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Bonampak

Bonampak (known anciently as Ak'e or, in its immediate area as Usiij Witz, 'Vulture Hill') is an ancient Maya archaeological site in the Mexican state of Chiapas. The site is approximately 30 km south of the larger site of the people Yaxchilan, under which Bonampak was a dependency, and the border with Guatemala. While the site is not overly spatial or abundant in architectural size, it is well known for the murals located within the three roomed Structure 1 (The Temple of the Murals). The construction of the site's structures dates to the Late Classic period (c. AD 580 to 800). The Bonampak murals are noteworthy for being among the best-preserved Maya murals.

The site, lying close to a tributary of the Usumacinta River, was seen by non-Mayans in 1946. Precisely who was first of the non-Mayans to see it is a matter of speculation, but it was either two American travelers, Herman Charles (Carlos) Frey and John Bourne, or photographer/explorer Giles Healey. The Americans were led to the ruins by the local Lacandon Maya who still visited the site to pray in the ancient temples. Giles Healey was the first to be shown the huge paintings covering the walls of one of the structure's three rooms. The paintings show the story of a single battle and its victorious outcome.

History of the polity
Bird Jaguar in the early 5th century fought against K'inich Tatb'u Skull I in Yaxchilan, and lost his freedom. Other nobles were captured in a later war against Knot-eye Jaguar I. In 514, Knot-eye Jaguar I was himself taken captive (by Ruler C of Piedras Negras), giving Bonampak some respite; but after 526, his successor K'inich Tatb'u Skull II attacked Bonampak again and captured more lords.

Bonampak by 600 CE had become a satellite of Yaxchilan. In that time, the ajaw of Yaxchilan installed Yajaw Chan Muwaan I as lord in Bonampak. Subsequent ajawob reconstructed the site to orient toward the metropolis. C. 790 CE, Yaxchilan's king Shield Jaguar III oversaw the installation of Chan Muwaan II, and hired Yaxchilano artisans to commemorate it in "Structure I"'s murals. Bonampak collapsed with Yaxchilan in the 9th century.

Temple of the Murals
Structure 1:

Structure 1 at Bonampak, built at the end of the eighth century A.D. measures 16 meters long, four meters deep, and seven meters tall, and is constructed atop a T-shaped platform. Although there is no evidence to support the claim, some speculate that it may have also had a roofcomb, such as can be seen on Structure 33 at nearby Yaxchilan. Structurally symmetrical, balanced and stable, it is composed of three separate rooms, which contain murals that narrate the events surrounding the accession to the throne by Chooj, son of Bonampak ruler Yajaw Chaan Muwan, and grandson of Aj Sak Teles. Although there has been some disagreement as to the temporal sequence of events, it is generally agreed that the narrative should be viewed in chronological order, beginning in Room 1 (scene of tribute, dressing, dance, mummery and musical performance); then on to Room 2 (scene of violent conflict, and a display in which a human cull is presented, tortured and killed in the company of the highest members of court and upper echelons of the victorious force); and, finally, to Room 3 (scene of a dance, with observers, and ritual bloodletting). In total, there are some 281 human figures represented within the three rooms, many with captions (approximately 1/3 of the figures are named, while another 10 percent of the figures have blank captions, and slightly more than half have no caption at all). A few theories as to why some captions were left blank include deaths or political realignment, an interruption of the murals related to the ostensible Lowland Maya collapse during the period of Structure 1's creation, and the possibility that it became politically impolite to name certain figures. The planning and execution of the Bonampak murals points to a large team of specialists, and not to one solitary genius. This team would have included plasterers, pigment preparers, and possibly calligraphers, in addition to the painters and planners whose artistic conception is most visible on the walls.

The exterior of Structure 1, although poorly preserved, was once richly painted in bright hues of Maya blue, blue-green, red, and yellow. Indeed, almost everything would have been covered in paint, as even the floors in each room were painted black. Only the top surfaces of the interior benches appear to have been left unpainted. In addition to the various colors applied, there were further artistic elements on the facade of Structure 1. Just below the binder molding, there are remnants of a single band of some eighty glyphs that wrapped around the building, and broad vertical bands of red, interchanged with areas of unpainted white stucco. Essentially, the artists at Bonampak framed the lower course of the exterior of Structure 1 as if it were a Maya vase; more specifically, this was done in the codex-style vases of the Petén, and not mirroring those of the Usumacinta region where Bonampak is located. Above each room there is a small niche housing a seated figure—likely representations of a ruling lord. Between these niches there were two larger stucco scenes, only one of which has survived the ravages of time. Hinting at what is depicted within on the murals, the image depicts a figure in a forward stride toward a captive on his knees before him, his hair being gripped firmly by his vanquisher. On the east and west sides of the building, the upper course featured additional seated figures within niches set atop long-snouted god heads—these still have some remnants of red paint visible. Finally, the doorway to each room features a carved lintel of a warrior subduing a captive. Lintel 1 (Room 1) depicts Yajaw Chaan Muwan, ruler of Bonampak, capturing an enemy on January 12, A.D. 787 (Longcount date: 9.17.16.3.12, 8 Eb 10 K’umk’u); Lintel 2 (Room 2) likely shows the overlord from Yaxchilan, Shield Jaguar IV, on January 4, A.D. 787 (Longcount date: 9.17.16.3.8, 4 Lamat 6 K’umk’u); and Lintel 3 (Room 3) displays Aj Sak Teles, probably on July 25, A.D. 780 (Longcount date: 9.17.9.11.14, 3 Ix 2 Yax). It is worth noting that the height of each doorway is only roughly 5’ 7” (1.75 meters), and around 3 feet wide. Thus, it is clear that no Maya noble in full regalia would have ever entered these rooms without a bow of deferential respect.

In 1996, a team from Yale University led by professor Mary Miller began The Bonampak Documentation Project, which included making an even more detailed study, photographic record, and reproductions of the murals. These reproductions, completed by artists Heather Hurst and Leonard Ashby, bring to life many details, thanks to infrared photographs, that can no longer be seen with the naked eye. Most saliently, the images captured many glyphs that were previously unknown, lost either to natural erosion, or due to the many failed attempts at preservation, some of which did far more damage than conservation. For a more detailed description about The Bonampak Documentation Project, and a thorough discussion on the murals, see Mary Miller and Claudia Brittenham's 2013 seminal work on the subject titled, The Spectacle of the Late Maya Court: Reflections on the Murals of Bonampak. ''

* Note: The numbered human figures (HF) mentioned below can be found in the aforementioned publication on page 73, in addition to excellent large foldouts in the back of the book.

Room 1:

This is the scene of a regal event: the acknowledgement, in front of the court and visiting dignitaries, by the Bonampak ruler, Yajaw Chaan Muwan, of his son's right to rule. There are 77 human figures in this first room fulfilling various functions within the narrative. Some of the actors that capture immediate attention are the elegantly costumed figures on the lower register of the south wall (HF's 62, 63, and 64). The large, feathered back racks, in addition to the various jaguar, quetzal and serpent elements in their costumes, underscore the importance of these figures. These are the three ch’oks (young heirs). It was at first thought that the central figure (HF 63) was the ruler of Bonampak, Yajaw Chaan Muwan. However, further readings of the accompanying glyphs show this figure to be the future ruler, Chooj, who is in between his two brothers: Bird Balam and Aj Balam. With heels raised, all three brothers are in the middle of a ritual dance. To the viewer's left of HF 62, beginning on the south wall and leading to the east wall, there are several figures playing instruments (rattles, drums, and turtle shells) and singing, which fill this room with celebratory music. To the viewer's right of the three ch’oks, leading to the west wall, there are eight sajals (regional governors). Of particular note is HF 71, standing in a familiar pose to smokers of today, as he, too, embraces a long, thin cigarette, expressing some combination of calm, lack of interest and boredom. Behind him, HF's 73 and 74, as well as HF's 52 and 54 on the east wall work together, holding parasols that frame the Initial Series Text right above them on the middle register. These are the only quotation marks in all of the Pre-Columbian New World. On the lower register of the north wall, still more musicians (HF's 43 and 44) blast their trumpets, while other performers (HF's 45–50) wear various costumes, including that of a crocodile (HF 48).

Of all the images of visiting messengers, nobles and dancers held within the upper register, a few individuals, and one recently discovered detail in particular, stand out. Conspicuously placed upon a raised platform on the upper register of the south wall, just above two holes where wooden beams had once ran through to help support the structure, stands a lone figure (HF 16) presenting a child (HF 15) to the lords. At first, many thought that this child was the young heir; however, as noted previously, the central dancing figure below (HF 63) was the heir to the throne at Bonampak. Yet, even without having decoded the glyphs next to the three festive brothers, one notices a couple of peculiarities. Firstly, the young figure is actually wearing face paint and garments that are suggestive of a girl, perhaps a wife for the future ruler. Secondly, no one is looking at the child, not even the individual holding her. In fact, he is glancing over his left shoulder into the upper register of the west wall at the figure (HF 19) sitting upon an elevated throne. This seated figure is likely Yajaw Chaan Muwan, ruler of Bonampak. It is important to mention here that the caption above this individual, like so many captions in Structure 1, was left blank. Therefore, the identification of HF 19 as Yajaw Chaan Muwan is deduced rather than known unequivocally based on a name glyph. Beneath the throne, one can view five bundles, albeit with some difficulty. It was not until Professor Mary Miller's aforementioned Bonampak Documentation Project that scholars finally knew what these bundles contained. After analyzing infrared images of this scene, glyphs for “5 pi kakaw” were revealed. “Kakaw” was the classic Maya term for the cacao bean, and Harvard University professor David Stuart has suggested that the “pi” glyph represents units of 8,000 beans. Therefore, if this is so, it appears that there has been a tribute payment to Yajaw Chaan Muwan of 40,000 cacao beans, which is a considerable sum of wealth. Finally, in the vault across the whole scene in Room 1, the faces of the Sun God are shown as it moves across the sky. On the east wall, a large crocodilian, representing the vault of the sky, carries the myriad avatars of the Sun God upon its back.

