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Eurovision Song Contest 1974

The Eurovision Song Contest 1974 was the 19th edition of the Eurovision Song Contest, held on 6 April 1974 in the Dome in Brighton, United Kingdom. Organised by the European Broadcasting Union (EBU) and host broadcaster the British Broadcasting Corporation (BBC), and presented by Katie Boyle, this was the fifth time that the United Kingdom had staged the contest.

Although had won the  with the song "Tu te reconnaîtras" by Anne-Marie David, which made Luxembourg the presumptive host in 1974, the Luxembourgish broadcaster Compagnie Luxembourgeoise de Télédiffusion (CLT) opted not to host the event in 1974 as they had staged the contest in 1973, following their win in. , which had placed second the previous year, also declined the opportunity to stage the contest. The broadcaster IBA, and the British broadcasters the BBC and ITV, all subsequently made bids to stage the contest, with the BBC ultimately winning out. This was the fourth time that the BBC had staged the contest after another broadcaster declined the opportunity, having done so previously in, and 1972.

Entries representing eighteen countries were submitted for the contest, with making its first appearance. However, ultimately did not participate as the contest coincided with the death of French president Georges Pompidou, and with a national day of mourning scheduled for the date of the contest the French broadcaster ORTF deemed participating in the event to be inappropriate. The voting system used between and 1973 was scrapped, and was replaced by the system last used in, with ten people in each country awarding one vote to their favourite song.

The winner was, with the song "Waterloo", composed by Benny Andersson and Björn Ulvaeus, written by Stig Anderson and performed by ABBA. and the placed second and third respectively, followed by a three-way tie for fourth place between Luxembourg,  and the United Kingdom. It was Sweden's first contest win. After previous success within European markets with "Ring Ring", with which ABBA had attempted to represent Sweden at Eurovision in 1973, "Waterloo" gave the group their first global hit, and their Eurovision win was a launching point for ABBA to become one of the world's best-selling music artists. Olivia Newton-John, who represented the United Kingdom at this event, would also go on to achieve worldwide success in the years following the contest.

Location
The 1974 contest was held in Brighton, United Kingdom. It was the fifth time that the United Kingdom had hosted the contest, having previously done so in, , and. The selected venue was the Dome, completed in 1805 and originally built for the Prince Regent as stables and a riding school for his personal use. Sold by Queen Victoria in 1850, the stables were converted into a concert hall and assembly rooms in 1867, and the riding school into a market for corn merchants in 1868. The concert hall could normally seat up to 2,102 people, but for the contest some seating was removed for the commentator booths and technical equipment, leaving space for an audience of just over 1,000 people.

Among the other venues considered to stage the event by the BBC were the Royal Opera House and Royal Albert Hall in London, the latter of which had previously staged the 1968 contest. Both venues proved to be unavailable however, with the broadcaster then looking outside of the capital for potential venues. The Dome was then ultimately selected, and this choice was announced publicly by the BBC and EBU in July 1973.

Host selection
The was won by  with the song "Tu te reconnaîtras" performed by Anne-Marie David, which according to Eurovision tradition made Luxembourg the presumptive host of the 1974 contest. The country had staged the event on three previous occasions, in, and 1973, each time in Luxembourg City. As Luxembourg had also hosted the event the previous year, the Luxembourgish broadcaster Compagnie Luxembourgeoise de Télédiffusion (CLT) declined the opportunity to stage the event for a second consecutive year due to the financial strain such an undertaking would entail. , which had come second the previous year, was also considered for the event, however the Spanish broadcaster Televisión Española (TVE) also turned down the opportunity to stage the 1974 contest; Spain had previously hosted the event in.

The contest organisers, the European Broadcasting Union (EBU), originally asked the BBC, as the participating broadcaster for the country which came third, not to make an offer at this initial stage, in order to determine if other participating broadcasters were willing to stage the event. Of the four previous events held in the United Kingdom, three of these had been staged in place of the previous year's winning country, specifically the 1960, 1963 and 1972 events. Two offers were subsequently made, from the Israel Broadcasting Authority (IBA) and from the BBC's commercial rival ITV. Concerns were raised about the prospect of hosting the event; the country had just joined the contest in 1973 and it was felt some countries would not be prepared to accept an Israeli-held contest. Israel was also some distance geographically from the core of Western European nations which participated in the event at this time, and IBA still lagged behind many European broadcasters from a technological perspective. A successful ITV bid would have effectively barred the BBC from participating, as only one broadcaster from a given country can participate in the event, resulting in the BBC submitting a counter-offer which the EBU accepted on 7 June 1973.

