – Black and White, Best Film Editing, and Best Original Score, but failed to win any.

Critical response
In his review in The New York Times, Bosley Crowther observed, "The ultimate credit for as taut and insinuating a melodrama as has come along this year — a film which extenuates tension like a grim inquisitor's rack—must be given to Mr. Wyler. His hand is patent throughout . . . Miss Davis is a strangely cool and calculating killer who conducts herself with reserve and yet implies a deep confusion of emotions . . . Only the end of The Letter is weak — and that is because of the postscript which the Hays Office has compelled".

Variety magazine wrote, "Never has [the W. Somerset Maugham play] been done with greater production values, a better all-around cast or finer direction. Its defect is its grimness. Director William Wyler, however, sets himself a tempo which is in rhythm with the Malay locale . . . Davis' frigidity at times seems to go even beyond the characterization. On the other hand, Marshall never falters. Virtually stealing these honors in the pic, however, is Stephenson as the attorney, while Sondergaard is the perfect mask-like threat".

Time Out London said in 2012, "A superbly crafted melodrama, even if it never manages to top the moody montage with which it opens - moon scudding behind clouds, rubber dripping from a tree, coolies dozing in the compound, a startled cockatoo - as a shot rings out, a man staggers out onto the verandah, and Davis follows to empty her gun grimly into his body . . . [The] camerawork, almost worthy of Sternberg in its evocation of sultry Singapore nights and cool gin slings, is not matched by natural sounds (on the soundtrack Max Steiner's score does a lot of busy underlining).

The film holds a 100% rating on Rotten Tomatoes based on 15 reviews, with an average rating of 8.40/10.

Accolades
The film is recognized by American Film Institute in these lists:
 * 2003: AFI's 100 Years...100 Heroes & Villains:
 * Leslie Crosbie – Nominated Villain

Streaming audio

 * "Letter". on Lux Radio Theater: April 21, 1941.
 * "The Letter". on Lux Radio Theater: March 6, 1944.

title: The Letter (1940 film)


text:
Schneersohn

Schneersohn (or Schneerson) is a Jewish surname used by many of the descendants of Rabbi Shneur Zalman of Liadi, the first Rebbe of the Chabad-Lubavitch Hasidic movement.

Origins
Rabbi Shneur Zalman of Liadi (1745 – 1812), founded the Chabad Hasidic movement in 1775. His son, Rabbi Dovber Schneuri (1773 – 1827), the second Chabad Rebbe, adopted the "Schneuri" surname after his father's first name. The first to use the "Schneersohn" surname was Rabbi Menachem Mendel Schneersohn, the nephew/son-in-law of Rabbi Dovber and the grandson of Rabbi Schneur Zalman and the third Chabad Rebbe.

Chabad Rebbes

 * Rabbi Menachem Mendel Schneersohn (1789 – 1866), the third Chabad-Lubavitch Rebbe
 * Rabbi Shmuel Schneersohn (1834 – 1882), the fourth Chabad-Lubavitch Rebbe
 * Rabbi Sholom Dovber Schneersohn (1860 – 1920), the fifth Chabad-Lubavitch Rebbe
 * Rabbi Yosef Yitzchok Schneersohn (1880 – 1950), the sixth Chabad-Lubavitch Rebbe
 * Rabbi Menachem Mendel Schneerson (1902 – 1994), the seventh Chabad-Lubavitch Rebbe

Rebbes of Chabad offshoots

 * Rabbi Yehuda Leib Schneersohn (1811 – 1866), the second son of third Chabad and the founder and first rebbe of the Kopust-Chabad offshoot dynasty
 * Rabbi Shlomo Zalman Schneersohn (1830 – 1900), the second rebbe of the Kopust-Chabad dynasty
 * Rabbi Shmaryahu Noah Schneersohn (1842 – 1924), the third rebbe of the Kopust-Chabad dynasty
 * Rabbi Chaim Schneur Zalman Schneersohn (d. 1879), the son of third Chabad and the founder and first rebbe of the Liadi-Chabad offshoot dynasty
 * Rabbi Yitzchak Dovber Schneersohn, the second rebbe of the Liadi-Chabad dynasty