Room 2:

This is the scene of what has been referred to as the greatest battle scene in all of Maya art. Room 2 is the largest of the three, which alludes to its greater importance. It also contains more human figures than either Room 1 or Room 2, with 139 of them. The south wall, which is the first that is viewed upon entering, along with the east and the west walls, depict warriors in the heat of battle. Bodies are intertwined on both the lower and the upper registers. Trumpets blast as the battle rages on (HF 7). As one begins to focus more and more on the individuals, a couple of artistic elements and their symbolic meanings become clear. The ancient Maya believed that to be left-handed was a sign of femininity and weakness, thus the warriors who are shown as defeated—including already being stripped nude, with the victors gripping them by the hair—or those in the process of being defeated, are depicted as being left-handed (e.g., HF's 61 and 67). Some are even illustrated with two left hands. To contrast this sharply, several victors are given two right hands, doubling their strength and masculinity. In addition to left-handedness, the losers are also all wearing some element of a bird—or, at least those that are still in their battle costumes, and have not yet been stripped of them. This is also indicative of defeat. The victors, on the other hand, all wear costumes with feline elements—specifically, the jaguar. Therefore, it is of no surprise to see the main character on the upper register of the south wall, Yajaw Chan Muwaan (HF 55), firmly gripping a jaguar skin-covered spear in his right hand while donning a large, extravagant jaguar headdress—which may contain a water-lily scroll—and wearing a jaguar jerkin and jaguar boots. Although it is clear that the events surrounding the ascension to the thrown of Chooj depicted in Structure 1 are narrating actual events, it is equally clear that Bonampak's version of the actual events is more propagandistic in nature. The aforementioned outfits of the losers underscore this fact. That is, no one intending to win would enter battle wearing costumes related to defeat, nor would all of the warriors of the losing side be left-handed. Professor Mary Miller describes the battle scene of Room 2 as an “...official historical portraiture, not by any means a photographic glimpse of Maya warfare.” Above the chaotic battle, the south vault depicts three individuals within ancestor centipede cartouches. Between them are two bound captives. As one turns to view the north wall, the viewer is greeted by the sequel to the battle: torture and sacrifice of the captives taken in battle.

To view the north wall, a visitor would have sat on the south bench above bound captives, as though becoming a part of the scene. The north wall is one of pain and suffering. Nude and almost nude captives (only wearing a loin cloth) are depicted in deep agony, as some of them are in the process of getting their fingernails ripped off, or have already undergone this torture and bleed from their wounds (HF's 101–109). HF 101 may have even had his teeth removed, while HF 106 has already expired, and HF 120 is only a severed head. Yajaw Chan Muwaan is the main figure here, too, wearing only a slightly different variant of his battle costume from the south wall. He stands stately over his captives, while several warriors and nobles observe the ritual, including his wife (HF 97). In the vault, directly above this scene, are four cartouches representing various celestial imagery.

Note: During a radar survey of Structure 1 in 2010, archaeologists discovered a tomb beneath Room 2. It is small and relatively simple. It contained the body of one man between the ages of 35 and 42. It was a complete skeleton, minus the cranium, which scientists believe is simply due to natural erosion, and not evidence of beheading. The skeleton was accompanied by jade earrings, a jade necklace and bracelets, a spondylus shell pendant, two polychrome plates, an alabaster vase with a hole in the base, and a stone knife. The last two items—perforated vase and a stone knife—lead some to believe that this individual was one of the sacrifice victims depicted in Room 2. Other theories include him being a wounded warrior, or a possible relative of Yajaw Chan Muwaan, as his jewelry matched that of the nobles depicted in Room 1. It is clear that this tomb was part of the original construction of Structure 1 and was not, therefore, created at a later date.

Room 3:

This is the scene of ritual celebration for victory in battle, including bloodletting by nobles, and contains 65 human figures. As with Rooms 1 and 2, the south wall is the first to be viewed. What captures one's attention immediately are the three elaborately dressed individuals in the upper register (HF's 16, 21, and 24) wearing tall, green, quetzal-feathered headdress and dancers wings. These are the same brothers from Room 1, with the young heir, Chooj, in the center (HF 21). Each brother holds a bloody femur bone that has been modified into a ritual ax. Right below Chooj is another figure (HF 22) on his knees; he is also holding an ax in his right hand and another object in his left. Here is another instance where the Bonampak Documentation Project was able to decipher that which is not able to be seen by the naked eye—in this instance, the paint had been completely eroded in this area. However, the infrared images revealed that what HF 22 had in his left hand was none other than the still beating heart of the sacrificial victim below (HF 19), who is being dragged down the pyramid steps by two attendants (HF's 18 and 20).

Covering almost the entire bottom register of the south and west walls are seven more elaborately costumed characters (HF's 13, 15, 17, 26, 26, 27 and 28) with similar headdresses to those of the brothers above them. They are depicted with one heel raised and arms stretched out, as if captured right before a spinning dance, perhaps to imitate the flight of the quetzal. Above the entire south wall scene, set among a background of yellow —the first appearance of a color not representing reality — is a supernatural entity with square eyes, and a single frontal, pointed tooth. It lacks pupils and a real nose; behind it emerge two serpent-like supernatural entities that expel additional entities. The upper register of the west wall contains a musical procession with masked performers, carrying a dwarf (HF 42) who is lifted into the yellow background of the vault, demonstrating his connection to the supernatural world. The upper register of the east wall shows the noble women of Bonampak (HF's 2, 5 and 6) holding stingray spines to their tongues in a bloodletting ritual. Meanwhile, a large man (HF 7) offers bloodletting supplies to the women on the throne. Of note is the fact that these individuals also seem to appear previously—HF 7 in Room 2 on the middle of the east wall; the others in Room 1 on the west wall throne scene. Above them, surrounded by yellow, another supernatural entity appears to spew blood. Turning to the north wall, one can see an almost identical supernatural in the vault as that of the south wall vault. Below, 10 ebeets (lords) dressed in white mantles engage in conversation, while nine more seated individuals below also gesticulate as they talk to one another, perhaps commenting on the performance taking place on the south wall in front of them. Finally, on the bottom register, more musicians raise their instruments skyward as part of the procession on the west wall. Room 3 engulfs the viewer in the celebration.

Professor Mary Miller wrote, "Perhaps no single artifact from the ancient New World offers as complex a view of Prehispanic society as do the Bonampak paintings. No other work features so many Maya engaged in the life of the court and rendered in such great detail, making the Bonampak murals an unparalleled resource for understanding ancient society."

Stele 1
It is located in the central part of the Great Plaza, it represents the moment of the height of Chan Muwan II, the importance of the character is reflected in the way it is represented and in the difficulty to elaborate the monument, that is, in a huge slab of stone of little thickness without suffering any fracture. With its almost 6 meters high it is one of the highest in the Mayan world. Chan Muwan II is standing and carrying a ceremonial cane, the styling of the pupil gives him a greater strength to his look; in the lower part of the stele is observed the monster of the earth from which the faces of the young god of corn emerge. A band of glyphs under the feet of the ruler refers to his genealogy, while in another vertical band the emblem glyph of the city can be observed.

Stele 2
It is located on a low terrace right in the center of the Acropolis and next to Stela 3, it shows Chan Muwan II richly dressed in the company of two women, in front of him her mother Lady Shield Skull and behind him his wife the Lady Green Rabbit of Yaxchilán who wear a huipil. The scene revolves around the ritual of self-sacrifice, performed by the ruler who carries in his right hand a bag with copal from which the face of the bat god is seen and assisted by his mother, who carries the stingray spines to perform the piercing while his wife holds the basket with the strips of paper ready to receive the blood drops of the ruler, which will later be incinerated in honor of their deities.

Stele 3
It represents a scene in which Chan Muwan II is standing in front of a second person squatting and in a position of submission wearing paper ear-rings, symbol of the captives.

title: Bonampak


text:
Switchboard

The term switchboard, when used by itself, may refer to:

 * Telephone switchboard
 * Electrical controls:
 * Electric switchboard in industrial applications like electricity generation
 * Distribution board in residential and commercial applications
 * Printed circuit board
 * Mixing console
 * Switchboard, another term a helpline.
 * Switchboard of Miami, a nonprofit organization offering hotline, informational and referral services in Miami, Florida
 * Switchboard (UK), formerly known as the London Lesbian and Gay Switchboard, a helpline for the LGBT+ persons in the UK

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

title: Switchboard


text:
Talk:Cary Grant

Politics
I also added a brief section on Grant's political views, noting he was not an overtly political figure by his own admission but did make the 1976 GOP appearance and occassionally commented on events

==

The Ultimate Malpractice
The doctor who stood by and watched Cary Grant die because Grant "refused to go to the hospital" is guilty of the ultimate malpractice imaginable: executing Cary Grant due to criminal incompetence. What kind of doctor doesn't realize that one of the features of a stroke is not being able to think straight while you're having one? Racing Forward (talk) 12:55, 5 May 2022 (UTC)

 * @Racing Forward- Do have a source for your accusations? According to his article, Grant's wife was with him in the hotel. What did she say about the night of the stroke and Grant's refusal of medical aide? Would the doctor not have followed her directions if she had told him to transport Grant? You cannot accuse someone of "ultimate malpractice", "executing", and "criminal incompetence" without a solid foundation, even if they are dead (is he dead?). I doubt that Wikipedia's lawyers would be very thrilled with these slanderous, unsourced statements. Please let us know where we can find your sources. Thank you, Wordreader (talk) 00:39, 12 February 2023 (UTC)

