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Tiswas

Tiswas (an acronym of "Today Is Saturday: Watch And Smile") was a British children's television series that originally aired on Saturday mornings from 5 January 1974 to 3 April 1982 and was produced for the ITV network by ATV.

It was created by ATV continuity announcer Peter Tomlinson (later to become a regular presenter on the show) following a test period in 1973 when he tried out a few competitions and "daft stuff" between the programmes.

Overview
Tiswas began life as a 'links' strand between many 'filler' programmes, such as cartoons and old films. The popularity of the presenters' links soon eclipsed the staple diet of filler.

The correct meaning of the Tiswas initials - Today Is Saturday: Watch And Smile - was confirmed by Chris Tarrant on the Tiswas Reunited special of 2007, although  Today Is Saturday: Wear A Smile had also been often cited, albeit incorrectly. "Tiswas", as a word meaning "A state of nervous agitation or confusion ... physical disorder or chaos", is attested from 1960 by the Oxford English Dictionary.

It was originally produced as a Midlands regional programme by ATV, and was first broadcast live on 5 January 1974. The then federal structure of ITV, with its independent regional companies, meant that not all of these stations broadcast the show when it became available for networked transmission. Over time most ITV regions chose to broadcast it, with Granada Television and Southern Television being among the last to pick up the show, in 1979, the year of the ITV technicians’ strike. Tyne Tees and Ulster eventually decided to take Tiswas for its final series in 1981.

Most famously hosted by Chris Tarrant between 1974 and 1981, and later Sally James, it also featured Lenny Henry and occasionally Jim Davidson together with Bob Carolgees and his puppet, Spit the Dog. John Gorman, former member of 1960s cult band The Scaffold, was also a presenter. On the programme, Birmingham folk-singer and comedian Jasper Carrott was to introduce the nation to the "Dying Fly Dance". Like its cleaner BBC counterpart, Multi-Coloured Swap Shop, it had a running order but no script (with the exception of some specific sketches). The programme was broadcast from Studio 3 at ATV Centre in Birmingham; this was the weekday home for the company's regional news magazine, ATV Today.

The show was a stitch-together of competitions, film clips and pop promos, just about held together by sketches and links from the cast. The show also regularly featured spoofs of BBC children's programming.

A feature of Tiswas was "The Cage" wherein initially the child audience, later their parents and, finally, members of the public were confined and periodically doused in water (one spin-off of the series was the hit "The Bucket of Water Song", performed by the Four Bucketeers). This became so popular that the 100th show (broadcast from the Hednesford Hills Raceway) featured several hundred fans lining the racetrack whilst a fire-engine of the local brigade drove around the track and hosed them down with water.

Another feature of Tiswas was its spoof gardening segment Compost Corner, which Chris Tarrant later revealed was a ruse to get an audience callback in the style of Crackerjack. This feature regularly featured Lenny Henry – complete with khaki shorts; Hawaiian shirt; and ginger fake beard – performing an impersonation of David Bellamy, with gardening-based puns and jokes.

Lenny Henry also performed a regular slot of Newsflashes as Trevor McDoughnut – an impersonation of ITN newsreader Trevor McDonald – in which he performed news-based puns and jokes, punctuated by buckets of water being thrown at him. Henry also regularly performed an impersonation of Tommy Cooper, in which he either told a joke (which often ended with the Phantom Flan Flinger – standing behind Henry – slapping two flans into either side of Henry's head); or performed a spoof magic trick.

From the fourth series onwards, the series was frequently visited by the Phantom Flan Flinger, who would throw custard pies ("flans"), buckets of water, gunge, sprayers, etc. around the studio at all and sundry. Both Tarrant and the Flan Flinger would take great delight in trying to 'flan' cameramen who would go to great lengths to avoid being hit.

The logo
The original logo featured the word "TISWAS" in chunky letters. A later version of this logo featured a circle going round the edge with "Today Is Saturday Watch And Smile" embossed upon it. The classic "zig-zag" logo designed by Stuart Kettle appeared in 1977 – this initially featured a mechanical bird flying above it, but later, Chris Wroe (who drew all of the classic caricatures of the Tiswas team) replaced this with a drawing of the Phantom Flan Flinger.

Series 1
The first series was intended to be eleven episodes, purely acting as links between the usual staple fillers of old films and cartoons that ATV would transmit on Saturday mornings. Presented by Chris Tarrant and John Asher from merely a desk in a continuity studio, the pair had to rely on ad-libs and jokes sent in by viewers. Within a few weeks, the show was moved to studio 3 at ATV Centre (a studio usually reserved for amongst other programmes, the news magazine programme, ATV Today) from which Tiswas was produced for the majority of its run.

Due to an industrial dispute by technicians at ATV, this initial run was only nine programmes in length, but was so well-received that a second series was commissioned.

Billed in TV Times as "Today Is Saturday or the Tis-was Show", the title sequence features both "Today Is Saturday" and the original "Tiswas" chunky letters logo, shown over a background very similar to that of The Golden Shot. The sequence featured clips from various films and Disney cartoons, backed by a funky jazz number known as "Atomic Butterfly" (which also seems to have been used for Sports Arena, an HTV Wales sports programme in the early 1970s).

Series 2
The presenting team was doubled to four presenters, and these were usually culled from ATV's presentation department. Chris Tarrant and John Asher retained their roles as the main presenters, although John would leave during this series. From the ranks at ATV, other regular presenters were established, notably sports reporter Trevor East (later director of sport at Setanta Sports) and announcer Peter Tomlinson (later to become managing director of Saga Radio West Midlands and High Sheriff of the West Midlands).

Producer Peter Harris left the show in the summer, to help produce fellow cult TV success The Muppet Show at ATV's London-orientated operation in Elstree.

Series 3
Chris Tarrant, Peter Tomlinson and Trevor East were the main presenters. Almost all these shows were produced by Sid Kilbey. The 2 April 1977 show was a landmark edition, as part of the programme was broadcast outside the Midlands for the first time, on HTV Cymru Wales and HTV West, filling up their 'round-the-regions' compilation of Saturday morning programmes called Ten on Saturday.

Series 4
This series marked an end to the provincial micro-budget shows of the previous series, as the initial edition of this series brought significant changes. Sally James was drafted in as the series' first regular female presenter. She had been the presenter of a regional Saturday morning show in London called Saturday Scene, produced by LWT. Comedian Jim Davidson was intended to be a regular presenter but left after only a few editions, although he would return for cameo appearances. Peter Tomlinson was axed as a regular, which came as a surprise to him.

Chris Tarrant was retained as the anchor presenter, and behind the scenes was annoyed with the changes, particularly the inclusion of a woman as presenter. However, he later retracted this view, having witnessed the progress Tiswas had made with James's contribution.

One significant change almost never happened. ATV management were displeased with the visual slapstick element - the hurling of custard pies and water. They believed this was setting a bad example to the young viewers. Newly drafted producer/director Glyn Edwards managed to retain this vital, messy element by drawing on his experience as a Punch & Judy puppeteer to create a 'villain' character called 'The Phantom Flan Flinger', who would be the black-clad masked nemesis of the presenting team, and the main instigator of pie-throwing chaos. The "phantom" was later revealed to be Ben Mills, a taxi driver from Cheswick Green near Solihull.

John Gorman made his debut in this series, but with just four appearances, it would not be until series 5 that he became a regular visitor to the Tiswas studios. Likewise, child performer Paul Hardin made sporadic appearances.

The programme expanded its footprint further outside its home region. As well as appearing in part on HTV, Anglia, Border, Granada and Scottish Television began to screen Tiswas in its entirety. Anglia dropped the series a number of times to pick up other regions' Saturday morning programmes throughout Tiswas's history.

Series 5
John Gorman became a regular performer from November onwards. Scottish and Granada dropped the series in 1978 in favour of showing other programmes but began carrying the series again in 1979. HTV continued to opt in and out of the programme during Ten on Saturday.

Bob Carolgees made his debut in early 1979, having been told to go on the programme by Irish comic Frank Carson. Carolgees appeared again two weeks later, and Chris was so pleased with his contribution that he decided to make a regular fixture out of Bob.

Lenny Henry made sporadic appearances throughout this series, but was not established as a regular. Child performer Paul Hardin increased his visits to the studios, and could well be considered as a series 5 team member, likewise Sylveste McCoy (who added an "r" to his first name later in his career) who performed surreal comic interludes.

Series 6
Many ITV regions took the programme for the first time, establishing the show strongly in the nation's consciousness. London-based viewers tended to complain to the Independent Broadcasting Authority (IBA) about some of the edgier moments the show had.