Others

 * Chaya Mushka Schneersohn (d. 1860), the wife of Rabbi Menachem Mendel Schneersohn, the third Chabad rebbe
 * Rabbi Levi Yitzchak Schneerson (1878 – 1944), a Kabbalist, rabbi of Dnepropetrovsk and the father of Rabbi Menachem Mendel Schneerson, the seventh Chabad rebbe
 * Chana Schneerson (1880 – 1964), the mother of the seventh Chabad rebbe.
 * Rabbi Isaac Schneersohn (1879 or 1881(?) – 1969), a French rabbi, industrialist, founder of the first Holocaust Archives and Memorial.
 * Antoine Ethan-Lev Baduel Schneersohn Salzman (1971 – ), President and CEO of Radio FG, radio presenter, the first Chabad-Lubavitch Rebbe dynasty
 * Jean-Etienne Yaakov-Lev Baduel Schneersohn Salzman (1978 – ), CEO of Radio FG, the first Chabad-Lubavitch Rebbe dynasty
 * Rabbi Schneour Zalman Schneersohn (1898 – 1980), a French Hasidic Rabbi.
 * Chaya Mushka Schneersohn (1901 – 1988), the wife of Rabbi Menachem Mendel, the seventh Chabad rebbe
 * Sheina Horenstein (d. 1942), born Sheina Schneersohn, the daughter of Rabbi Yosef Yitzchak, the sixth rebbe
 * Menucha Rochel Slonim (1798 – 1888), the daughter of Dovber, the second rebbe. Leader and pioneer of the Hebron community in Israel.
 * Zelda Schneersohn Mishkovsky (1914 – 1984), an Israeli poet, widely known as Zelda

title: Schneersohn


text:
John Dickson Carr

John Dickson Carr (November 30, 1906 – February 27, 1977) was an American author of detective stories, who also published using the pseudonyms Carter Dickson, Carr Dickson, and Roger Fairbairn.

He lived in England for a number of years, and is often grouped among "British-style" mystery writers. Most (though not all) of his novels had English settings, especially country villages and estates, and English characters. His two best-known fictional detectives (Dr. Gideon Fell and Sir Henry Merrivale) were both English.

Carr is generally regarded as one of the greatest writers of so-called "Golden Age" mysteries; complex, plot-driven stories in which the puzzle is paramount. He was influenced in this regard by the works of Gaston Leroux and by the Father Brown stories of G. K. Chesterton. He was a master of the so-called locked room mystery, in which a detective solves apparently impossible crimes. The Dr. Fell mystery The Hollow Man (1935), usually considered Carr's masterpiece, was selected in 1981 as the best locked-room mystery of all time by a panel of 17 mystery authors and reviewers. He also wrote a number of historical mysteries.

The son of Wooda Nicholas Carr, a U.S. congressman from Pennsylvania, Carr graduated from The Hill School in Pottstown in 1925 and Haverford College in 1929. During the early 1930s, he moved to England, where he married Clarice Cleaves, an Englishwoman. He began his mystery-writing career there, returning to the United States as an internationally known author in 1948.

In 1950, his biography of Sir Arthur Conan Doyle earned Carr the first of his two Special Edgar Awards from the Mystery Writers of America; the second was awarded in 1970, in recognition of his 40-year career as a mystery writer. He was also presented the MWA's Grand Master award in 1963. Carr was one of only two Americans ever admitted to the British Detection Club.

In early spring 1963, while living in Mamaroneck, New York, Carr suffered a stroke, which paralyzed his left side. He continued to write using one hand, and for several years contributed a regular column of mystery and detective book reviews, "The Jury Box", to Ellery Queen's Mystery Magazine. Carr eventually relocated to Greenville, South Carolina, and died there of lung cancer on February 28, 1977.