 * It's all right there in the article itself, properly footnoted:
 * "Grant was taken back to the Blackhawk Hotel where he and his wife had checked in, and a doctor was called and discovered that he was having a massive stroke, with a blood pressure reading of 210 over 130. Grant refused to be taken to the hospital. The doctor recalled: "The stroke was getting worse. In only fifteen minutes he deteriorated rapidly. It was terrible watching him die and not being able to help. But he wouldn't let us." By 8:45 p.m., Grant had slipped into a coma and was taken to St. Luke's Hospital in Davenport, Iowa. He spent 45 minutes in the emergency room before being transferred to intensive care. He died at 11:22 p.m., aged 82."
 * A feature of a stroke is the brain being unable to function normally, by definition. The same is true of a heart attack, with its diminishment of oxygen to the brain. The doctor describes the "stroke...getting worse. In only fifteen minutes he deteriorated rapidly. It was terrible watching him die and not being able to help. But he wouldn't let us." When Grant eventually "slipped into a coma" he was finally taken to the emergency room, at which point it was too late to save him. It was the doctor's duty on the spot to overrule the stroke-impaired Grant and call an ambulance immediately, regardless of anything Grant or his wife might have said or done. This is all self-evident for anyone who understands strokes. Why did they finally rush him to the ER when he lost consciousness? The physician knew that in the case of a stroke, speed is absolutely necessary and that the patient is in no condition to make a cogent decision about his own life-or-death situation while impaired by a rapidly worsening stroke. Nor does the life-or-death decision rest with the spouse, for a variety of starkly obvious reasons. It's the physician on the scene's responsibility. Why was the doctor called in the first place if not to try to save the man's life? Once he was there, it was obviously his responsibility. Not the confused dying patient's ("It was terrible watching him die and not being able to help. But he wouldn't let us," the doctor later said), not his wife's, not the maid's or the porter's or even the owner of the hotel or the president of the United States. The doctor's. That's why he was there.  Racing Forward (talk) 16:34, 13 February 2023 (UTC)

Cary Grant's accent
Grant's accent British with a try for America which comes out Beautifully but British. 2601:243:812:9640:A46B:118A:63C:FD9 (talk) 14:41, 26 December 2023 (UTC)

 * Sorry, your point being…? – AndyFielding (talk) 06:57, 13 January 2024 (UTC)

"British" is pretty vague and misleading. There's quite a bit of cockney in Grant's accent. TheScotch (talk) 13:25, 16 June 2024 (UTC)

Excessively long lede
It seems common for WP's celebrity articles to have ledes that run away with themselves like this, no doubt from fan enthusiasm. However, a successful lede is an introduction to an article, usually a single paragraph summarizing its major points and encouraging people to read on—not something like this, which competes with the article in its level of detail. Can we do something about it? – AndyFielding (talk) 07:05, 13 January 2024 (UTC)

 * Fan enthusiasm?? It is pretty concise for such a prominent actor, nothing wrong with the length, it needs to be reasonable to summarize the whole article. It's 464 words, WP:Lead recommends 250-400 words for featured articles. And this isn't. ♦ Dr. Blofeld  10:19, 13 January 2024 (UTC)

title: Talk:Cary Grant


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Ottavio Farnese, Duke of Parma

Ottavio Farnese (9 October 1524 – 18 September 1586) reigned as Duke of Parma and Piacenza from 1547 until his death and Duke of Castro from 1545 to 1547 and from 1553 until his death.

Biography
Born in Valentano, Ottavio was the second son of Pier Luigi Farnese, Duke of Parma and Piacenza (eldest son of Pope Paul III) by his wife Gerolama Orsini. Ottavio's brother was Cardinal Ranuccio Farnese.

On 4 November 1538 Ottavio married Margaret of Austria, the illegitimate daughter of Charles V, Holy Roman Emperor. Ottavio was 14 years old, while Margaret, recently widowed by the death of Alessandro de' Medici, was 15. At first she disliked her youthful bridegroom, but when he returned wounded from an expedition to Algiers in 1541 her aversion was turned to affection.

Ottavio had become lord of Camerino in 1540, but he gave up that fief when his father became duke of Parma in 1545. After the Parmesan nobility assassinated Pierluigi Farnese in 1547, troops of the Emperor occupied Piacenza. Pope Paul III attempted to regain Piacenza; he set aside Ottavio's claims to the succession of Parma, where he appointed a papal legate, giving him back Camerino in exchange, and then claimed Piacenza from the emperor — not for the Farnese, but for the Church.

Ottavio attempted to seize Parma by force, and having failed, entered into negotiations with Ferrante Gonzaga. This rebellion on the part of his grandson is believed to have hastened the Pope's death on 10 November 1549. During the interregnum that followed, Ottavio again tried to induce the governor of Parma to give up the city to him, but met with no better success; however, on the election of Giovanni Maria Ciocchi del Monte to the papacy as Julius III, the duchy was conferred on him in 1551.

This did not end Ottavio's quarrel with the Emperor Charles V, for Gonzaga refused to give up Piacenza and even threatened to occupy Parma, so that Ottavio was driven into the arms of France. Julius III, who was anxious to be on good terms with Charles V on account of the Council of Trent which was then sitting, ordered Farnese to hand Parma over to the papal authorities once more, and on his refusal hurled censures and admonitions at his head, and deprived him of his Roman fiefs, while Charles did the same with regard to those in Lombardy. A French army came to protect Parma, the War of Parma broke out, and Gonzaga at once laid siege to the city. But the duke came to an arrangement with his father-in-law, by which he regained Piacenza and his other fiefs. The rest of his life was spent quietly at home, where the moderation and wisdom of his rule won for him the affection of his people.

At his death in 1586 his only legitimate son Alessandro succeeded him.

Issue
Ottavio and his wife Margherita had:
 * Charles Farnese (Carlo Farnese, Carlos Farnesio, Karl Farnese; 27 August 1545 – September 1545), heir to the Duchy of Parma.
 * Alexander Farnese (27 August 1545 – 3 December 1592), 3rd Duke of Parma; married Infanta Maria of Portugal

Ottavio also had two other daughters:
 * Violante, married to Torquato Conti (not to be confused with his grandson, Torquato Conti) (c. 1520 – c. 1575) and had issue,
 * Ersilia (1565–1596), married to Renato Borromeo, Conte di Arona (1555–1608), first cousin of St. Charles Borromeo, and had issue.

title: Ottavio Farnese, Duke of Parma


text:
Tommy Dorsey

Thomas Francis Dorsey Jr. (November 19, 1905 – November 26, 1956) was an American jazz trombonist, composer, conductor and bandleader of the big band era. He was known as the "Sentimental Gentleman of Swing" because of his smooth-toned trombone playing. His theme song was "I'm Getting Sentimental Over You". His technical skill on the trombone gave him renown among other musicians. He was the younger brother of bandleader Jimmy Dorsey. After Dorsey broke with his brother in the mid-1930s, he led an extremely successful band from the late 1930s into the 1950s. He is best remembered for standards such as "Opus One", "Song of India", "Marie", "On Treasure Island", and his biggest hit single, "I'll Never Smile Again".

Early life
Born in Mahanoy Plane, Pennsylvania, Thomas Francis Dorsey Jr. was the second of four children born to Thomas Francis Dorsey Sr., a bandleader, and Theresa (née Langton) Dorsey. He and Jimmy, his older brother by slightly less than two years, became known as the Dorsey Brothers. The two younger siblings were Mary and Edward, who died young. Tommy Dorsey studied the trumpet with his father but later switched to trombone.

At age 15, Jimmy recommended Tommy to replace Russ Morgan in the Scranton Sirens, a territory band in the 1920s. Tommy and Jimmy worked in bands led by Tal Henry, Rudy Vallee, Vincent Lopez, and Nathaniel Shilkret. In 1923, Dorsey followed Jimmy to Detroit to play in Jean Goldkette's band and returned to New York in 1925 to play with the California Ramblers. In 1927, he joined Paul Whiteman. In 1929, the Dorsey Brothers had their first hit with "Coquette" for OKeh Records.

In 1934, the Dorsey Brothers band signed with Decca, having a hit with "I Believe in Miracles". Glenn Miller was a member of the Dorsey Brothers Orchestra in 1934 and 1935, composing "Annie's Cousin Fanny", "Tomorrow's Another Day", "Harlem Chapel Chimes", and "Dese Dem Dose", all recorded for Decca, for the band. Acrimony between the brothers led to Tommy Dorsey walking out to form his own band in 1935 as the orchestra was having a hit with "Every Little Moment". Dorsey's orchestra was known primarily for its renderings of ballads at dance tempos, frequently with singers such as Jack Leonard and Frank Sinatra.

Band
In 2009, Buddy De Franco recalled recording "Opus One" with Dorsey in the 1940s, commenting on Dorsey's desire to be precise and exact. Expanding on De Franco's opinions about Dorsey, writer Peter Levinson said, "He wanted things to be done his way."

The band was popular almost from the moment it signed with RCA Victor for "On Treasure Island", the first of four hits in 1935. After his 1935 recording, however, Dorsey's manager dropped the "hot jazz" that Dorsey had mixed with his own lyrical style, and instead had Dorsey play pop and vocal tunes. Dorsey kept his Clambake Seven as a Dixieland group that played during performances. Dorsey became the co-host of The Raleigh-Kool Program on the radio with comedian Jack Pearl, then became the host.