With an almost national audience, the show became inclusive of its increased viewership by making a bigger role out of specially invited viewer performances. Many of these were children who sang songs or performed dance routines. Chris Tarrant, now producer as well as presenter, found most of these contributions to be of little value, until he came across a unique act by a five-year-old boy, Matthew Butler. Encouraged by his Tiswas-obsessed mother, Butler auditioned for the series wearing a rabbit costume and sang the song "Bright Eyes" made famous by the animated film Watership Down, although his own singing ability was rather poor. Tarrant found this so amusing that he arranged for him to appear on the following Tiswas, as well as many subsequent editions.

Also appearing a number of times in this series was Norman Collier, the Yorkshire comedian best known for his broken microphone routine and chicken impressions.

Another by-product of Tiswas's increased audience was the boost to merchandise sales: an annual book was established, and there was a tour of universities (recognising their adult and teenaged audience) by the Tiswas team, under the name of the Four Bucketeers, which tied in with their spin-off album on CBS Records. This was all born out of one feature of the sixth series - "The Bucket of Water Song", which was such a hit with the viewers that it evolved from an intended one-off to an almost regular part of Tiswas.

Tiswas had been off air due to the massive strike by ITV technicians which lasted 11 weeks from August to October 1979.

Series 7
By now, ATV had increased the budget for Tiswas, and Chris Tarrant had more of a say in the programme's production than ever before. The most remembered theme tune was heard for the first time, and the studio set was based around ATV cartoonist Chris Wroe's caricatures of the presenting team.

This series can be considered as the definitive series, due to the material drawn from this era that usually gets an airing on documentaries and clips shows when Tiswas is the subject. In addition, the three video compilations that have been released for sale have been packaged around a seventh series theme, with the bulk of the clips also being from this age.

Midway through this series, Chris Tarrant decided to leave upon its conclusion. Bob Carolgees, Lenny Henry and John Gorman also left after the final edition of series 7. (28 March 1981) They had decamped to start work on O.T.T., a late-night version of Tiswas intended for an adult audience, which would debut in 1982. The only regular Tiswas presenter left was Sally James, who stayed on for series 8.

Series 8
The last series had its format heavily tinkered with by ATV management. They believed that the adult audience should be avid viewers of Chris' 'late-night' Tiswas, and therefore Tiswas itself should focus on its child audience. It was also the first time Tyne Tees and Ulster started to screen the series.

The new presenting team consisted of Midlands DJ Gordon Astley, former Darts frontman Den Hegarty and comic impressionist Fogwell Flax. Veteran Tiswas presenter Sally James stayed on and became the series' Music Editor, but decided to leave towards the series' end. This was likely to be a factor in Central Television's decision not to bring the programme back for a ninth series.

Semi-regulars were dwarf actor David Rappaport who played characters such as 'Green Nigel' (in a pastiche of BBC programme Blue Peter) and the Fonz-like 'Shades', Emil Wolk and puppeteer Trevor James with a giant parrot, presumably to fill the void left by Bob Carolgees.

At the end of 1981, a restructure of ITV's broadcast franchises saw ATV win back the franchise for the Midlands on condition of changes in management, regional output and branding. Thus, the first part of the series was produced by ATV and the second part by Central Television.

The decision by TVS, the new ITV station in the south and south-east of England, to drop the Central-produced half of the last series in favour of its own Saturday morning programme No. 73 saw fans of Tiswas picket outside its studios in Southampton. The eighth series was broadcast on TVS upon the conclusion of No. 73's first series.

During its ATV days the chairman of the station, Lew Grade, was said to have taken a personal dislike to the show but was persuaded to let it continue, even arguing in its defence to criticism from the IBA. It was believed that the new management at Central frowned upon the anarchy of Tiswas (and the common popularity of another production, the soap opera Crossroads) and in a desire to make the station more upmarket than its previous incarnation took the evidence of declining audiences for the new format as justification to axe Tiswas after series 8, the final episode of Tiswas was transmitted live on 3 April 1982, ending the entire show with the cast singing "Auld Flang Syne."

Missing episodes
Almost every edition of Tiswas was transmitted live, and only recorded in case of any future IBA investigation (as was standard practice at the time). Accordingly, they suffered the same fate as a number of 1970s children's series, in that they were thought to have no further commercial use (the idea of home video entertainment was still in its infancy), and therefore many master tapes were wiped for re-use. As a result, very few programmes officially exist in their entirety. Those that were kept were often stored in poor conditions, which led to severe picture deterioration, so they are no longer of broadcast quality.

However, some did survive; many viewers made their own recordings and in many cases these are the only existing copies of the programmes. Members of the production team and performers on the show would also record their appearances, leading to many episodes existing in private hands. In 2006, ITV began a search for many missing ITV programmes, including Tiswas, for their Raiders of the Lost Archive series broadcast in 2007.

Their website reveals that only 22 episodes are known to officially exist in their entirety: episode 60 from 30 August 1975, four episodes from 1978, two episodes from 1979, two episodes from 1980, five episodes from 1981 and nine episodes from 1982. Incomplete segments from show 151 (broadcast on 10 December 1977), an episode from 1978 and two episodes from 1979 are also known to have survived.

The prolific TiswasOnline fansite features an in-depth episode guide for the whole series, detailing where an episode is known to exist, whether as a private home recording or in the official archive. ITV plc has confirmed to TiswasOnline that many more programme elements (other than those officially known to exist) have been kept, but as yet these have not been fully catalogued. This may include insert material such as animations and graphics or filmed clips. Furthermore, the Tiswas Reunited programme in 2007 resulted in the discovery of further footage.

O.T.T.
On 2 January 1982 Tarrant, Carolgees, Gorman, Randolph Sutherland and Henry launched a late-night show - with the up-and-coming comics Alexei Sayle and Helen Atkinson-Wood called O.T.T. (standing for "Over the Top") which was effectively an "adult" version of Tiswas - in other words, it attempted to be just as anarchic, but with swearing and occasional topless women. It was not such a success, running for just one series, and is today chiefly remembered for the naked 'Balloon Dance' performed by The Greatest Show on Legs, including comedian Malcolm Hardee. The theme tune was recorded by Roy Wood and was released as a single

Saturday Stayback
Saturday Stayback was a short-lived (January–February 1983) late night comedy show based in a pub. Although intended as some sort of sequel to O.T.T., this differed quite a lot, for it was all recorded rather than the live chaos of its predecessor. It mainly consisted of comedy sketches, with some live music acts - usually Thin Lizzy and Roy Wood. Saturday Stayback received much less controversy than O.T.T., and also introduced new talent such as Phil Cool and Tony Slattery. It lasted only six episodes. Chris Tarrant and Bob Carolgees were the only ex-Tiswas personnel regularly seen on screen, and John Gorman helped out on writing duty.

Tiswas Reunion
A definitive line-up of Tiswas presenters regrouped for a resurrection of Tiswas on the ITV Telethon of 1988. This took place in LWT's South Bank studios in London, culminating in an outside performance of The Bucket of Water Song.

Ministry of Mayhem
In late 2005, ITV's Saturday morning show Ministry of Mayhem had a special edition featuring presenters from past Saturday morning shows, including Tiswas. Representing Tiswas was Sally James, although Chris Tarrant did a video link-up for a brief interview during the show. Out of the cult Saturday morning shows that were focused on, Tiswas was significantly the most prominent, with many clips shown from it, and even a re-enactment of two Tiswas staples - the Cage and the Pass The Pie game.

Tiswas on Dick and Dom in da Bungalow
In December 2005, BBC Saturday morning show Dick and Dom in da Bungalow featured a thirty-year-old man singing "Bright Eyes" with his friends as part of a talent spot. This person was Matthew Lewis, formerly known as Matthew Butler, who performed his unique rendition of the song back in 1980 on Tiswas when he was aged five. Presenters Richard McCourt and Dominic Wood took the opportunity to praise Matthew, as they are fans of Tiswas, and also to dispel recent tabloid rumours of Dick and Dom resurrecting Tiswas on ITV. However, Wood did present one episode of Dick and Dom in da Bungalow wearing a Tiswas T-shirt.

Lenny Henry on It Started With Swap Shop
Lenny Henry appeared on the BBC's It Started With Swap Shop programme in 2006, in which he spoke to Noel Edmonds about Tiswas being the rival of Swap Shop during the entire era.

Tiswas Reunited – The 2007 Special
A new programme to celebrate 25 years since the final Tiswas show was broadcast by ITV1 on 16 June 2007, it started with the traditional ATV logo and jingle. This programme had been delayed from May in order to allow for an extended transmission slot. Celebrities and 'old Tiswas mates' alike joined in the fun. In an interview publicising this, Chris Tarrant put out an appeal to the public to submit any surviving video footage of the series to be included in the new programme - which resulted in the discovery of further footage.

A DVD release of the programme, featuring an extended edition plus a short featurette on the history of Tiswas, was released shortly after transmission.

From the official press release:

''For one night only, ITV1 brings you TiSWAS REUNITED, a one-off special reuniting the stars of the iconic groundbreaking children’s show TiSWAS. With a wealth of clips and reminiscences from the many stars who appeared on the series, the team will recreate the chaos and mayhem of those heady days of the show that broke the mould. TiSWAS REUNITED is new and exclusive to ITV1, spring 2007''.