Dr. Fell and Sir Henry Merrivale
Carr's two major detective characters, Dr. Fell and Sir Henry Merrivale, are superficially quite similar. Both are large, upper-class, eccentric Englishmen somewhere between middle-aged and elderly. Dr. Fell, who is fat and walks only with the aid of two canes, was clearly modeled on the British writer G. K. Chesterton and is at all times civil and genial. He has a great mass of untidy hair that is often covered by a "shovel hat" and he generally wears a cape. He lives in a modest cottage and does not have any official association with public authorities.

Henry Merrivale or "H.M.", on the other hand, although stout and with a majestic "corporation", is active physically and is feared for his ill-temper and noisy rages. In a 1949 novel, A Graveyard To Let, for example, he demonstrates an unexpected talent for hitting baseballs improbable distances. A wealthy descendant of the "oldest baronetcy" in England, he is part of the Establishment (even though he frequently rails against it) and in the earlier novels is the director of the British Secret Service. In The Plague Court Murders he is said to be qualified as both a barrister and a medical doctor. Even in the earliest books the bald, bespectacled, and scowling H.M. is clearly a Churchillian figure and in the later novels this similarity is somewhat more consciously evoked. Many of the Merrivale novels, written using the Carter Dickson byline, rank with Carr's best work, including the much-praised The Judas Window (1938).

Many of the Fell novels feature two or more different impossible crimes, including He Who Whispers (1946) and The Case of the Constant Suicides (1941). The novel The Crooked Hinge (1938) combines a seemingly impossible throat-slashing, witchcraft, a survivor of the ship Titanic, an eerie automaton modeled on Wolfgang von Kempelen's chess player, and a case similar to that of the Tichborne Claimant into what is often cited as one of the greatest classics of detective fiction. But even Carr's biographer, Douglas G. Greene, notes that the explanation, like many of Carr's in other books, seriously stretches plausibility and the reader's credulity.

Dr. Fell's own discourse on locked room mysteries in chapter 17 of The Hollow Man is acclaimed critically and is sometimes printed as a stand-alone essay in its own right.

Other works
Besides Dr. Fell and Sir Henry Merrivale, Carr mysteries feature two other series detectives: Henri Bencolin and Colonel March.

A few of his novels do not feature a series detective. The most famous of these, The Burning Court (1937), involves witchcraft, poisoning, and a body that disappears from a sealed crypt in suburban Philadelphia; it was the basis for the French movie La chambre ardente (1962).

Carr wrote in the short story format as well. Julian Symons, in Bloody Murder: From the Detective Story to the Crime Novel: A History (1972), said: "Most of Carr's stories are compressed versions of his locked-room novels, and at times they benefit from the compression. Probably the best of them are in the Carter Dickson book, The Department of Queer Complaints (1940), although this does not include the brilliantly clever H.M. story The House in Goblin Wood or a successful pastiche which introduces Edgar Allan Poe as a detective."

During 1950, Carr wrote the novel, The Bride of Newgate, set during 1815 at the close of the Napoleonic Wars, "one of the earliest historical mystery novels." The Devil in Velvet and Fire, Burn! are the two historical novels (involving also Time travel) with which he said he himself was most pleased. With Adrian Conan Doyle, the youngest son of Arthur Conan Doyle, Carr wrote Sherlock Holmes stories that were published in the 1954 collection The Exploits of Sherlock Holmes. He was also honored by the estate of Sir Arthur Conan Doyle by being asked to write the biography for the legendary author. The book, The Life of Sir Arthur Conan Doyle, was published during 1949 and received generally favorable reviews for its vigor and entertaining style.