By 1939, Dorsey was aware of criticism that his band lacked a jazz feeling. He hired arranger Sy Oliver away from the Jimmie Lunceford band. Sy Oliver's arrangements include "On the Sunny Side of the Street" and "T.D.'s Boogie Woogie"; Oliver also composed two of the new band's signature instrumentals, "Well, Git It" and "Opus One". In 1940, Dorsey hired singer Frank Sinatra from bandleader Harry James. Sinatra made eighty recordings from 1940 to 1942 with the Dorsey band. Two of those eighty songs are "In the Blue of Evening" and "This Love of Mine". Sinatra achieved his first great success as a vocalist in the Dorsey band and claimed he learned breath control from watching Dorsey play trombone. Sy Oliver and Sinatra did a posthumous tribute album to Dorsey on Sinatra's Reprise records. I Remember Tommy appeared in 1961. Dorsey said his trombone style was heavily influenced by Jack Teagarden.

Among Dorsey's staff of arrangers was Axel Stordahl who arranged for Sinatra in his Columbia and Capitol years. Another member of the Dorsey band was trombonist Nelson Riddle, who later had a partnership as one of Sinatra's arrangers and conductors in the 1950s and afterwards. Another noted Dorsey arranger, who, in the 1950s, married and was professionally associated with Dorsey veteran Jo Stafford, was Paul Weston. Bill Finegan, an arranger who left Glenn Miller's civilian band, arranged for the Tommy Dorsey band from 1942 to 1950.

The band featured a number of instrumentalists, singers, and arrangers in the 1930s and '40s, including trumpeters Zeke Zarchy, Bunny Berigan, Ziggy Elman, Doc Severinsen, and Charlie Shavers, pianists Milt Raskin, Jess Stacy, clarinetists Buddy DeFranco, Johnny Mince, and Peanuts Hucko. Others who played with Dorsey were drummers Buddy Rich, Louie Bellson, Dave Tough saxophonist Tommy Reed, and singers Sinatra, Ken Curtis, Jack Leonard, Edythe Wright, Jo Stafford with the Pied Pipers, Dick Haymes, and Connie Haines.

In 1944, Dorsey hired the Sentimentalists, name with which he renamed the already known vocal band The Clark Sisters asking them not to reveal their identity. They replaced the Pied Pipers. Dorsey also performed with singer Connee Boswell He hired ex-bandleader and drummer Gene Krupa after Krupa's arrest for marijuana possession in 1943. In 1942, Artie Shaw broke up his band, and Dorsey hired the Shaw string section. As George T. Simon in Metronome magazine observed at the time: "They're used in the foreground and background (note some of the lovely obbligatos) for vocal effects and for Tommy's trombone."

Dorsey made further business decisions in the music industry. He loaned money to Glenn Miller enabling him to launch his band of 1938, but Dorsey saw the loan as an investment, entitling him to a percentage of Miller's income. When Miller balked at this, the angry Dorsey got even by sponsoring a new band led by Bob Chester, and hiring arrangers who deliberately copied Miller's style and sound. Dorsey branched out in the mid-1940s and owned two music publishing companies, Sun and Embassy. After opening at the Los Angeles ballroom, the Hollywood Palladium on the Palladium's first night, Dorsey's relations with the ballroom soured and he opened a competing ballroom, the Casino Gardens circa 1944. Dorsey also owned for a short time a trade magazine called The Bandstand.

Tommy Dorsey disbanded his own orchestra at the end of 1946. Dorsey might have broken up his own band permanently following World War II, as many big bands did due to the shift in music economics following the war, but Tommy Dorsey's album for RCA Victor, "All Time Hits" placed in the top ten records in February 1947. In addition, "How Are Things in Glocca Morra?", a single recorded by Dorsey, became a top-ten hit in March 1947. As a result, Dorsey was able to re-organize a big band in early 1947. The Dorsey brothers were also reconciling. The biographical film The Fabulous Dorseys (1947) describes sketchy details of how the brothers got their start from-the-bottom-up into the jazz era of one-nighters, the early days of radio in its infancy stages, and the onward march when both brothers ended up with Paul Whiteman before 1935 when The Dorsey Brothers' Orchestra split into two.

In the early 1950s, Tommy Dorsey moved from RCA Victor back to Decca. He was promised $2,000 if he switched to their label. However, he was reported to have collected $2,500 instead.

Jimmy Dorsey broke up his big band in 1953. Tommy invited him to join as a feature attraction. In 1953, the Dorseys focused their attention on television. On December 26, 1953, the brothers appeared with their orchestra on Jackie Gleason's CBS television show, which was preserved on kinescope and later released on home video by Gleason. The brothers took the unit on tour and onto their own television show, Stage Show, from 1954 to 1956. In January 1956, The Dorseys made rock music history introducing Elvis Presley on his national television debut. Presley, then a regional country singer, made six guest appearances on Stage Show promoting his first releases for RCA Victor several months before his more familiar visits to the Milton Berle, Steve Allen, and Ed Sullivan variety programs.

Personal life
Dorsey was married three times. His first wife was 16-year-old Mildred "Toots" Kraft, with whom he eloped in 1922, when he was 17. The couple had two children, Patricia and Thomas F. Dorsey III (nicknamed "Skipper"). In 1935, they moved to "Tall Oaks", a 21 acres estate in Bernardsville, New Jersey. They divorced in 1943 after Dorsey's affair with his former singer Edythe Wright.

Dorsey's second wife was film actress Patricia Dane in 1943, and they were divorced in 1947, but not before he gained headlines for striking actor Jon Hall when Hall embraced her. Finally, Dorsey married Jane Carl New on March 27, 1948, in Atlanta, Georgia. She had been a dancer at the Copacabana nightclub in New York City. Tommy and Jane Dorsey had two children, Catherine Susan and Steve.

Death and aftermath
Dorsey died on November 26, 1956, at his home in Greenwich, Connecticut, a week after his 51st birthday. He had begun taking sleeping pills regularly at this time, causing him to become heavily sedated; he choked to death in his sleep after eating a large meal. Jimmy Dorsey led his brother's band until his own death from throat cancer the following year. At that point, trombonist Warren Covington became leader of the band with Jane Dorsey's blessing as she owned the rights to her late husband's band and name. Billed as the Tommy Dorsey Orchestra Starring Warren Covington, they reached #7 on the Billboard charts and earned a gold record in the fall of 1958 with the hit single "Tea for Two Cha-Cha". The band was also fronted by Urbie Green after Dorsey's death in 1956.

After Covington led the band, tenor saxophonist Sam Donahue led it from 1961, continuing until 1966. Frank Sinatra Jr. made his professional singing debut with the band at Dallas Memorial Theater in Texas in 1963. Later, trombonist and bandleader Buddy Morrow led the Tommy Dorsey Orchestra from 1977 until his death on September 27, 2010. Jane Dorsey died of natural causes at the age of 79, in Miami, Florida, in 2003. Tommy and Jane Dorsey are interred together in Kensico Cemetery in Valhalla, New York.

Number-one hits
Tommy Dorsey had a run of 286 Billboard chart hits. The Dorsey band had seventeen number-one hits with his orchestra in the 1930s and 1940s including: "On Treasure Island", "The Music Goes 'Round and Around", "You", "Marie" (written by Irving Berlin), "Satan Takes a Holiday", "The Big Apple", "Once in a While", "The Dipsy Doodle", "Our Love", "All the Things You Are", "Indian Summer", and "Dolores". He had two more number one hits in 1935 when he was a member of the Dorsey Brothers Orchestra: "Lullaby of Broadway" (written by Harry Warren), number one for two weeks, and "Chasing Shadows", number one for three weeks. His biggest hit was "I'll Never Smile Again", featuring Frank Sinatra on vocals, which was number one for twelve weeks on the Billboard pop singles chart in 1940. "RCA Victor ... scored with 'There Are Such Things', which had a Sinatra vocal; it hit number one in January 1943, as did 'In the Blue of the Evening', another Dorsey record featuring Sinatra, in August, while a third Dorsey/Sinatra release, 'It's Always You,' hit the Top Five later in the year, and a fourth, 'I'll Be Seeing You', reached the Top Ten in 1944." It should be added that these 1943 and 1944 Sinatra hits were older recordings reissued because the 1942–44 musicians' strike prevented Sinatra, now a popular singer, from recording new material. The website "Tommy Dorsey A Songwriter's Friend" says, "the orchestra had over 200 top twenty recordings including the No. 1 hits 'The Music Goes Round and Round' (1935), 'Alone' (1936) 'You' (1936), 'Marie' (1937), 'Satan Takes a Holiday' (1937), 'The Big Apple' (1937), 'Once in a While' (1937), 'The Dipsy Doodle' (1937), 'Music, Maestro, Please' (1938), 'Our Love' (1939), 'Indian Summer' (1939), 'All the Things You Are' (1939), 'I'll Never Smile Again' (1940), 'Dolores' (1941), 'There are Such Things' (1942), and 'In the Blue of the Evening' (1943)."