The producers of the programme looked for people who were involved in the original series, whether they were in the audience, appeared as a guest, won a competition ("pulled up by the ears") or in any other capacity. The TiswasOnline website helped with these searches (and numerous other aspects of the new programme), and people could submit their details directly to the production team and apply to be in the cage.

A new logo for the programme was produced - it features the regular 'zig-zag' logo (including the Phantom Flan Flinger) with "Reunited" rubber-stamped across it.

The official Tiswas Reunited 'mini-site' features exclusive material about the making of the programme, as well as blogs by those who took part in the programme itself (guests and residents of the Cage!)

The ITV broadcast referred only briefly to John Asher and Trevor East, the programme's original presenters, and omitted to make any reference to the eighth and final series (possibly because it was the one series in which Reunited's Executive Producer Chris Tarrant was not involved.)

Merchandise
Tiswas was a pioneer for children's television, making its way to shop shelves. Books, T-shirts, a regular magazine, an album, various singles and even a ceramic money box have all been daubed with the Tiswas logo.

Magazine
A magazine counterpart was produced with interviews with cast, quizzes and letters. This appeared initially as Tiswas Family Fun Book at the beginning of 1981 and developed into Tiswas Magazine from September 1981 to coincide with the final series.

Annuals
Four annual hardcover books were produced in Tiswas's later years. Presenter/performer John Gorman wrote the first three (published in the Autumn of 1979, 1980, 1981), and Ollie Spencer the 1983 edition (prepared in spring 1982 and published that autumn, featuring presenters and characters from the final 1981–82 series).

Video compilations
In the early 1990s, three VHS compilations were made available. The majority of Tiswas never survived as recordings, but among collectors, some with the earliest domestic VCRs, and some studio copies of later editions.

These compilations were not like ordinary editions of Tiswas, in that 'non-original' content such as music videos, film clips and cartoons were stripped out. Original features like competition spots and pop interviews were also excluded, in favour of highlighting the show's legacy to comedy and visual slapstick.

Best of the Best Bits
The first compilation, lasting about an hour, and purely full of comedy sketches from the series. Some of the most repeated clips from the series have made the grade for this compilation - notably some News Flash sketches with Lenny Henry as 'Trevor McDoughnut' (including one where the target of the spoof - Trevor McDonald - takes over as a surprise) and the 'viewer's letters' clip where Sally James is pied and drenched in semolina, baked beans and custard. Moving slightly away from comedy, the music video for the Four Bucketeers' "Bucket of Water Song" is included.

More of the Best Bits
The second compilation continued in the same vein as the first. Frank Carson being soaked unexpectedly is a running gag, and there is a full rendition of 'Bright Eyes' from Matthew Butler. A music video for The Four Bucketeers' Water Is Wonderful ends the compilation.

Comedy Capers
This was targeted at the stand-up comedy VHS market at the time, and the inlay cover made great mention of comic legends' appearances, such as Spike Milligan, Michael Palin and Bernard Manning. Content-wise, it is very similar to the previous two compilations, with many sketches being performed by the Tiswas team. However, this compilation has no contribution from the Four Bucketeers.

DVD
Apart from the Tiswas Reunited DVD, released by ITV DVD a week after transmission of the 2007 programme, the only other Tiswas DVD available is The Best of Tiswas.

Issued in October 2005 by Network DVD, The Best of Tiswas was a straight DVD issuing of the three VHS compilations - Best of the Best Bits, More of the Best Bits and Comedy Capers. Being on DVD format, it has better picture quality than the VHS version. However, due to the rarity of some Tiswas material (many episodes surviving only on off-air recordings) there is some understandably rough-looking footage here and there. Additionally, the More of the Best Bits compilation is entirely sourced from a VHS copy, for the original VHS release's master tape could not be located in time for transfer.

title: Tiswas


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Curate

A curate is a person who is invested with the care or cure (cura) of souls of a parish. In this sense, curate means a parish priest; but in English-speaking countries the term curate is commonly used to describe clergy who are assistants to the parish priest. The duties or office of a curate are called a curacy.

Etymology and other terms
The term is derived from the Latin curatus (compare Curator).

In other languages, derivations from curatus may be used differently. In French, the curé is the chief priest (assisted by a vicaire) of a parish, as is the Italian curato, the Spanish cura, and the Filipino term kura paróko (which almost always refers to the parish priest), which is derived from Spanish.

Catholic Church
In the Catholic Church, the English word curate is used for a priest assigned to a parish in a position subordinate to that of the parish priest. The parish priest (or often, in the United States, the pastor or minister) is the priest who has canonical responsibility for the parish. He may be assisted by one or more other priests, referred to as curates, assistant priests, parochial vicars, or (in America) associate/assistant pastors.

Anglican Communion
In the Church of England today, curate refers to priests (or, in the first year, transitional deacons) who are in their first post after ordination (usually for four years), and are completing their training (not unlike an apprenticeship). The technical term curate, as found in the 1662 Book of Common Prayer, meant the incumbent of a benefice, that is the person licensed by the diocesan bishop to the "cure of souls", who, depending on how the benefice income was raised and distributed, was a rector, a vicar, or a perpetual curate. A vicar arises when a rectory was sold to lay rectors, which would often be a monastic house (such as abbey) or university college; a perpetual curacy where another priest or senior cleric has long-term control of the parish finances, granting an agreed stipend and general powers to the curate, albeit of theoretically of the same job security, below.

Although the expression curate-in-charge was mainly used of an informal arrangement whereby an incumbent gave most responsibility for one of the parish churches to an assistant, in law it denoted a cleric licensed by the bishop to exercise some or all of the cure of souls when the incumbent had failed to make adequate provision for them or was subject to disciplinary measures. Once in possession of their benefices, rectors and vicars enjoyed a somewhat locally varied array of rights, absolutely, a home in which to live without charge, and generally a generous income from the parish especially in the era of tithes, yet could be removed after due legal process and for a restricted number of reasons.

Perpetual curates were placed on a similar footing in 1838 and were commonly styled "vicars", and this practice was legally recognised in 1868. Clergy (both transitional deacons and priests) who assist the "curate" were, and are, properly called assistant curates, but are often referred to as "the curate".

A house provided for an assistant curate is sometimes colloquially called a "curatage". Assistant curates are also licensed by the bishop, but only at the request of the "curate", who had the right of dismissal subject to certain conditions. Although it is customary for a priest to serve as a curate in one or more parishes before becoming an incumbent, it is by no means unknown for priests who have previously been beneficed or consecrated bishop to return to a curacy (as assistant curate), sometimes as a matter of choice. For example, Geoffrey Francis Fisher served as Curate of Trent near Sherborne after retiring as Archbishop of Canterbury in 1961.

With the 1968 Pastoral Measure and subsequent legislation, the Church of England has undergone a major process of reform which still continues today, and much of above no longer holds good. Ministers in the Church of England whose main income comes from sources other than their work as clergy may be termed "self-supporting ministers" or "curate (SSM)".

Terms like "rector" and "curate" were carried overseas with the spread of Anglicanism, but their exact meaning depends on local conditions and regulations. In the Church of Ireland some curates are styled "bishop's curates" as they are accountable directly to the diocesan bishop, while sometimes mentored by local parish clergy, and are perceived to have more autonomy than other assistant curates.

In Anglican parishes with a charismatic or evangelical (low church) tradition, the roles of curates are usually seen as being an assistant leader to the overall leader, often in a larger team of pastoral leaders. Many of the larger charismatic and evangelical parishes have larger ministry teams with a number of pastoral leaders, some ordained and others who are not.

In the Episcopal Church of the United States, the curacy may be a temporary place to continue training after ordination, similar to an internship, or it may be a permanent, subordinant position, more akin to a perpetual curate.

Training
In the Church of England, the ongoing training of assistant curates is typically overseen by officers of the bishops called Initial Ministerial Education (IME) or Continuing Ministerial Development (CMD) Advisers.

History
Originally a bishop would entrust a priest with the "cure of souls" (pastoral ministry) of a parish. When, in medieval Europe, this included the legal freehold of church land in the parish, the parish priest was a "perpetual curate" (curatus perpetuus), an assistant would be a (plain) curate (curatus temporalis).

The words perpetuus and temporalis distinguish their appointments but not the length of service, the apparent reference to time is accidental. A curate is appointed by the parish priest and paid from parish funds. A perpetual curate is a priest in charge of a parish who was (usually) appointed and paid by the bishop.

As the church became more embedded into the fabric of feudal Europe, various other titles often supplanted "curate" for the parish priest. "Rector" was the title given to a priest in possession of the tithe income. This right to the income was known as a "living". The title of rector comes from regere, 'to rule'.