Critical appraisal
Dr. Fell has generally been considered to be Carr's major creation. The British novelist Kingsley Amis, for instance, writes in his essay, "My Favorite Sleuths", that Dr. Fell is one of the three great successors to Sherlock Holmes (the other two are Father Brown and Nero Wolfe) and that H.M., "according to me is an old bore." This may be in part because in the Merrivale novels written after World War II, H.M. frequently became a comic caricature of himself, especially in the physical misadventures in which he found himself at least once in every novel. Humorous as these episodes were intended to be, they also tended to have the effect of decreasing the mystique of the character. Earlier, however, H.M. had been regarded more favorably by a number of critics. Howard Haycraft, author of the seminal Murder for Pleasure: The Life and Times of the Detective Story, wrote during 1941 that H.M. or "The Old Man" was "the present writer's admitted favorite among contemporary fictional sleuths". During 1938 the British mystery writer R. Philmore wrote in an article called "Inquest on Detective Stories" that Sir Henry was "the most amusing of detectives". And further: "Of course, H.M. is so much the best detective that, once having invented him, his creator could get away with any plot."

There is a book-length critical study by S. T. Joshi, John Dickson Carr: A Critical Study (1990) (ISBN 0-87972-477-3) and a chapter on Carr in Joshi's book Varieties of Crime Fiction (2019) ISBN 978-1-4794-4546-2.

The definitive biography of Carr is by Douglas G. Greene, John Dickson Carr: The Man Who Explained Miracles (1995) (ISBN 1-883402-47-6). From an obituary published in Greenville, South Carolina, Carr allegedly also published using the name of Fenton Carter, but no works by anyone of this name have yet been identified.

Radio plays
Carr also wrote many radio scripts, particularly for the Suspense radio anthology series in America and for its UK equivalent Appointment With Fear introduced by Valentine Dyall, as well as many other dramas for the BBC, and some screenplays. His 1943 half-hour radio play Cabin B-13 was expanded into a series on CBS during 1948–49 for which Carr wrote all 23 scripts, basing some on earlier works or re-presenting devices that Chesterton had used. The 1943 play Cabin B-13 was also expanded into the script for the 1953 movie Dangerous Crossing, directed by Joseph M. Newman and featuring Michael Rennie and Jeanne Crain. Carr worked extensively for BBC Radio during World War II, writing both mystery stories and propaganda scripts. During the late 1940s he hosted Murder by Experts transmitted by Mutual radio. He introduced works by other mystery writers who were the week's guest writers. The show originated from Mutual's main station WOR in New York City. Many of these shows are available for free listening or downloading at the Internet Archive.

Film and television
Carr's works were the basis for several movies, including The Man With a Cloak (1951) and Dangerous Crossing (1953). The Emperor's Snuffbox was filmed as That Woman Opposite (1957), and La Chambre Ardente (1962) was a loose adaptation of The Burning Court.

Various Carr stories formed the basis for episodes of television series, particularly those without recurring characters such as General Motors Presents. During 1956, the television series Colonel March of Scotland Yard, featuring Boris Karloff as Colonel March, was based on Carr's character and his stories and was broadcast for 26 episodes.

Henri Bencolin mysteries

 * 1) It Walks By Night – 1930
 * 2) The Lost Gallows – 1931
 * 3) Castle Skull – 1931
 * 4) The Waxworks Murder – 1932 (US title: The Corpse In The Waxworks)
 * 5) The Four False Weapons, Being the Return of Bencolin – 1937

Dr. Gideon Fell mysteries

 * 1) Hag's Nook – 1933
 * 2) The Mad Hatter Mystery – 1933
 * 3) The Eight of Swords – 1934
 * 4) The Blind Barber – 1934
 * 5) Death-Watch – 1935
 * 6) The Hollow Man – 1935 (US title: The Three Coffins)
 * 7) The Arabian Nights Murder – 1936
 * 8) To Wake the Dead – 1938
 * 9) The Crooked Hinge – 1938
 * 10) The Black Spectacles – 1939 (US title: The Problem Of The Green Capsule)
 * 11) The Problem of the Wire Cage – 1939
 * 12) The Man Who Could Not Shudder – 1940
 * 13) The Case of the Constant Suicides – 1941
 * 14) Death Turns the Tables – 1941 (UK title: The Seat of the Scornful, 1942)
 * 15) Till Death Do Us Part – 1944
 * 16) He Who Whispers – 1946
 * 17) The Sleeping Sphinx – 1947
 * 18) Below Suspicion – 1949 (with Patrick Butler)
 * 19) The Dead Man's Knock – 1958
 * 20) In Spite of Thunder – 1960
 * 21) The House at Satan's Elbow – 1965
 * 22) Panic in Box C – 1966
 * 23) Dark of the Moon – 1967