Songs written by Tommy Dorsey

 * 1929: "You Can't Cheat a Cheater" with Phil Napoleon and Frank Signorelli
 * 1932: "Three Moods"; NB. Dorsey recorded two takes of this song for OKeh Records, on August 6, 1932, in New York City.
 * 1937: "The Morning After"
 * 1938: "Chris and His Gang" with Fletcher and Horace Henderson
 * 1938: Tommy Dorsey wrote the song "Peckin' With Penguins" for a 1938 Frank Tashlin-directed Porky Pig cartoon, "Porky's Spring Planting" for the studio Warner Bros.
 * 1939: "To You"
 * 1939: "This Is No Dream"
 * 1939: "You Taught Me to Love Again"
 * 1939: "In the Middle of a Dream"
 * 1939: "Night in Sudan"
 * 1939: "Dark Laughter" with Juan Tizol
 * 1945: "Fluid Jive"
 * 1946: "Nip and Tuck"
 * 1947: "Trombonology"

Written with Fred Norman
 * "Bunch of Beats"
 * "Mid Riff"
 * "Candied Yams"

Awards and honors
In 1982, the 1940 Victor recording "I'll Never Smile Again" was the first of a trio of Tommy Dorsey recordings to be inducted into the Grammy Hall of Fame. His theme song, "I'm Getting Sentimental Over You" was inducted in 1998, along with his recording of "Marie" written by Irving Berlin in 1928. In 1996, the U.S. Postal Service issued a Tommy Dorsey and Jimmy Dorsey commemorative postage stamp.

Tommy Dorsey was posthumously inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance".

Discography

 * Up Swing (Victor Records, 1944)
 * Tommy Dorsey Plays Tchaikovsky Melodies for Dancing (RCA Victor, 1947)
 * Tommy Dorsey (RCA Victor, 1949)
 * Tommy Dorsey Plays Cole Porter for Dancing (RCA Victor, 1950)
 * Tommy Dorsey's Dixieland for Dancing (RCA Victor, 1950)
 * The Later Tommy Dorsey Volume 2 (Ajaz, 1950)
 * Ecstasy (Decca, 1951)
 * Tommy and Jimmy Dorsey with the California Ramblers (Riverside, 1955)
 * That Sentimental Gentleman (RCA Victor, 1957)
 * The Golden Age of the Dance Bands (Somerset, 1957)
 * The Dorsey Touch (Riviera, 1959)
 * Tribute to Tommy Dorsey (Broadway, 1959)
 * The One And Only Tommy Dorsey (RCA Camden, 1961)
 * Tommy Dorsey's Dance Party (Ace of Hearts, 1961)
 * Dedicated to You (RCA Camden, 1964)
 * A Man and His Trombone (Colpix, 1966)
 * Here are Tommy and Jimmy Dorsey at Their Rare of All Rarest Performance Vol. 1 (Kings of Jazz, 1975)
 * Tommy Dorsey On Radio/Eddie Condon's Jazz Concert (Radiola, 1975)
 * Tommy Dorsey (1937 – 1941) (AMIGA, 1976)
 * One Night Stand (Sandy Hook, 1976)
 * Frank Sinatra & Tommy Dorsey (Durium, 1976)
 * The Dorsey/Sinatra Sessions (RCA, 1982)
 * The Tommy Dorsey/Frank Sinatra Radio Years and the Historic Stordahl Session (RCA, 1983)
 * The End of the Big Band Era! (Sandy Hook, 1983)
 * Ship Ahoy/Las Vegas Nights (Hollywood Soundstage, 1983)
 * A Tribute (Star Line Productions, 1987)
 * All-Time Greatest Dorsey/Sinatra Hits, Vol. 1-4 (RCA, 1988)
 * Plays Sweet & Hot (Tax, 1989)
 * Tommy Dorsey and His Orchestra/And His Clambake Seven (LaserLight, 1990)
 * Tea for Two (Jazz Collection, 1990)
 * Yes Indeed! (Bluebird/RCA, 1990)
 * Music Goes Round and Round (Bluebird/RCA, 1991)
 * Stop, Look and Listen (ASV/Living Era, 1994)
 * Kings of Trombone (Hallmark, 1995)
 * Dorsey-itis (Drive Archive, 1996)
 * Saturday Afternoon at the Meadowbrook 1940 (Jazz Band, 2000)
 * This Is Tommy Dorsey & His Orchestra, Vol. 1 (Collectables, 2001)
 * The Early Jazz Sides 1932–1937 (Jazz Legends, 2004)
 * It's D'Lovely 1947–1950 (Hep, 2004)

Filmography

 * Segar Ellis and His Embassy Club Orchestra (1929)
 * Alice Bolden and Her Orchestra (1929)

Tommy Dorsey and his Orchestra appear in the following films for Paramount, MGM, Samuel Goldwyn, Allied Artists, and United Artists:

 * Las Vegas Nights (1941)
 * Ship Ahoy (1942)
 * Presenting Lily Mars(1943)
 * Girl Crazy (1943)
 * Du Barry Was a Lady (1943)
 * Broadway Rhythm (1944)
 * Thrill of a Romance (1945)
 * The Great Morgan (1946)
 * The Fabulous Dorseys (1947)
 * A Song Is Born (1948)
 * Disk Jockey (1951)

title: Tommy Dorsey


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Hiram Johnson

Hiram Warren Johnson (September 2, 1866 – August 6, 1945) was an American attorney and politician who served as the 23rd governor of California from 1911 to 1917. Johnson achieved national prominence in the early 20th century. He was elected in 1916 as the United States Senator from California, where he was re-elected to five terms and served until his death in 1945.

As a governor, Johnson was a leading American progressive. He ran for vice president on Theodore Roosevelt's Progressive ticket in the 1912 presidential election. As a US senator, Johnson became a leading liberal isolationist, among those "Irreconcilables" who opposed the Treaty of Versailles and rejected the League of Nations. Later, Johnson was also a vocal opponent of the United Nations Charter.

After having worked as a stenographer and reporter, Johnson embarked on a legal career. He began his practice in his hometown of Sacramento, California. After he moved to San Francisco, he worked as an assistant district attorney. Gaining statewide renown for his prosecutions of public corruption, Johnson won the 1910 California gubernatorial election with the backing of the Lincoln–Roosevelt League. He instituted several progressive reforms, establishing a railroad commission and introducing aspects of direct democracy, such as the power to recall state officials. Having joined with Roosevelt and other progressives to form the Progressive Party, Johnson won the party's 1912 vice-presidential nomination. In one of the best third-party performances in U.S. history, the ticket finished second nationally in the popular and electoral votes.

Johnson was elected to the US Senate in 1916, becoming a leader of the chamber's Progressive Republicans. He made his biggest mark in the Senate as an early voice for isolationism, opposing U.S. entry into World War I and U.S. participation in the League of Nations.

He unsuccessfully sought the Republican presidential nomination in 1920 and 1924. He supported Democratic nominee Franklin D. Roosevelt in the 1932 presidential election. While Johnson supported many of Roosevelt's New Deal programs, by November 1936 he became violently hostile to Roosevelt as a potential dictator. Johnson was in increasingly poor health in his later years, but remained in the Senate until his death in 1945.

Early years
Hiram Johnson was born in Sacramento on September 2, 1866. His father, Grove Lawrence Johnson, was an attorney and Republican U.S. Representative and a member of the California State Legislature whose career was marred by accusations of election fraud and graft. His mother, Mabel Ann "Annie" Williamson De Montfredy, was a member of the Daughters of the American Revolution based on her descent from Pierre Van Cortlandt and Philip Van Cortlandt. Johnson had one brother and three sisters.

Johnson attended the public schools of Sacramento and was 16 when he graduated from Sacramento High School in 1882 as the class valedictorian. Too young to begin attending college, Johnson worked as a shorthand reporter and stenographer in his father's law office and attended Heald's Business College. He studied law at the University of California, Berkeley from 1884 to 1886, where he was a member of the Chi Phi Fraternity. After his admission to the bar in 1888, Johnson practiced in Sacramento with his brother Albert as the firm of Johnson & Johnson. When the State Bar of California was organized in 1927, William H. Waste, the Chief Justice of the California Supreme Court, was given license number one and Johnson received number two. Both his son, Hiram Jr. and grandson, Hiram III, were later members of the California State Bar.

In addition to practicing law, Johnson was active in politics as a Republican, including supporting his father's campaigns. In 1899, Johnson backed the mayoral campaign of George H. Clark. Clark won, and when he took office in 1900, he named Johnson as city attorney.

In 1902, Johnson moved to San Francisco, where he quickly developed a reputation as a fearless litigator, primarily as a criminal defense lawyer, while becoming active in reform politics. He attracted statewide attention in 1908 when he assisted District Attorney Francis J. Heney in the prosecution of Abe Ruef and Mayor Eugene Schmitz for graft. After Heney was shot in the courtroom during an attempted assassination, Johnson took the lead for the prosecution and won the case.

Governor of California (1911–1917)
In 1910, Johnson won the gubernatorial election as a member of the Lincoln–Roosevelt League, a Progressive Republican movement, running on a platform opposed to the Southern Pacific Railroad. During his campaign, he toured the state in an open automobile, covering thousands of miles and visiting small communities throughout California that were inaccessible by rail. Johnson helped establish rules that made voting and the political process easier. For example, he established rules to facilitate recalls. This measure was used to remove Governor Gray Davis from office in 2003 and to enable an unsuccessful effort to remove Governor Gavin Newsom in 2021.

In office, Johnson was a populist who promoted a number of democratic reforms: the election of U.S. Senators by direct popular vote rather than the state legislature (which was later ratified nationwide by a constitutional amendment), cross-filing, initiative, referendum, and recall elections. Johnson's reforms gave California a degree of direct democracy unmatched by any other U.S. state at the time. When he took office, amid rampant corruption, the Southern Pacific Railroad held so much power it was known as the fourth branch of government. "While I do not by any means believe the initiative, the referendum and the recall are the panacea for all our political ills," Johnson extolled in his 1911 inaugural address, "they do give to the electorate the power of action when desired, and they do place in the hands of the people the means by which they may protect themselves."

Johnson was also instrumental in reining in the power of the Southern Pacific Railroad through the establishment of a state railroad commission. On taking office, Johnson paroled Chris Evans, convicted as the Southern Pacific train bandit, but required that he leave California.