Those parishes where a monastery had appropriated the rights to the tithe income, a portion of this income was set aside for a priest to occupy the parish, essentially acting on behalf of the monastery, in other words vicariously – hence "vicar". In some cases, a portion of a tithe for a vicar could exceed the income of some rectors, depending on the value of the livings being compared.

Minor canons
Minor canons are those clergy who are members of a cathedral's establishment and take part in the daily services but are not part of the formal chapter. These are generally clergy who are nearer to the beginning than the end of their ministries, who have already served their curacy (title post) in a parish church. They are often selected for their singing and liturgical ability.

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

title: Curate


text:
Antioquia Department

Antioquia is one of the 32 departments of Colombia, located in the central northwestern part of Colombia with a narrow section that borders the Caribbean Sea. Most of its territory is mountainous with some valleys, much of which is part of the Andes mountain range. Antioquia has been part of many territorial divisions of former countries created within the present-day territory of Colombia. Prior to adoption of the Colombian Constitution of 1886, Antioquia State had its own sovereign government.

The department covers an area of 63,612 km2, and has a population of 5,819,358 (2006 estimate); 6.6 million (2010 estimate). Antioquia borders the Córdoba Department and the Caribbean Sea to the north; Chocó to the west; the departments of Bolivar, Santander, and Boyaca to the east; and the departments of Caldas and Risaralda to the south.

Medellín is Antioquia's capital city, and the second-largest city in the country. Other important towns are Santa Fe de Antioquia, the old capital located on the Cauca River, and Puerto Berrío on the Magdalena.

Geography
Antioquia is the sixth-largest Department of Colombia. It is predominantly mountainous, crossed by the Cordillera Central and the Cordillera Occidental of the Andes. The Cordillera Central divides to form the Aburrá valley, in which the capital, Medellín, is located. The Cordillera Central forms the plateaus of Santa Rosa de Osos and Rionegro.

While 80% of the department's territory is mountainous, Antioquia also has lowlands in Bajo Cauca, Magdalena Medio, and eastern Sonsón, as well as coastline on the Caribbean Sea, in Urabá. This area has a tropical climate and is of high strategic importance due to its location.

Native people of Antioquia
Before Spanish colonization, different indigenous tribes inhabited this part of modern Colombia. Their origin is uncertain, as specialists believe that some came from the Caribbean island, and others that they originated among peoples along the interior Amazon River.

Antioquia was primarily populated by the Carib people. Some scattered groups of Muisca were said to be present in the Darién region (in modern-day Panama), a coastal region in the far north of Antioquia. But, no historical records refer to Muisca in Antioquia.

The Carib occupying territory in Antioquia were known by classifications of smaller groups, called families. Some of the most prominent native families in the region include the Catía, Nutabe, and Tahamíe, who all inhabited the central region of Antioquia.

The Quimbaya occupied southern Antioquia.

The historic Quimbaya, Carib and Muisca tribes were the most prominent groups encountered by the conquistadors upon their arrival in Antioquia. The Quimbaya had a lot to do with the development of the department.

The Spaniards had a turbulent history of encounters with the Carib. Although the tribe was numerous and known for its warring culture, the various peoples of this family became dominated or exterminated by the Spaniards in the process of conquest and colonization. As did all Native Americans, they suffered extremely high mortality due to newly introduced infectious Eurasian diseases, to which they had no immunity.

In some cases the surviving natives dispersed to evade the Spanish, and some committed suicide to escape being enslaved or subjected to forced labor. Many survivors fled to the modern department of Chocó. In Antioquia, the natives disappeared almost completely. At present, the autochthon population of the department of Antioquia scarcely reaches 0.5% of the total population, even though the vast majority of locals have a significant indigenous genetic component (26% in average).

Basque influence in Antioquia
A debate, centered around the apparently significant Jewish origin of Antioquians, took place from mid-nineteenth century to the twentieth century. Others, later pointed to Basque origins as a way to understand the population's idiosyncrasies. Prominent among these, were two American historians: Everett Hagen and Leonard Kasdan. Hagen looked at the telephone directory in Medellin in 1957 and found that 15% of the surnames were of Basque origin, finding then that employers in the percentage of surnames was up to 25%, which led him to conclude that Basque settlers were very important in explaining the increased industrial development of Antioquia in the Colombian context. These ideas were supported by representatives of developmental theories, who sought to justify business growth based on "the character of social groups."

Euskera (Basque language) in Antioquia
The use of Basque language (Euskera) terminology in the present territory of Colombia goes back to the early exploration in 1499, during the third voyage of Columbus, it is said that from that time the territory experienced a strong presence of Basques, including prominent figures such as the pilot and geographer Juan de la Cosa, nicknamed "el vizcaino". (Some sources claim that he was not a native of the Basque Country, but was born in Santoña, Cantabria).

More Basque colonists reached this area and began to settled in the region. The Colombian department of Antioquia has been considered a major route of the Basque immigration, mainly during the colonial era. Hundreds of Basques migrated as settlers sponsored by the Spanish colonization companies.

People who were interested in investigating the presence of the Basque people in the department of Antioquia and Colombia have been troubled by the question that relates to the use and retention of the Basque language in their current territories.

It is estimated, for example, for smaller Antioquia, a region where hundreds of Spaniards arrived, of which a good portion were Basque, some limited aspects of the culture and traditions were brought by Basque settlers, though without any mention of their particular language, thus tracking the use of Basque in the current Antioquia and Colombia. However, this is partly due to the Basque language always having been an outcast, which apparently left no written evidence in Antioquia.

Antioquia Basque speech
The current Spanish dialect in Antioquia, closely observed, has obvious influences from Basque. Basque influence is evident in words such coscorria (useless, inept) and 'tap' (tap), to name only a few cases. Basque also influenced the pronunciation of the letter 's' apico-alveolar (transitional between 's' and 'sh'), so in the Antioquia, and the letter "ll" (double L) pronounced as an affricative, not to overlook the inclusion of the letter "a" before certain initial Rs: arrecostarse instead of recostarse, arrecoger instead of recoger and arrecordarse instead of recordarse.

Spaniards in Antioquia
The first Spaniard known to have visited the territory now known as Antioquia was Rodrigo de Bastidas, who explored the area around the future site of Darién in 1500. Ten years later, Alonso de Ojeda founded San Sebastián de Urabá, 2 km from the present-day town of Necoclí. It was later destroyed by the natives. The first Spanish military incursion into Antioquia, however, was not made until 1537. An expedition commanded by Francisco César traveled through the lands of chief Dabeiba, arriving at the Cauca River. They were said to have taken important treasures from the indigenous people's tombs. In response, the warriors of chief Nutibara harassed the Spaniards continually, and forced them to return to Urabá.

In 1541, the conquistador Jorge Robledo departed from the site of the future (1542) Spanish town of Arma, a little below Aguadas in the North of Caldas, to lead an expedition north on the Cauca River.

Farther north, Robledo would found the city of Santa Fe de Antioquia, which in 1813 was declared the capital of the sovereign and independent state of Antioquia, and remained the seat of the governate until 1826, when Medellin was designated the capital.

Other Spaniards who settled Antioquia came from Extremadura, Andalusia, and the Canary Islands. The Extremadurans influenced the pronunciation of the letter 's' as an apico-alveolar, like Basques. Andalusians and Canarians influenced seseo in the Spanish dialect.

Toponymy
The reason behind the chosen name for the department is not historically clear. The most accepted explanation is that the name for the, then Greek-Syrian (now Turkish), Hellenistic city of Antioch on the Orontes (Ἀντιόχεια Antiocheia, Arabic: Antākiyyah, today Antakya) was used since the region known as the Coffee Zone in Colombia, in which many towns and cities are named after cities in the Middle East, has a very strong Judeo-Arabic influence, both demographically and culturally. Additionally, the city in mention played a significant role in the development of early Christian communities thus religiously important for Roman Catholic Spaniard conquerors. Others state that it is named after some of the many other Hellenistic ancient cities in the Middle East named Antiochia, which were founded as well by some of the Antiochus Kings during the Seleucid Empire (312–63 BC).

16th to the 21st centuries
Due to its geographical isolation, being located among mountains, Antioquia suffered supply problems. Its topography did not allow for much agriculture, so the city became dependent upon trade, especially of gold and gin for the colonization of new land. Much of this trade was due to reforms passed after a 1785 visit from Juan Antonio Mon y Velarde, an inspector of the Spanish Crown. The Antioquia became colonizers and traders.

The department was hard hit by the Colombian conflict, with 30,000 people missing between 1997 and 2005.

The Wall Street Journal and Citi announced in the year 2013 that Medellín, the capital of the Department of Antioquia, is the winner of the City of the Year competition, a global program developed in partnership with the Urban Land Institute to recognize the most innovative urban centers. Medellín was ranked above the other finalists, Tel Aviv and New York City.