Non-series mysteries

 * Poison in Jest – 1932 (features Jeff Marle from the Henri Bencolin series)
 * The Burning Court – 1937
 * The Emperor's Snuff-Box – 1942
 * The Nine Wrong Answers – 1952
 * Patrick Butler for the Defence – 1956 (features Patrick Butler from the Dr. Fell novel Below Suspicion)

Historical mysteries

 * The Bride of Newgate – 1950
 * The Devil in Velvet – 1951
 * Captain Cut-Throat – 1955
 * Fire, Burn! – 1957
 * Scandal at High Chimneys: A Victorian Melodrama – 1959
 * The Witch of the Low Tide: An Edwardian Melodrama – 1961
 * The Demoniacs – 1962
 * Most Secret (novel) – 1964 (This was a revision of a novel by Carr that was published in 1934 as Devil Kinsmere under the pseudonym "Roger Fairbairn")
 * Papa La-Bas – 1968
 * The Ghost's High Noon – 1970
 * Deadly Hall – 1971
 * The Hungry Goblin: A Victorian Detective Novel – 1972 (Wilkie Collins is the detective)

Short story collections

 * The Department of Queer Complaints, as Carter Dickson - 1940
 * Dr. Fell, Detective, and Other Stories - 1947
 * The Third Bullet and Other Stories of Detection - 1954
 * The Exploits of Sherlock Holmes, with Adrian Conan Doyle - 1954 (Sherlock Holmes)
 * The Men Who Explained Miracles - 1963
 * The Door to Doom and Other Detections - 1980 (includes radio plays)
 * The Dead Sleep Lightly - 1983 (radio plays)
 * Fell and Foul Play - 1991 (includes the full version of The Third Bullet and the short story 'Harem-Scarem', not in any other collection)
 * The Kindling Spark: Early Tales of Mystery, Horror, and Adventure --2022. Apprentice stories edited by Dan Napolitano.  Crippen & Landru

Stage plays

 * Speak of the Devil - Crippen & Landru, 1994 (a radio play in 8 parts). First publication of Carr's radio script. Written in 1941.
 * 13 to the Gallows - Crippen & Landru, 2008.  A collection of 4 stage plays, written during the early 1940s —- 2 by Carr alone, and 2 in collaboration with the BBC's Val Gielgud.

Radio plays

 * The Island of Coffins - Crippen & Landru, 2020.  A collection of radio scripts from the Cabin B-13 radio show, written during 1948-1949.
 * The Old Time Radio Series "Suspense" contains 22 plays by Carr, many of them not available in printed form.  The radio plays can be downloaded from this site in MP3 format: https://archive.org/index.php]
 * BBC has issued a set of two 90-minute cassettes containing radio versions of The Hollow Man and Till Death us Do Part featuring Donald Sinden as Dr. Fell (also now on CD).

Non-fiction

 * Brotherhood of Shadows - 1923. Unpublished essay
 * The Murder of Sir Edmund Godfrey - 1936, historical analysis of a noted murder of 1678
 * The Life of Sir Arthur Conan Doyle - 1949, the authorized biography