Although initially opposed to the bill, Johnson gave in to political pressure and supported the California Alien Land Law of 1913, which prevented Asian immigrants from owning land in the state (they were already excluded from naturalized citizenship because of their race).

1912 vice presidential campaign
In 1912, Johnson was a founder of the national Progressive Party and ran as the party's vice presidential candidate, sharing a ticket with former President Theodore Roosevelt. Roosevelt and Johnson narrowly carried California but finished second nationally behind the Democratic ticket of Woodrow Wilson and Thomas Marshall. Their second-place finish, ahead of incumbent Republican President William Howard Taft, remains among the strongest for any third party in American history.

Johnson was re-elected governor of California in 1914 as the Progressive Party candidate, gaining nearly twice the votes of his Republican opponent John D. Fredericks. In 1917, as one of his final acts as governor before ascending to the U.S. Senate, Johnson signed Senate Constitutional Amendment 26, providing health insurance for all in the Golden State. Then it was put on the ballot for ratification. A coalition of insurance companies took out an ad in The Chronicle, warning it "would spell social ruin to the United States." Every voter in the state, as recounted in a recent issue of the New Yorker, "received in the mail a pamphlet with a picture of the Kaiser and the words 'Born in Germany. Do you want it in California?'" The ballot measure failed, 27%-73%.

U.S. Senator (1917–1945)

In 1916, Johnson ran successfully for the U.S. Senate, defeating conservative Democrat George S. Patton Sr. and took office on March 16, 1917. Johnson was elected as a staunch opponent of American entry into World War I, and allegedly said, "The first casualty when war comes is truth." However, this quote may be apocryphal. As an isolationist, Johnson voted against the League of Nations during his first term.

During his Senate career, Johnson served as chairman of the Committees on Cuban Relations (Sixty-sixth Congress), Patents (Sixty-seventh Congress), Immigration (Sixty-eighth through Seventy-first Congresses), Territories and Insular Possessions (Sixty-eighth Congress), and Commerce (Seventy-first and Seventy-second Congresses).

In the Senate, Johnson helped push through the Immigration Act of 1924, having worked with Valentine S. McClatchy and other anti-Japanese lobbyists to prohibit Japanese and other East Asian immigrants from entering the United States.

In the early 1920s, the motion picture industry sought to establish a self-regulatory process to fend off official censorship. Senator Johnson was among three candidates identified to head a new group, alongside Herbert Hoover and Will H. Hays. Hays, who had managed President Harding's 1920 campaign, was ultimately named to head the new Motion Picture Producers and Distributors of America in early 1922.

As Senator, Johnson proved extremely popular. In 1934, he was re-elected with 94.5 percent of the popular vote; he was nominated by both the Republican and Democratic parties and his only opponent was Socialist George Ross Kirkpatrick.

Johnson was a member of the Senate Foreign Relations Committee continuously for 25 years, from the 66th Congress (1919–21) through the 78th Congress (1943–44) and one of its longest serving members. In 1943, a confidential analysis of the Senate Foreign Relations Committee, made by British scholar Isaiah Berlin for his Foreign Office, stated that Johnson:
 * is the Isolationists' elder statesman and the only surviving member of the [William E.] Borah-[Henry Cabot] Lodge-Johnson combination which led the fight against the League in 1919 and 1920. He is an implacable and uncompromising Isolationist with immense prestige in California, of which he has twice been Governor. His election to the Senate has not been opposed for many years by either party. He is acutely Pacific-conscious and is a champion of a more adequate defence of the West Coast. He is a member of the Farm Bloc and is au fond, against foreign affairs as such; his view of Europe as a sink of iniquity has not changed in any particular since 1912, when he founded a short-lived progressive party. His prestige in Congress is still great and his parliamentary skill should not be underestimated.

In 1945, Johnson was absent when the vote took place for ratification of the United Nations Charter, but made it known that he would have voted against this outcome. Senators Henrik Shipstead and William Langer were the only ones to cast votes opposing ratification.

Presidential politics
Following Theodore Roosevelt's death in January 1919, Johnson was the most prominent leader in the surviving progressive movement; the Progressive Party of 1912 was dead. In 1920 he ran for the Republican nomination for president but was defeated by conservative Senator Warren Harding. Johnson did not get the support of Roosevelt's family, who instead supported Roosevelt's long-time friend Leonard Wood. At the convention, Johnson was asked to serve as Harding's running mate, but he declined.

Johnson sought the 1924 Republican nomination against President Calvin Coolidge, but his campaign was derailed after he lost the California primary. Johnson declined to challenge Herbert Hoover for the 1928 presidential nomination, instead choosing to seek re-election to the Senate.

In the 1932 presidential election, Johnson broke with President Hoover. He was one of the most prominent Republicans to support Democrat Franklin D. Roosevelt. During Roosevelt's first term, Johnson supported the president's New Deal economic recovery package and frequently 'crossed the floor' to aid the Democrats. By late 1936, however, he was convinced that Roosevelt was a very dangerous would-be dictator. Johnson, although in poor health, attacked Roosevelt and the New Deal following FDR's attempt to take control of the Supreme Court in 1937.

Personal life
In January 1886, Johnson married Minne L. McNeal (1869–1947). The couple had two sons: Hiram W. "Jack" Johnson Jr. (1886–1959), and Archibald "Archie" McNeal Johnson (1890–1933). Both sons practiced law in California and served in the army. Hiram Jr. was a veteran of World War I, and attained the rank of lieutenant colonel in the Army Air Corps while stationed at Fort Mason in San Francisco during World War II. Archie Johnson was a major of field artillery corps and was wounded in action during the First World War.

Death

Having served in the Senate for almost thirty years, Johnson died of a cerebral thrombosis at the Naval Hospital in Bethesda, Maryland, on August 6, 1945, the same day as the US-conducted atomic bombing of Hiroshima. He had been in failing health for several months. He was interred in a mausoleum at Cypress Lawn Memorial Park in Colma, California and his remains are interred with those of his wife, Minne, and two sons.

Legacy
During his first term gubernatorial inaugural address on January 3, 1911, Johnson declared that his first duty was "to eliminate every private interest from the government and to make the public service of the State responsive solely to the people." Committed to "arm the people to protect themselves" against such abuses, Johnson proposed amending the state Constitution with "the initiative, the referendum and the recall." All three of these progressive reforms were enacted during his governorship, forever guaranteeing Johnson's stature as the preeminent progressive reformer of California politics. His contribution as the driving force behind the direct democratic process for removal of elected officials was revisited in the media and by the general public during the successful 2003 California recall election of Democrat governor Gray Davis. Republican Arnold Schwarzenegger, the eventual winner, referred to Johnson's progressive legacy in his campaign speeches. Johnson's stature in fostering the California recall and ballot initiative direct democratic processes again surfaced in the media during the unsuccessful 2021 California recall election of Democrat governor Gavin Newsom.

On August 25, 2009, Governor Schwarzenegger and his wife, Maria Shriver, announced that Johnson would be one of 13 inducted into the California Hall of Fame that year.

Johnson held the record as California's longest-serving United States Senator for over 75 years, until it was broken by Democrat Dianne Feinstein on March 28, 2021. He remains the longest serving Republican senator and the longest serving male senator from California.

The Hiram Johnson papers, consisting primarily of hundreds of letters that Johnson wrote to his two sons over the course of decades, and that his son, Hiram Jr. donated in 1955, reside at the Bancroft Library at the University of California, Berkeley.

Hiram Johnson High School in Sacramento, California is named in his honor.

Unpublished PhD dissertations that are online

 * Dewitt, Howard Arthur. "Hiram W. Johnson and American Foreign Policy, 1917-1941" (The University Of Arizona; Proquest Dissertations Publishing, 1972. 7215602).
 * Fitzpatrick, John James, III. "Senator Hiram W. Johnson: A Life History, 1866-1945." (University Of California, Berkeley; Proquest Dissertations Publishing, 1975. 7526691).
 * Liljekvist, Clifford B. "Senator Hiram Johnson" (University Of Southern California; Proquest Dissertations Publishing, 1953. Dp28687)
 * Nichols, Egbert R. Jr. "An Investigation Of The Contributions Of The Public Speaking Of Hiram W. Johnson To His Political Career" (University Of Southern California; Proquest Dissertations Publishing, 1948. 0154027).
 * Weatherson, Michael Allen. "A Political Revivalist: " The Public Speaking Of Hiram W. Johnson, 1866-1945" (Indiana University; Proquest Dissertations Publishing, 1985. 8516663).

Archives

 * Robert E. Burke Collection. 1892–1994. 60.43 cubic feet (68 boxes plus two oversize folders and one oversize vertical file). At the Labor Archives of Washington, University of Washington Libraries Special Collections. Contains materials collected by Burke on Hiram Johnson from 1910 to 1994.

title: Hiram Johnson


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Munch Museum

Munch Museum (Munch-museet), marketed as Munch (stylised in all caps) since 2020, is an art museum in Bjørvika, Oslo, Norway dedicated to the life and works of the Norwegian artist Edvard Munch.

The museum was originally located at Tøyen, which was opened in 1963. The museum moved to the new museum building at Bjørvika, which was opened in 22 October 2021.

Original
The original Munch Museum was situated at Tøyen in the Oslo borough of Gamle Oslo. Construction of the museum was financed from the profits generated by the Oslo municipal cinemas and opened its doors in 1963 to commemorate what would have been Munch's 100th birthday. Its collection consists of works and articles by Munch, which he donated to the municipality of Oslo upon his death, and additional works donated by his sister Inger Munch, as well as various other works obtained through trades, including duplicate prints.