Regions and municipalities
Antioquia is divided into nine subregions to facilitate the Department's administration. These nine regions contain a total of 125 municipalities. The nine subregions with their municipalities are:

Demographics
The population of Antioquia is 6,613,118 (2017 estimate), of which more than half live in the metropolitan area of Medellín. The racial composition is:

 * White / Mestizo (88.6%)
 * Black or Afro-Colombian (10.9%)
 * Indigenous or Amerindian (0.5%)

During the 16th and 18th centuries, Antioquia received many immigrants from Spain (Especially the northern Spain). Most Indigenous peoples died from the introduction of European diseases, and many of those who survived intermarried with early Spanish settlers, who were mostly men; later, Spanish women also began to immigrate. Thousands of Scottish and English who settled in Antioquia fought for the Colombian army during independence. During the 19th and 20th centuries, immigrants (including Jews) arrived from Italy, Germany, United Kingdom, France, Portugal, Lebanon, Israel, Palestina and Syria. Many people from Antioquia are referred to as Paisas, people of mainly Spanish ancestry, a lot of them Basque. There is a small Afro-Colombian and Zambo-Colombian (people of Indigenous and African descent) population originating in the majority of the Urabá subregion and the neighboring departments of Chocó, Córdoba and Sucre.

Notable people

 * Walter Noriega (1979) footballer
 * Maluma (1994) singer, songwriter, and actor
 * J Balvin (1985) singer
 * Karol G (1991) singer and songwriter
 * Juanes (1972) musician
 * Sebastián Yatra (1994) singer, songwriter, and actor
 * Camilo (1994) singer, musician and songwriter
 * Pablo Escobar (1949–1993) drug lord
 * Ana Fabricia Córdoba (c.1959 – 2011), human rights activist

title: Antioquia Department


text:
Hieronymus machine

A Hieronymus machine is any of the patented radionics devices invented by electrical engineer Thomas Galen Hieronymus (21 November 1895 – 21 February 1988). Hieronymus received a U.S. Patent for his invention in 1949, which was described in the patent application title as a device for "detection of emanations from materials and measurement of the volumes thereof".

Skeptics and scientists consider the devices to be an example of pseudoscience and quackery.

Design and function
The original "Radiation Analyzer" consisted of a chamber to hold a sample of material, a glass prism to refract the "eloptic" emanations coming from it, and a copper wire probe on a rotating armature to adjust the angle formed by the prism and the probe. Supposedly, "eloptic" emanations are refracted by the prism at different angles depending on the material. The detected "eloptic" signals were fed to a three-stage vacuum tube RF amplifier and conducted to a flat touch plate surrounded by a copper wire bifilar coil. By stroking the touch plate an operator could supposedly feel a sensation of "tingling" or "stickiness" when the "eloptic" energy was detected. As such, a human nervous system is considered to be necessary to operate a Hieronymus Machine.

Hieronymus subsequently designed solid-state versions of his Analyzers, substituting germanium transistors for crystal prisms and tunable capacitors for the rotating armature. He also designed and built various specialized devices designed for specific functions, including analysis of living organisms and production of homeopathic remedies. The most well-known Hieronymus Machine is the Eloptic Medical Analyzer, which supposedly analyzes and transmits "eloptic energy" to diagnose and treat medical conditions in plants and animals.

The theory of operation on which Hieronymus Machines are based is that all matter emits a kind of "radiation" that is not electromagnetic, but exhibits some of the characteristics of both light and electricity. The quality of this emanation is unique to every kind of matter, and therefore can be utilized for detection and analysis. Hieronymus coined the term "eloptic energy" to describe this radiation (from the words "electrical" and "optical"). All of his machines were designed to detect and manipulate this "eloptic energy". Eloptic emanations have never been detected by instruments designed to measure electromagnetic energies, no other evidence of their existence have been produced, and there is no mathematical theory of an eloptic field, so the theory is considered pseudoscientific and is not accepted by the scientific community.

John W. Campbell and Hieronymus machines
The inventions of Hieronymus were championed by Astounding Science Fiction editor John W. Campbell in late 1950s and early 1960s editorials. A series of correspondences between the two men show that while Hieronymus was sure that someday his theories of eloptic energy would be proven and accepted by physical scientists, Campbell was convinced that the machines were based on psionics, related to the user's paranormal or ESP powers.

As an example, Campbell believed one could create an eloptic receiver or similar device with the prisms and amplifiers represented by their cardboard or even schematic representations. Through the use of mental powers, such a machine would function as well as its "real" equivalent. In his autobiography, Hieronymus wrote, "I appreciated Mr Campbell's interest in my work, but over the years since then, I have concluded that he set back the acceptance of my work at least a hundred years by his continual emphasis on what he termed the supernatural or 'magic' aspects of a mind-controlled device he built by drawing the schematic of my patented instrument with India ink. The energy flowed over the lines of this drawing because India ink is conducting, but it isn't worth a tinker's damn for serious research or actual treating."

Scientific reception
The claims of Hieronymus about "eloptic" emanations were heavily criticized by the scientific community as having no basis in reality. His machines have been compared to the quack devices of Albert Abrams and have also been described as an example of pseudoscience.

title: Hieronymus machine


text:
Talk:Soho

Ambiguity due to use of American English
'Gentrification', second paragraph. The last sentence in this paragraph, regarding the survival of houses from a certain period, reads, 'Only No 10 and No 15 from this period survived to the 21st century'. Does the sentence mean ' ... have survived' (i.e. are still there) or ' ... survived', (i.e. may no longer be there, perhaps demolished between 2000 and 2020?). It is the former, having looked carefully at the pictures. In addition, the use of 'to the 21st century' rather than 'into the 21st century' is again ambiguous for roughly the same reason. I propose therefore to correct the English. — Preceding unsigned comment added by 82.43.59.159 (talk) 13:23, 6 August 2020 (UTC)

Am I doing something wrong?
Hello, not sure if this is the right place to ask this?

I have tried to add more up to date info to the Sex section as it appears woefully out of date (last comments related to 2003) but it has been deleted by someone twice... is this okay or if not please help! —Preceding unsigned comment added by 90.218.209.235 (talk) 11:45, 8 August 2010 (UTC)

Disambiguation
I don't mean to create trans-Atlantic tension, but shouldn't this article be moved to "Soho (London)" with "Soho" redirected to "Soho (disambiguation)"? Particularly in light of SoHo (Manhattan), which is a well-known neighborhood across the pond, as well as Soho, Hong Kong. --Dr. Fleischman (talk) 22:26, 6 December 2013 (UTC)

SoHo in New York is not an imitation of Soho, London. The name is derived from being the area SOuth of HOuston — Preceding unsigned comment added by 24.228.93.52 (talk) 15:40, 12 December 2014 (UTC)

Photomontage for article
We hope (talk) 21:30, 5 August 2015 (UTC)

Steven Johnson quote (moved from article pending rephrasing)
"Almost every structure that stood on Broad Street in the late summer of 1854 has been replaced by something new – thanks in part to the Luftwaffe, and in part to the creative destruction of booming urban real estate markets. (Even the streets' names have been altered. Broad Street was renamed Broadwick in 1936). The pump, of course, is long gone, though a replica with a small plaque stands several blocks from the original site on Broad Street. A block east of where the pump once stood is a sleek glass office building designed by Richard Rogers with exposed piping painted a bold orange; its glassed-in lobby hosts a sleek, perennially crowded sushi restaurant. St. Luke's Church, demolished in 1936, has been replaced by the sixties development Kemp House, whose fourteen stories house a mixed-use blend of offices, flats, and shops. The entrance to the workhouse on Poland Street is now a quotidian urban parking garage, though the workhouse structure is still intact, and visible from Dufours Place, lingering behind the postwar blandness of Broadwick Street like some grand Victorian fossil. (…) On Broad Street itself, only one business has remained constant over the century and half that separates us from those terrible days in September 1854. You can still buy a pint of beer at the pub on the corner of Cambridge Street, not fifteen steps from the site of the pump that once nearly destroyed the neighbourhood. Only the name of the pub is changed. It is now called The John Snow."

Ritchie333 (talk) (cont)  19:58, 10 April 2017 (UTC)

Geographic Area
Hello all, I was just wondering if the cited area of 1 sq mile (2.5 sq kilometers) for Soho is accurate? A quick glance at Google maps shows that Soho is closer to a .5 mi x .5 mi square (.75 km x .75 km), which would give it an area closer to that of 1/4 of a sq mile or .6 sq km. Those are very rough calculations, but I think it's safe to say that Soho is nowhere near a square mile in area (just draw a mile-long line in Google Maps to see for yourself). That's assuming American miles and standard kilometers. There doesn't appear to be a citation for where this original calculation originated from.