Sir Henry Merrivale mysteries

 * 1) The Plague Court Murders - 1934
 * 2) The White Priory Murders- 1934
 * 3) The Red Widow Murders - 1935
 * 4) The Unicorn Murders - 1935
 * 5) The Punch and Judy Murders -1936 (UK title: The Magic Lantern Murders)
 * 6) The Ten Teacups - 1937 (US title: The Peacock Feather Murders)
 * 7) The Judas Window - 1938 (alternate US paperback title: The Crossbow Murder)
 * 8) Death in Five Boxes - 1938
 * 9) The Reader is Warned - 1939
 * 10) And So To Murder - 1940
 * 11) Murder in The Submarine Zone - 1940 (US title: Nine - And Death Makes Ten, also published as Murder in the Atlantic)
 * 12) Seeing is Believing - 1941 (alternate UK paperback title: Cross of Murder)
 * 13) The Gilded Man - 1942 (alternate US paperback title: Death and The Gilded Man)
 * 14) She Died A Lady - 1943
 * 15) He Wouldn't Kill Patience - 1944
 * 16) The Curse of the Bronze Lamp - 1945 (UK title: Lord of the Sorcerers, 1946)
 * 17) My Late Wives - 1946
 * 18) The Skeleton in the Clock - 1948
 * 19) A Graveyard To Let - 1949
 * 20) Night at the Mocking Widow - 1950
 * 21) Behind the Crimson Blind - 1952
 * 22) The Cavalier's Cup - 1953

Colonel March mysteries
In the early 1950s Boris Karloff played Col. March in a weekly television series Colonel March of Scotland Yard.
 * The Department of Queer Complaints (as Carter Dickson) (detective: Colonel March) - 1940 (The 1940 volume contains 7 stories about Colonel March and 4 non-series stories. The 7 March stories were reprinted as Scotland Yard: Department of Queer Complaints, Dell mapback edition, 1944.)
 * Merrivale, March and Murder - 1991 'The Department of Queer (ODD) Complaints' It contains all of the Colonel March short stories, and the short story 'The Diamond Pentacle', not in any other collection)

Non-series mysteries

 * The Bowstring Murders - 1933 (Originally published as by Carr Dickson, but Carr's publishers complained that the name was too similar to Carr's real name, so Carter Dickson was substituted.)
 * The Third Bullet (John Dickson Carr) - 1937 (novella)
 * Drop to His Death (in collaboration with John Rhode) - 1939 (US title: Fatal Descent)

Historical mysteries

 * Fear Is the Same - 1956

Biography

 * John Dickson Carr: The Man Who Explained Miracles by Douglas G. Greene, Otto Penzler Books/ Simon & Schuster, 1995. Biography & critical study of his works.

Book review sites/annotated book lists

 * The Ministry of Miracles: The Detective Fiction of John Dickson Carr a site made by Nicholas Fuller which includes book reviews.
 * The Grandest Game in the World a blog by Nicholas Lester Fuller which includes book reviews and expands upon the old site above.
 * Grobius Shortling's John Dickson Carr (Carter Dickson) Page a site made by Grobius Shortling which includes ratings & book reviews.

Forums

 * John Dickson Carr - Golden Age Mysteries a discussion forum for fans.

title: John Dickson Carr


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Quinn Fawcett

Quinn Fawcett is the pen name of a pair of authors, Chelsea Quinn Yarbro and Bill Fawcett, who also write separately. Among their collaborations are a series of mysteries featuring Victoire Vernet, fictional wife of one of Napoleon's generals; a series featuring Sherlock Holmes's brother Mycroft; and a series fictionalizing the espionage experiences of James Bond creator Ian Fleming.

Mme. Vernet books

 * Napoleon Must Die (1993, ISBN 0-380-76541-1)
 * Death Wears a Crown (1993, ISBN 0-380-76542-X)

Mycroft Holmes books

 * Against The Brotherhood (1997, ISBN 0-8125-4523-0)
 * Embassy Row (1998, ISBN 0-8125-4522-2)
 * The Flying Scotsman (1999, ISBN 0-312-86364-0)
 * The Scottish Ploy (2000, ISBN 0-312-87628-9)

Ian Fleming books

 * Death to Spies (2002, ISBN 978-0-312-86930-4)
 * Siren Song (2003, ISBN 978-0-312-86928-1)
 * Honor Among Spies (2004, ISBN 978-0-312-87644-9)

title: Quinn Fawcett