The museum had in its permanent collection well over half of the artist's entire production of paintings and at least one copy of all his prints. This amounted to over 1,200 paintings, 18,000 prints, six sculptures, as well as 500 plates, 2,240 books, and various other items. The museum also contained educational and conservation sections, and has facilities for the performing arts.

The museum structure was designed by architects Einar Myklebust and Gunnar Fougner. Myklebust also played an important role in the expansion and renovation of the museum in 1994 for the 50th anniversary of Munch's death. This site was also the location of filming for an Olsenbanden-movie from 1984.

The last exhibition of the museum while at Tøyen, Oslo was opened in May 2021, which lasted until 1 October.

Current
Previously, in 2008, the City of Oslo promoted an architectural competition for a new Munch Museum in the area of Bjørvika, a new urban development where the Oslo Opera House is also located. The competition was won in 2009 by Spanish architect Juan Herreros and his studio Herreros Arquitectos (now estudio Herreros).

Before the local election in Oslo in 2011, the Oslo Progress Party decided that they would no longer support the project due to economic concerns. After the election, in December 2011, the Oslo City Council voted to end the project. Instead the council wanted to consider improving the current museum or moving the collection to Nasjonalgalleriet.

In May 2013, the Oslo City Council finally took the decision to revive the project, and move the museum to its new site on the waterfront, next to the Oslo Opera House. Construction started in September 2015. The new museum has been widely criticised for its design, where it has been branded the unofficial world's largest collection of guard rails.

In summer 2021, 28000 pieces of art were moved from the previous museum at Tøyen, to the new museum at Bjørvika, Oslo.

The museum was opened by King Harald V on October 22, 2021.

2004 armed robbery of two paintings

On Sunday, 22 August 2004, two paintings by Munch, The Scream and Madonna, were stolen from the Munch Museum by armed robbers who forced the museum guards to lie on the floor while they snapped the cable securing the paintings to the wall. The paintings were recovered by Oslo Police on 31 August 2006.

Other sources

 * Eggum, Arne; Gerd Woll, Marit Lande Munch At The Munch Museum (Scala Publishers, 2005)
 * Langaard, Johan H. Edvard Munch: Masterpieces from the artist's collection in the Munch Museum in Oslo (McGraw-Hill. 1964)

title: Munch Museum


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Aran Islands

The Aran Islands or The Arans (na hÁrainneacha ) are a group of three islands at the mouth of Galway Bay, off the west coast of Ireland, with a total area around 46 km2. They constitute the historic barony of Aran in County Galway.

From west to east, the islands are: Inishmore (Árainn / Inis Mór), which is the largest; Inishmaan (Inis Meáin), the second-largest; and Inisheer (Inis Oírr), the smallest. There are also several islets.

The population of 1,347 (as of 2022) primarily speak Irish, making the islands a part of the Gaeltacht. Most islanders are also fluent or proficient in English. The population has steadily declined from around 3,500 in 1841.

Location and access
The approaches to the bay between the Aran Islands and the mainland are:

 * North Sound / An Súnda ó Thuaidh (more accurately Bealach Locha Lurgan) lies between Inishmore and Lettermullen, County Galway.
 * Gregory's Sound / Súnda Ghríoghóra (formerly known as Bealach na h-Áite) lies between Inishmore and Inishmaan.
 * Foul Sound / An Súnda Salach (formerly known as Bealach na Fearbhaighe) lies between Inishmaan and Inisheer.
 * South Sound / An Súnda ó Dheas (formerly known as Bealach na Fínnise) lies between Inisheer and County Clare.
 * Ferries operate to all three islands from Rossaveal in County Galway (year round) and Doolin in County Clare (seasonal). Flights operated by Aer Arann Islands also operate from Inverin.

History
Little is known about the first inhabitants to cross over to the islands, but they likely came across in search of a safe haven from attack. The islands are made up of Carboniferous limestone and do not have naturally occurring topsoil. Early settlers augmented the soil with seaweed and sand from the shore. Drystone walls were built to protect the soil. Seven prehistoric stone forts are on the islands. Dún Aonghasa, on Inishmore, dates back to 1100 BC.

Enda of Aran founded the Killeany monastery in Inishmore, AD 490. It became a centre of learning, piety, and asceticism. Also on Inishmore is Tempull Breccain, the fifth-century Church of Saint Brecan. A ringfort on Inisheer, called Dún Formna, became the site of a castle built by the O'Briens around the 14th century. Cromwell's soldiers destroyed the castle and all but two of the seven churches established by Brecan.

The islands were briefly captured and held by Jacobite privateer Thomas Vaughan in 1693, whose crew plundered Protestant settlements there.

The typical settlement was a clachan, a scattered cluster of small, single-storey cottages with thatched roofs. Typical clothing for an Aran man was homespun trousers and waistcoats made of grey or light-brown tweed; for women, a calf-length woven skirt along with a knitted sweater. Aran knitters were highly skilled. In the 1820s, harvesting kelp was an important sideline to raise money for the land rents. Salvaging flotsam often produced wood for building and fuel.

In 1898, John Millington Synge started spending his summers in the Aran Islands. His 1904 play, Riders to the Sea, is set on Inishmaan. He published The Aran Islands in 1907, based on his journals. All six of his plays are either set in or heavily influenced by his time in Aran.

Geology

The islands' geology is mainly karst limestone, related to the Burren in County Clare (to the east), not the granites of Connemara to the north. This is most obvious in the construction of the walls around the fields.

The limestones date from the Viséan age of the Lower Carboniferous, formed as sediments in a tropical sea approximately 350 million years ago, and compressed into horizontal strata with fossil corals, crinoids, sea urchins, and ammonites. Glaciation following the Namurian facilitated greater denudation. The result is that the Aran Islands are one of the finest examples of a Glacio-Karst landscape in the world. The effects of the last glacial period (the Midlandian) are most in evidence, with the islands overrun by ice during this glaciation. The impact of earlier karstification (solutional erosion) has been eliminated by the last glacial period. Any karstification now seen dates from around 11,000 years ago, so the island karst is recent.

Solutional processes have widened and deepened the grykes of the limestone pavement. Pre-existing lines of weakness in the rock (vertical joints) contribute to the formation of extensive fissures separated by clints (flat, pavement-like slabs). The rock karstification facilitates the formation of subterranean drainage.

Coastal geomorphology
Huge boulders up to 50 m above the sea at parts of the west-facing cliffs are an extreme form of storm beach, cast there by waves. Previously considered as possible tsunami deposits, these coastal boulder deposits have recently been shown (by Rónadh Cox and collaborators) to be definitively the work of storms.

Climate and agriculture
The islands have an unusually temperate climate. Average air temperatures range from 15 °C in July to 6 °C in January. The soil temperature does not usually drop below 6 °C (the winter of 2010 recorded a prolonged period of snow, the first in living memory). Since grass will grow once the temperature rises above 6 °C, this means that the island (like the neighbouring Burren) has one of the longest growing seasons in Ireland or Britain, and supports diverse and rich plant growth. Late May is the sunniest time and also likely the best time to view flowers, with the gentians and avens peaking (but orchid species blooming later).

Flora and fauna
The islands support arctic, Mediterranean and alpine plants side-by-side, due to the unusual environment. Like the Burren, the Aran islands are renowned for their remarkable assemblage of plants and animals.

The grikes (crevices) provide moist shelter, thus supporting a wide range of plants including dwarf shrubs. Where the surface of the pavement is shattered into gravel, many of the hardier Arctic or alpine plants can be found, but when the limestone pavement is covered by a thin layer of soil, patches of grass are seen, interspersed with plants such as gentian and orchids.

Notable insects present include butterflies—pearl-bordered fritillary Boloria euphrosyne, brown hairstreak Thecla betulae, marsh fritillary Euphydryas aurinia, and wood white Leptidea sinapis; moths—the burren green Calamia tridens, Irish annulet Odontognophos dumetata, and transparent burnet Zygaena purpuralis; and the hoverfly Doros profuges.

Traditional life and Irish language

On the cliff tops, ancient forts such as Dún Aonghasa (Dún Aengus) on Inishmór and Dún Chonchúir (Fort of Conchobar) on Inishmaan are some of the oldest archaeological remains in Ireland. A lacework of ancient stone walls across all three islands (1600 km in all) encloses networks of small fields to contain local livestock. Also found are early clocháns (dry-stone beehive huts from the early-Christian period). Enda of Aran founded the first true Irish monastery near Killeany (Cill Éinne or Church of Enda). In time, a dozen monasteries were on Inishmór alone. Many Irish saints had some connection with Aran: St. Brendan was blessed for his voyage there; Jarlath of Tuam, Finnian of Clonard, and St. Columba called it the "Sun of the West". In total, 38 national monuments are on the Aran Islands.

The islands were first populated in larger numbers probably at the time of the Cromwellian conquest of Ireland in the mid-17th century, when the Catholic population of Ireland had the choice of going "to hell or to Connacht". Many fled to the numerous islands off the west coast of Ireland, where they adapted themselves to the raw climatic conditions, developing a survival system of total self-sufficiency. Their methods included mixing layers of sand and seaweed on top of rocks to create fertile soil, a technique used to grow potatoes and other vegetables. The same seaweed method also provided grazing grass within stone-wall enclosures for cattle and sheep, which in turn provided leather, wool, and yarn to make hide shoes, handwoven trousers, skirts and jackets, hand-knitted sweaters, shawls, and caps. The islanders also constructed unique boats for fishing, building their thatched cottages from the materials available, or trading with the mainland.