AlphaCentauri900 (talk) 16:06, 18 June 2017 (UTC)

Infobox size
I've got a problem with the infobox size. It's too big and squashes the following map down to leave a large white space below the "Location" section. Can it be collapsed? Also, there are now two maps in the article, which seems excessive - can we pick one (or a better one as discussed in parallel on Talk:Mayfair and go with that? Ritchie333 (talk) (cont)  14:07, 9 March 2021 (UTC)

 * The problems you describe do not occur on my screen; however, on my screen your removal of the infobox causes a "large white space". We can't design pages for any one user. I've restored the status quo ante. And no, infoboxes should not be collapsed. Andy Mabbett ( Pigsonthewing ); Talk to Andy; Andy's edits 20:30, 9 March 2021 (UTC)

 * If this was work I'd say "share your screen and I'll have a look". ;-) Anyway, if I remove the map from the "Location" section, the white space disappears. Also, do we need the "Neighbouring areas of London" to be where it is, can we shunt it to the bottom? And why can't we collapse infoboxes? Is that a technical reason, or something else? Ritchie333 (talk) (cont)  20:34, 9 March 2021 (UTC)

title: Talk:Soho


text:
Talk:Rainbow flag

Free Speech Flag
The Free Speech Flag from 2007 has been used similarly to other rainbow flags in large-scale mass opposition to authoritarian suppression, at cost to those who exhibit or promote it. The flag covertly encodes the illegal number visually and highlights consequences of criminalising numbers. When it was released, the third comment submitted to the designer's webpage says, "Ummm… the idea of a flag is nice, but yours looks a little too much like the gay rainbow." It seems like its inclusion in this article would be a good fit -- are there any criteria which disqualify it which I'm overlooking? The Free Speech Flag displays five bands of different hues, and I see this article lists several flags which only display three (red, yellow, blue, or red, brown and yellow). Natural rainbows produce the whole continuum of spectral frequencies so it seems to me the Free Speech Flag's hues would appear in a real rainbow at the appropriate places. I'd suggest something along the lines of: The Free Speech Flag was created in 2007 to directly represent in red-green-blue levels parts of a number key to the digital rights management of DVDs. Escalating authoritarian censorship of the number sparked controversy, creativity, and the Streisand effect. Its creator, John Marcotte, said, "We want to start a movement [...] to reclaim personal liberties and decorporatize the laws of our nation. To that end we have made a flag, a symbol to show support for personal freedoms. Spread it as far and wide as you can." Thanks! 37.60.86.4 (talk) 01:30, 14 June 2024 (UTC) 37.60.86.4 (talk) 01:30, 14 June 2024 (UTC)
 * Please read what is meant by "reliable, published sources" in Wikipedia and why self-published sources are not acceptable. Pyxis Solitary   (yak yak) . Ol' homo. 21:52, 16 June 2024 (UTC)

Brotherhood flag
regarding the Brotherhood flag which appears to be a clone of the Flag of the Races mentioned in the archive of that The American ref shown in the summary of this edit. 22:13, 30 June 2024 (UTC) I get what you're saying about the Brotherhood flag maybe being a clone of the Races flag, but the edit I reverted stated "" Pyxis Solitary   (yak yak). Ol' homo. 06:52, 3 July 2024 (UTC)
 * Quoting source: "Others say Baker got the idea from the 1960s Hippie movement whose peace activists often carried a Flag of the Races with five horizontal stripes: red, black, brown, yellow, and white, representing the different ethnicities."
 * Indeed; no argument there; worth noting that there may be more to the story though. I only found a couple of half-reasonable references about the link when I went looking: this self published refers to its source as the "Carleton Sexuality and Gender Center" and I tried to find that source but came up empty. If a Wayback Machine whisperer cares to try we might get lucky; also self published (I think), there's this talking about assumptions that the two are linked. Although they aren't good enough as references, there definitely seems to be something to the suggestion that there's a connection.  15:04, 3 July 2024 (UTC)
 * also self published (I think) – Identifying and using self-published works. Pyxis Solitary   (yak yak) . Ol' homo. 20:29, 3 July 2024 (UTC)
 * Really? Useless.  22:04, 3 July 2024 (UTC)

title: Talk:Rainbow flag


text:
Passacaglia

The passacaglia is a musical form that originated in early seventeenth-century Spain and is still used today by composers. It is usually of a serious character and is typically based on a bass-ostinato and written in triple metre.

Origin
The term passacaglia (pasacalle; passacaille; Italian: passacaglia, passacaglio, passagallo, passacagli, passacaglie) derives from the Spanish pasar (cross, pass) and calle (street). It originated in early 17th-century Spain as a strummed interlude between instrumentally accompanied dances or songs. Despite the form's Spanish roots (confirmed by references in Spanish literature of the period), the first written examples of passacaglias are found in an Italian source dated 1606. These pieces, as well as others from Italian sources from the beginning of the century, are simple, brief sequences of chords outlining a cadential formula.

The passacaglia was redefined in the late 1620s by Italian composer Girolamo Frescobaldi, who transformed it into a series of continuous variations over a bass (which itself may be varied). Later composers adopted this model, and by the nineteenth century the word came to mean a series of variations over an ostinato pattern, usually of a serious character. A similar form, the chaconne, was also first developed by Frescobaldi. The two genres are closely related, and since "composers often used the terms chaconne and passacaglia indiscriminately ... modern attempts to arrive at a clear distinction are arbitrary and historically unfounded".

In early scholarship, attempts to formally differentiate between the historical chaconne and passacaglia were made, but researchers often came to opposite conclusions. For example, Percy Goetschius held that the chaconne is usually based on a harmonic sequence with a recurring soprano melody, and the passacaglia was formed over a ground bass pattern, whereas Clarence Lucas defined the two forms in precisely the opposite way. More recently, however, some progress has been made toward making a useful distinction for the usage of the seventeenth and early eighteenth centuries, when some composers (notably Frescobaldi and François Couperin) deliberately mixed the two genres in the same composition.

The melodic pattern—usually four, six or eight (rarely seven) bars long—repeats without change through the duration of the piece, while the upper lines are varied freely, over the bass pattern serving as a harmonic anchor.

The seventeenth-century chaconne, as found in Frescobaldi's music, more often than not is in a major key, while the passacaglia is usually in a minor key. In eighteenth-century French practice, the passacaglia leans more strongly to the melodic basso ostinato, while the chaconne, "in a reversal of the [seventeenth-century] Italian practice, in various respects undergoes a freer treatment".

Composers

Some examples are the organ passacaglias of Johann Sebastian Bach, Dieterich Buxtehude, Johann Pachelbel, Sigfrid Karg-Elert, Johann Caspar Kerll, Daniel Gregory Mason, Georg Muffat, Gottlieb Muffat, Johann Kuhnau, Juan Bautista Cabanilles, Bernardo Pasquini, Max Reger, Ralph Vaughan Williams (Passacaglia on B–G–C, 1933), George Frideric Handel and Leo Sowerby.

Passacaglias for lute have been composed by figures such as Alessandro Piccinini, Giovanni Girolamo Kapsperger, Sylvius Leopold Weiss, Esaias Reusner, Count Logy, Robert de Visée, Jacques Bittner, Philipp Franz Lesage de Richée, François Dufault, Jacques Gallot, Denis Gaultier, Ennemond Gaultier, and Roman Turovsky-Savchuk, a passacaglia for bandura by Julian Kytasty, and for baroque guitar by Paulo Galvão, Santiago de Murcia, Francisco Guerau, Gaspar Sanz, and Marcello Vitale.

Baroque
One of the best known examples of the passacaglia in Western classical music is the Passacaglia and Fugue in C minor, BWV 582, for organ by Johann Sebastian Bach. The French clavecinists, especially Louis Couperin and his nephew François Couperin, used a variant of the form—the passacaille en rondeau—with a recurring episode between the variations. Heinrich Ignaz Franz Biber's "Passacaglia", the last piece of the monumental Rosary Sonatas, is one of the earliest known compositions for solo violin. The central episode of Claudio Monteverdi's madrigal Lamento della Ninfa is a passacaglia on a descending tetrachord. The first two movements of the fourth sonata from Johann Heinrich Schmelzer's Sonatæ unarum fidium are passacaglias on a descending tetrachord, but in uncharacteristic major. In 1650 or earlier, Andrea Falconieri published a passacalle movement à tre, basso continuo, in Naples. The fourth movement of Luigi Boccherini's Quintettino No. 6, Op. 30, (also known as Musica notturna delle strade di Madrid) is titled "Passacalle". The last movement of George Frideric Handel's Harpsichord Suite in G minor (HWV 432) is a passacaglia which has become well known as a duo for violin and viola, arranged by the Norwegian violinist Johan Halvorsen.

Other examples of passacaille include Les plaisirs ont choisi from Jean-Baptiste Lully's opera Armide (1686) and Dido's Lament, When I am Laid in Earth from Henry Purcell's Dido and Aeneas, the aria Piango, gemo, sospiro by Antonio Vivaldi, or "Usurpator tiranno" and Stabat Mater by Giovanni Felice Sances, et al.

Romantic
Nineteenth-century examples include the C-minor passacaglia for organ by Felix Mendelssohn, and the finale of Josef Rheinberger's Eighth Organ Sonata. Notable passacaglias by Johannes Brahms can be found in the last movement of his Fourth Symphony, which many musicians place among Brahms' finest compositions. Composed by Brahms to conform to the strict metrics of classical dance, British conductor Constant Lambert called the piece "grimly intellectual". In Brahms's Variations on a Theme by Haydn, the bass repeats the same harmonic pattern throughout the piece. The first movement of Hans Huber's Piano Concerto No. 3, Op. 113 (1899) is a passacaglia.

Modern
The passacaglia proved an enduring form throughout the twentieth century and beyond. In mid-century, one writer stated that "despite the inevitable lag in the performance of new music, there are more twentieth-century passacaglias in the active repertory of performers than baroque works in this form". Three composers especially identified with the passacaglia are Benjamin Britten, Dmitri Shostakovich, and Paul Hindemith. In his operas, Britten often uses a passacaglia to create the climactic moment of the drama. Examples are found in Peter Grimes, Billy Budd, The Turn of the Screw, Death in Venice, and even in the comic opera Albert Herring. Britten also employed the form in smaller vocal forms, such as the Serenade for Tenor, Horn and Strings (1943) and The Holy Sonnets of John Donne (1945) for voice and piano, as well as in purely instrumental compositions, notably in the Violin Concerto, the second and third Cello suites, the second and third string quartets, the Cello Symphony, and the Nocturnal after John Dowland for guitar. Shostakovich restricted his use of the passacaglia to instrumental forms, the most notable examples being found in his Interlude in Act II of the opera Lady Macbeth of Mtsensk, Tenth String Quartet, Second Piano Trio, Eighth and Fifteenth Symphonies, and First Violin Concerto. Hindemith employed the form to conclude his 1938 ballet, Nobilissima Visione, and it is also found in his early Sonata for viola solo, Op. 11, No. 5 (1919) and the second movement of the song cycle Das Marienleben (1948), as well as in later works such as the Fifth String Quartet and the Octet for winds and strings. Igor Stravinsky used the form for the central movement of his Septet (1953), a transitional work between his neoclassical and serial periods. A passacaglia is also found in the finale of Witold Lutosławski's Concerto for Orchestra.

Especially important examples of the form are found in the output of the Second Viennese School. Anton Webern's Opus 1 is a Passacaglia for Orchestra, Arnold Schoenberg included a passacaglia movement, "Nacht", in Pierrot lunaire, and Alban Berg, like Britten, used a passacaglia operatically, in act 1, scene 4 of Wozzeck.

title: Passacaglia


text:
Germ theory of disease

The germ theory of disease is the currently accepted scientific theory for many diseases. It states that microorganisms known as pathogens or "germs" can cause disease. These small organisms, too small to be seen without magnification, invade humans, other animals, and other living hosts. Their growth and reproduction within their hosts can cause disease. "Germ" refers to not just a bacterium but to any type of microorganism, such as protists or fungi, or other pathogens that can cause disease, such as viruses, prions, or viroids. Diseases caused by pathogens are called infectious diseases. Even when a pathogen is the principal cause of a disease, environmental and hereditary factors often influence the severity of the disease, and whether a potential host individual becomes infected when exposed to the pathogen. Pathogens are disease-carrying agents that can pass from one individual to another, both in humans and animals. Infectious diseases are caused by biological agents such as pathogenic microorganisms (viruses, bacteria, and fungi) as well as parasites.

Basic forms of germ theory were proposed by Girolamo Fracastoro in 1546, and expanded upon by Marcus von Plenciz in 1762. However, such views were held in disdain in Europe, where Galen's miasma theory remained dominant among scientists and doctors.

By the early 19th century, smallpox vaccination was commonplace in Europe, though doctors were unaware of how it worked or how to extend the principle to other diseases. A transitional period began in the late 1850s with the work of Louis Pasteur. This work was later extended by Robert Koch in the 1880s. By the end of that decade, the miasma theory was struggling to compete with the germ theory of disease. Viruses were initially discovered in the 1890s. Eventually, a "golden era" of bacteriology ensued, during which the germ theory quickly led to the identification of the actual organisms that cause many diseases.

Miasma theory

The miasma theory was the predominant theory of disease transmission before the germ theory took hold towards the end of the 19th century; it is no longer accepted as a correct explanation for disease by the scientific community. It held that diseases such as cholera, chlamydia infection, or the Black Death were caused by a (μίασμα, Ancient Greek: "pollution"), a noxious form of "bad air" emanating from rotting organic matter. Miasma was considered to be a poisonous vapor or mist filled with particles from decomposed matter (miasmata) that was identifiable by its foul smell. The theory posited that diseases were the product of environmental factors such as contaminated water, foul air, and poor hygienic conditions. Such infections, according to the theory, were not passed between individuals but would affect those within a locale that gave rise to such vapors.

Greece and Rome
In Antiquity, the Greek historian Thucydides (c. 460 – c. 400 BC) was the first person to write, in his account of the plague of Athens, that diseases could spread from an infected person to others.

One theory of the spread of contagious diseases that were not spread by direct contact was that they were spread by spore-like "seeds" (Latin: semina) that were present in and dispersible through the air. In his poem, De rerum natura (On the Nature of Things, c. 56 BC), the Roman poet Lucretius (c. 99 BC – c. 55 BC) stated that the world contained various "seeds", some of which could sicken a person if they were inhaled or ingested.

The Roman statesman Marcus Terentius Varro (116–27 BC) wrote, in his Rerum rusticarum libri III (Three Books on Agriculture, 36 BC): "Precautions must also be taken in the neighborhood of swamps... because there are bred certain minute creatures which cannot be seen by the eyes, which float in the air and enter the body through the mouth and nose and there cause serious diseases."

The Greek physician Galen (AD 129 – c. 200/216) speculated in his On Initial Causes (c. 175 AD that some patients might have "seeds of fever". In his On the Different Types of Fever (c. 175 AD), Galen speculated that plagues were spread by "certain seeds of plague", which were present in the air. And in his Epidemics (c. 176–178 AD), Galen explained that patients might relapse during recovery from fever because some "seed of the disease" lurked in their bodies, which would cause a recurrence of the disease if the patients did not follow a physician's therapeutic regimen.

The Middle Ages
A basic form of contagion theory dates back to medicine in the medieval Islamic world, where it was proposed by Persian physician Ibn Sina (known as Avicenna in Europe) in The Canon of Medicine (1025), which later became the most authoritative medical textbook in Europe up until the 16th century. In Book IV of the El-Kanun, Ibn Sina discussed epidemics, outlining the classical miasma theory and attempting to blend it with his own early contagion theory. He mentioned that people can transmit disease to others by breath, noted contagion with tuberculosis, and discussed the transmission of disease through water and dirt.

The concept of invisible contagion was later discussed by several Islamic scholars in the Ayyubid Sultanate who referred to them as najasat ("impure substances"). The fiqh scholar Ibn al-Haj al-Abdari (c. 1250–1336), while discussing Islamic diet and hygiene, gave warnings about how contagion can contaminate water, food, and garments, and could spread through the water supply, and may have implied contagion to be unseen particles.

During the early Middle Ages, Isidore of Seville (c. 560–636) mentioned "plague-bearing seeds" (pestifera semina) in his On the Nature of Things (c. AD 613). Later in 1345, Tommaso del Garbo (c. 1305–1370) of Bologna, Italy mentioned Galen's "seeds of plague" in his work Commentaria non-parum utilia in libros Galeni (Helpful commentaries on the books of Galen).

The 16th century Reformer Martin Luther appears to have had some idea of the contagion theory, commenting 'I have survived three plagues and visited several people who had two plague spots which I touched. But it did not hurt me, thank God. Afterwards when I returned home, I took up Margaret' (born 1534), 'who was then a baby, and put my unwashed hands on her face, because I had forgotten'. In 1546, Italian physician Girolamo Fracastoro published De Contagione et Contagiosis Morbis (On Contagion and Contagious Diseases), a set of three books covering the nature of contagious diseases, categorization of major pathogens, and theories on preventing and treating these conditions. Fracastoro blamed "seeds of disease" that propagate through direct contact with an infected host, indirect contact with fomites, or through particles in the air.

The Early Modern Period
In 1668, Italian physician Francesco Redi published experimental evidence rejecting spontaneous generation, the theory that living creatures arise from nonliving matter. He observed that maggots only arose from rotting meat that was uncovered. When meat was left in jars covered by gauze, the maggots would instead appear on the gauze's surface, later understood as rotting meat's smell passing through the mesh to attract flies that laid eggs.