The Aran Islands are an official Gaeltacht, which gives full official status to Irish as the medium of all official services, including education. An unusually high rate of Irish-language monolingualism was found among senior natives until the end of the 20th century, in large part because of the isolating nature of the traditional trades practised and the natural isolation of the islands in general from mainland Ireland over the course of the islands' history. Young islanders can take their leaving examination at 18 on the islands, and then most leave for third-level education. Many blame the decline of Irish-speaking among young members of the island community on English-language television, available since the 1960s; furthermore, many younger islanders leave for the mainland when they come of age.

Transport

Year-round ferry passenger services exist. Aran Island Ferries operate a year-round service from Rossaveal in County Galway, connected by a bus service from Galway city. A heavy-cargo service operates several times a week from Galway Harbour, and is operated by Lasta Mara.

Aer Arann Islands operates an air service from Inverin to Inishmore Airport, which has a connecting bus from Galway city. The airline announced that it would cease all flights in December 2018, but an agreement was reached to continue the service until 30 September 2019.

Ferries are also available to the Aran Islands from Doolin in County Clare (seasonal 1 April – 31 October).

A road network exists on each of the islands, and a speed limit of 50 km/h applies. Cars on the islands are exempt from road-worthiness testing. Most visitors to the island hire bikes and an increasing number hire ebikes, as they are the most convenient way to see the islands.

Visitors and attractions

Visitors come in large numbers, particularly in the summer. Several Bronze Age and Iron Age forts and attractions are on the islands:

 * Dun Aengus (Dún Aonghasa, Aran Islands Dialect: dūn aŋgəs) is a Bronze Age and Iron Age fort on the edge of a 100 m cliff overlooking the Atlantic Ocean on Inishmore. It consists of a series of concentric circular walls. The innermost—the citadel—encloses an area approximately 50 m in diameter with 4 m thick walls of stone.
 * Black Fort (Dún Dúchathair)
 * O'Brien's Castle on Inis Oírr in the Aran Islands was built in the 14th century. The castle was taken from the O'Briens by the O'Flaherty clan of Connemara in 1582.
 * Teampull Bheanáin is considered the smallest church in the world, and is notable for its orientation: north–south instead of east–west.
 * Teampall an Cheathrair Álainn has a holy well, which inspired J. M. Synge's play The Well of the Saints.

Local artists
One of the major figures of the Irish Renaissance, Liam O'Flaherty, was born in Gort na gCapall, Inishmore, on 28 August 1896. Máirtín Ó Díreáin, one of the most eminent poets in the Irish language, was also from Inishmore. Since 2000, Áras Éanna Arts Centre, Inisheer, has been welcoming artists in residence, both local and international, to stay and work on the inspirational Aran Islands for periods of one month. Clíodhna Lyons, born on the islands, is an Irish cartoonist, animator, and printmaker, who has created several comics and 'zines and is now a director for Brown Bag Films.

Visiting artists

The islands have historically attracted a number of artists. For example, starting in 1908, Harry Clarke spent a number of weeks each summer for six years on Inis Oírr, accompanied by friends and his future wife, Margaret Clarke (artist). Sketches by and of Clarke exist from these trips, regarded as formative in his upbringing, as they marked the first occasions in which convalescing off the mainland of Ireland was necessary for the artist.

The cultural and physical history of the islands has made them the object of visits by a variety of writers. For example, Lady Gregory came to Aran in the late 19th century to learn Irish. At the start of the 20th century and throughout his life, Seán Keating spent time painting on the islands every year. Elizabeth Rivers also moved from London and lived in Aran, where she created two books of art and was herself visited by artists such as Basil Rakoczi.

A further, related, kind of visitor was those who attempted to collect and catalogue the stories and folklore of the island, treating it as a kind of societal "time capsule" of an earlier stage of Irish culture. Visits of this kind include that captured in Robert J. Flaherty's 1934 classic documentary Man of Aran. The film's depiction of man's courage and repudiation of the intellect appealed to Germany's Nazi party, who noticed it during the Berlin Festival in 1935.

John Millington Synge's The Aran Islands is a work that straddles these first two modes, being both a personal account and also an attempt at preserving information about the pre- (or il-) literate Aran culture in literary form. The motivations of these visitors are exemplified by W. B. Yeats' advice to Synge: "Go to the Aran Islands, and find a life that has never been expressed in literature."

In the second half of the 20th century, until perhaps the early 1970s, a third kind of visitor came to the islands. They came not necessarily because of the uniquely "Irish" nature of the island community, but simply because the accidents of geography and history conspired to produce a society that some found intriguing or even beguiling, and they wished to participate in it directly. At no time was there a single "Aran" culture; any description is necessarily incomplete and can be said to apply completely only to "parts" of the island at certain points in time. Visitors who came and stayed, though, were mainly attracted to aspects of Aran culture such as its reliance on local oral tradition for entertainment and news, isolation, reliance on subsistence or near-subsistence, farming and fishing.

For these reasons, the Aran Islands were "decoupled" from cultural developments that were at the same time radically changing other parts of Ireland and Western Europe. Though visitors of this third kind understood that the culture they encountered was intimately connected to that of Ireland, they were not particularly inclined to interpret their experiences as those of "Irishness". Instead, they looked directly towards ways in which their time on the islands put them in touch with more general truths about life and human relations, and they often took pains to live "as an islander", eschewing help from friends and family at home. Indeed, because of the difficult conditions they found—dangerous weather, scarce food—they sometimes had little time to investigate the culture in the more detached manner of earlier visitors. Their writings are often of a more personal nature, being concerned with understanding the author's self as much as the culture around him.

This third mode of being in Aran died out in the late 1970s due in part to the increased tourist traffic and in part to technological improvements made to the island, that relegated the above aspects to history. A literary product of this third kind of visitor is An Aran Keening, by Andrew McNeillie, who spent a year on Aran in 1968. Another, Pádraig Ó Síocháin, a Dublin author and lawyer, learning to speak Gaelic to the fluency of an islander, became inextricably linked to the Aran handknitters and their Aran sweaters, extensively promoting their popularity and sale around the world for nearly forty years.

A fourth kind of visitor to the islands, still evident today, comes for spiritual reasons often connected to an appreciation for Celtic Christianity or more modern New Age beliefs, the former of which finds sites and landscapes of importance on the islands.

Finally, many thousands of visitors come for broadly touristic reasons, to see the ruins, hear Irish spoken (and Irish music played) in the few pubs on the island, and to experience the geology of cliffs. Some of these visitors create "travelogues" of note. Examples include Tim Robinson's Stones of Aran: Pilgrimage (1986) and Stones of Aran: Labyrinth (1995), and his accompanying detailed map of the islands.

Aran Island sweater
The islands are the home of the Aran sweater, which gained worldwide appeal during the 20th century. Many of the sweaters sold in the islands are made elsewhere in Ireland.

Aran currach
The (modern) Aran version of the lightweight boat called the currach (Aran Islands Dialect: kørəx, korəx) is made from canvas stretched over a sparse skeleton of thin laths, then covered in tar. It is designed to withstand the very rough seas that are typical of islands that face the open Atlantic. Indeed, the Aran fishermen are said to not learn to swim, since they would certainly not survive any sea that swamped a currach, so it would be better to drown quickly. Despite the undoubted strength of these boats, they are very vulnerable to puncture.

The islanders were always totally self-sufficient. In calmer weather, the currachs would go out and spend the night fishing under the Cliffs of Moher, returning after dawn full with fish. Nowadays, they are only used inshore, tending lobster pots. More modern versions are still built for racing at the many local regattas, or cruinnithe up and down the west coast of Ireland during the summer.

Conventional shoes cannot be worn, so the fishermen wear soft calf-skin moccasins called pampooties, made of goatskin, calfskin, or cowhide.

Sport
Some of the limestone sea cliffs have attracted interest from rock-climbers.

GAA sports such as Gaelic football, hurling, and Irish handball are the islands' main sports.

The annual Red Bull cliff-diving world championships are held on Inis Mór every year.

In popular culture

 * John Millington Synge wrote a book-length journal, The Aran Islands, completed in 1901 and published in 1907.
 * The Aran Islands are mentioned in James Joyce's short story "The Dead" (1914) as a place where native Irish is spoken.
 * The 1934 ethnofiction documentary film Man of Aran
 * Gilbert Bécaud's two-act L'Opéra d'Aran (1962) features a plot taking place on the Aran Islands.
 * Seamus Heaney's first book of poems, Death of a Naturalist (1966), contains a poem entitled "Lovers on Aran".
 * The Aran Islands featured in the comedy television series Father Ted from 1995 to 1998, set on the fictional Craggy Island, with real local sights such as the shipwreck of the steam trawler MV Plassy in the opening sequence. The island of Inishmore hosted a Friends of Ted festival in 2007.
 * The 1996 play The Cripple of Inishmaan by Martin McDonagh is set on the Aran Islands. The play is the first in the Aran Islands Trilogy, followed in 2001 by The Lieutenant of Inishmore, and the unpublished The Banshees of Inisheer.
 * The 1997 romantic comedy film The MatchMaker starring Janeane Garofalo is partially set on the Aran Islands.
 * The 2000 song "El pozo de Aran" by Galician Celtic musician Carlos Núñez, with lead vocals by Portuguese singer Anabela, is about a mother's pilgrimage to a holy well in the islands to heal her sickly child.
 * The 2010 film Leap Year was partially filmed on Inis Mór.
 * The 2020 novella "The fourth island" by Sarah Tolmie is set on the fictional Aran island of Inis Caillte, to where lost souls are swept over.
 * The 2022 film The Banshees of Inisherin was partially filmed on Inis Mór.
 * The songs from the album Man of Aran by the group Sea Power all relate to the Aran Islands.
 * In the pilot episode of Talking Tom and Friends, Talking Hank mentions a show set on the Aran Islands.

Notable people

 * Mary O'Hara resides on one of the Aran Islands

title: Aran Islands