Microorganisms are said to have been first directly observed in the 1670s by Anton van Leeuwenhoek, an early pioneer in microbiology, considered "the Father of Microbiology". Leeuwenhoek is said to be the first to see and describe bacteria (1674), yeast cells, the teeming life in a drop of water (such as algae), and the circulation of blood corpuscles in capillaries. The word "bacteria" didn't exist yet, so he called these microscopic living organisms "animalcules", meaning "little animals". Those "very little animalcules" he was able to isolate from different sources, such as rainwater, pond and well water, and the human mouth and intestine. Yet German Jesuit priest and scholar Athanasius Kircher may have observed such microorganisms prior to this. One of his books written in 1646 contains a chapter in Latin, which reads in translation "Concerning the wonderful structure of things in nature, investigated by Microscope", stating "who would believe that vinegar and milk abound with an innumerable multitude of worms." Kircher defined the invisible organisms found in decaying bodies, meat, milk, and secretions as "worms." His studies with the microscope led him to the belief, which he was possibly the first to hold, that disease and putrefaction (decay) were caused by the presence of invisible living bodies. In 1646, Kircher (or "Kirchner", as it is often spelled), wrote that "a number of things might be discovered in the blood of fever patients." When Rome was struck by the bubonic plague in 1656, Kircher investigated the blood of plague victims under the microscope. He noted the presence of "little worms" or "animalcules" in the blood and concluded that the disease was caused by microorganisms. He was the first to attribute infectious disease to a microscopic pathogen, inventing the germ theory of disease, which he outlined in his Scrutinium Physico-Medicum (Rome 1658). Kircher's conclusion that disease was caused by microorganisms was correct, although it is likely that what he saw under the microscope were in fact red or white blood cells and not the plague agent itself. Kircher also proposed hygienic measures to prevent the spread of disease, such as isolation, quarantine, burning clothes worn by the infected, and wearing facemasks to prevent the inhalation of germs. It was Kircher who first proposed that living beings enter and exist in the blood.

In 1700, physician Nicolas Andry argued that microorganisms he called "worms" were responsible for smallpox and other diseases.

In 1720, Richard Bradley theorised that the plague and "all pestilential distempers" were caused by "poisonous insects", living creatures viewable only with the help of microscopes.

In 1762, the Austrian physician Marcus Antonius von Plenciz (1705–1786) published a book titled Opera medico-physica. It outlined a theory of contagion stating that specific animalcules in the soil and the air were responsible for causing specific diseases. Von Plenciz noted the distinction between diseases which are both epidemic and contagious (like measles and dysentery), and diseases which are contagious but not epidemic (like rabies and leprosy). The book cites Anton van Leeuwenhoek to show how ubiquitous such animalcules are and was unique for describing the presence of germs in ulcerating wounds. Ultimately, the theory espoused by von Plenciz was not accepted by the scientific community.

Agostino Bassi, Italy
During the early 19th century, driven by economic concerns over collapsing silk production, Italian entomologist Agostino Bassi researched a silkworm disease known as "muscardine" in French and "calcinaccio" or "mal del segno" in Italian, causing white fungal spots along the caterpillar. From 1835 to 1836, Bassi published his findings that fungal spores transmitted the disease between individuals. In recommending the rapid removal of diseased caterpillars and disinfection of their surfaces, Bassi outlined methods used in modern preventative healthcare. Italian naturalist Giuseppe Gabriel Balsamo-Crivelli named the causative fungal species after Bassi, currently classified as Beauveria bassiana.

Louis-Daniel Beauperthuy, France
In 1838 French specialist in tropical medicine Louis-Daniel Beauperthuy pioneered using microscopy in relation to diseases and independently developed a theory that all infectious diseases were due to parasitic infection with "animalcules" (microorganisms). With the help of his friend M. Adele de Rosseville, he presented his theory in a formal presentation before the French Academy of Sciences in Paris. By 1853, he was convinced that malaria and yellow fever were spread by mosquitos. He even identified the particular group of mosquitos that transmit yellow fever as the "domestic species" of "striped-legged mosquito", which can be recognised as Aedes aegypti, the actual vector. He published his theory in 1854 in the Gaceta Oficial de Cumana ("Official Gazette of Cumana"). His reports were assessed by an official commission, which discarded his mosquito theory.

Ignaz Semmelweis, Austria
Ignaz Semmelweis, a Hungarian obstetrician working at the Vienna General Hospital (Allgemeines Krankenhaus) in 1847, noticed the dramatically high maternal mortality from puerperal fever following births assisted by doctors and medical students. However, those attended by midwives were relatively safe. Investigating further, Semmelweis made the connection between puerperal fever and examinations of delivering women by doctors, and further realized that these physicians had usually come directly from autopsies. Asserting that puerperal fever was a contagious disease and that matter from autopsies was implicated in its spread, Semmelweis made doctors wash their hands with chlorinated lime water before examining pregnant women. He then documented a sudden reduction in the mortality rate from 18% to 2.2% over a period of a year. Despite this evidence, he and his theories were rejected by most of the contemporary medical establishment.

Gideon Mantell, UK
Gideon Mantell, the Sussex doctor more famous for discovering dinosaur fossils, spent time with his microscope, and speculated in his Thoughts on Animalcules (1850) that perhaps "many of the most serious maladies which afflict humanity, are produced by peculiar states of invisible animalcular life".

John Snow, UK
British physician John Snow is credited as a founder of modern epidemiology for studying the 1854 Broad Street cholera outbreak. Snow criticized the Italian anatomist Giovanni Maria Lancisi for his early 18th century writings that claimed swamp miasma spread malaria, rebutting that bad air from decomposing organisms was not present in all cases. In his 1849 pamphlet On the Mode of Communication of Cholera, Snow proposed that cholera spread through the fecal–oral route, replicating in human lower intestines.

In the book's second edition, published in 1855, Snow theorized that cholera was caused by cells smaller than human epithelial cells, leading to Robert Koch's 1884 confirmation of the bacterial species Vibrio cholerae as the causative agent. In recognizing a biological origin, Snow recommended boiling and filtering water, setting the precedent for modern boil-water advisory directives.

Through a statistical analysis tying cholera cases to specific water pumps associated with the Southwark and Vauxhall Waterworks Company, which supplied sewage-polluted water from the River Thames, Snow showed that areas supplied by this company experienced fourteen times as many deaths as residents using Lambeth Waterworks Company pumps that obtained water from the upriver, cleaner Seething Wells. While Snow received praise for convincing the Board of Guardians of St James's Parish to remove the handles of contaminated pumps, he noted that the outbreak's cases were already declining as scared residents fled the region.

Louis Pasteur, France
During the mid-19th century, French microbiologist Louis Pasteur showed that treating the female genital tract with boric acid killed the microorganisms causing postpartum infections while avoiding damage to mucous membranes.

Building on Redi's work, Pasteur disproved spontaneous generation by constructing swan neck flasks containing nutrient broth. Since the flask contents were only fermented when in direct contact with the external environment's air by removing the curved tubing, Pasteur demonstrated that bacteria must travel between sites of infection to colonize environments.

Similar to Bassi, Pasteur extended his research on germ theory by studying pébrine, a disease that causes brown spots on silkworms. While Swiss botanist Carl Nägeli discovered the fungal species Nosema bombycis in 1857, Pasteur applied the findings to recommend improved ventilation and screening of silkworm eggs, an early form of disease surveillance.

Robert Koch, Germany
In 1884, German bacteriologist Robert Koch published four criteria for establishing causality between specific microorganisms and diseases, now known as Koch's postulates:
 * 1) The microorganism must be found in abundance in all organisms with the disease, but should not be found in healthy organisms.
 * 2) The microorganism must be isolated from a diseased organism and grown in pure culture.
 * 3) The cultured microorganism should cause disease when introduced into a healthy organism.
 * 4) The microorganism must be re-isolated from the inoculated, diseased experimental host and identified as being identical to the original specific causative agent.

During his lifetime, Koch recognized that the postulates were not universally applicable, such as asymptomatic carriers of cholera violating the first postulate. For this same reason, the third postulate specifies "should", rather than "must", because not all host organisms exposed to an infectious agent will acquire the infection, potentially due to differences in prior exposure to the pathogen. Limiting the second postulate, it was later discovered that viruses cannot be grown in pure cultures because they are obligate intracellular parasites, making it impossible to fulfill the second postulate. Similarly, pathogenic misfolded proteins, known as prions, only spread by transmitting their structure to other proteins, rather than self-replicating.

While Koch's postulates retain historical importance for emphasizing that correlation does not imply causation, many pathogens are accepted as causative agents of specific diseases without fulfilling all of the criteria. In 1988, American microbiologist Stanley Falkow published a molecular version of Koch's postulates to establish correlation between microbial genes and virulence factors.

Joseph Lister, UK
After reading Pasteur's papers on bacterial fermentation, British surgeon Joseph Lister recognized that compound fractures, involving bones breaking through the skin, were more likely to become infected due to exposure to environmental microorganisms. He recognized that carbolic acid could be applied to the site of injury as an effective antiseptic.

title: Germ theory of disease