Participating countries
A total of eighteen countries submitted entries to compete in this edition of the contest, comprising all seventeen countries which had participated in 1973, and, which was making its first appearance in the contest. had also expressed an interest in competing, but the Turkish Radio and Television Corporation had been too late in submitting their request to the EBU and were subsequently informed that, as the scoreboard with space for eighteen countries had already been constructed, its planned entry would not have been possible. Ultimately, however, only seventeen participating entries were performed at the contest, as made the decision to withdraw from the event due to the death of French president Georges Pompidou on 2 April. With the state memorial service and a national day of mourning scheduled to be held on the same day as the contest, it was deemed by French broadcaster Office de Radiodiffusion Télévision Française (ORTF) that competing in and broadcasting the contest would be inappropriate. France would have been represented by the song "La Vie à vingt-cinq ans", written by Christine Fontaine and to have been performed by Dani, with Jean-Claude Petit scheduled to conduct the orchestra during the performance.

Among the participating artists were a number of acts which had competed in the Eurovision Song Contest in previous years: 's Gigliola Cinquetti had previously won the contest in with the song "Non ho l'età"; Romuald, representing  at this contest, had previously represented both Monaco and Luxembourg, in 1964 and  respectively; and 's Bendik Singers, supporting Anne-Karine Strøm at this event, had represented Norway in the previous year's contest, with Strøm having also been a member of the group in that contest.

Production and format
The Eurovision Song Contest 1974 was produced by the British Broadcasting Corporation (BBC). Bill Cotton served as executive producer, Michael Hurll served as producer and director, John Burrowes served as designer, and Ronnie Hazlehurst served as musical director, leading the BBC Concert Orchestra. A separate musical director could be nominated by each country to lead the orchestra during their performance, with the host musical director also available to conduct for those countries which did not nominate their own conductor.

Each participating broadcaster submitted one song, which was required to be no longer than three minutes in duration. As with the previous year's event, artists were able to perform in any language, and not necessarily that of the country they represented. A maximum of six performers were allowed on stage during each country's performance. Each entry could utilise all or part of the live orchestra and could use instrumental-only backing tracks, however any backing tracks used could only include the sound of instruments featured on stage being mimed by the performers.

Rehearsals in the contest venue began on Tuesday 2 April, involving technical rehearsals with the production team, the orchestra, and tests of the voting system and scoreboard. This was followed by rehearsals with the competing acts over subsequent days. The first rehearsals for all countries were held over two days on 3 and 4 April, with each participating act having a 50-minute slot on stage to perform through their entry with the orchestra without their stage costumes. A second round of rehearsals, this time in costume, was held for all acts on 5 April, with each country given 20 minutes on stage, followed that evening by a complete run-through of the whole show, including dummy voting. Further technical rehearsals were held on the morning of 6 April, and a second full dress rehearsal was held that afternoon; this rehearsal was also recorded for use as a back-up in case technical failure meant the contest could not go ahead as planned.

Security in Brighton was tight in the lead-up to, and during, the contest, due to the threat of actions by Irish republican militants. There was an increased police presence, and tanks could be seen in the streets of Brighton during the week of the contest. The contest presenter Katie Boyle also recalled being ferried in bulletproof coaches between the hotel and the contest venue, each time taking a different route.

Voting procedure
Due in part to the closeness of the voting in the previous year's contest, a new voting system was planned to be introduced for this event, which incorporated elements from the two previous voting systems used in the contest: each country's jury would comprise ten members, which would be based in their own country, with each member awarding between one and five votes for each song, with no abstentions allowed and without the option to vote for their own country's entry. This would have resulted in each country potentially awarding a maximum of 50 votes and a minimum of 10 votes to any other country's song; with eighteen planned participating countries, this would have meant that the highest possible score any country could have received was 850, and the lowest possible score was 170. In case of a tie between two or more countries for first place, these acts would have performed again and each country not involved in the tie would have had one vote each to determine the winner. A lottery element to the voting, in order to add greater suspense, was also devised: the order of the voting would have been determined on stage during the voting segment, with cards being drawn at random to decide the order in which countries would vote.

During rehearsals however, it quickly became apparent to the organisers that they had misjudged how long it would take to conduct this new voting system, as well as mounting concerns that any issues with totalling the scores live could exacerbate the problems. Although a computerised system to calculate each country's total had been investigated, this was rejected for cost reasons. Ultimately the contest's executive producer Bill Cotton took the unilateral decision to abandon the proposed voting system and, given the jury structure of ten people had already been established and jury members had most likely already been recruited by the broadcasters, determined that the only alternative was to revert to the scoring system last used in : each of the ten jury members had one vote to award to their favourite song. The lottery aspect of the voting system was, however, retained, although due to timing and sound quality reasons this draw was held before the contest by the EBU's scrutineer Clifford Brown.

Contest overview
The contest was held on 6 April 1974, beginning at 21:30 (BST) and lasting 1 hour and 49 minutes. The contest was presented by the British television presenter and actress Katie Boyle, who had previously presented the contest in 1960, 1963 and 1968. Having hosted the contest four times, Boyle holds the record for most contest appearances as a presenter. Following the confirmation of the eighteen planned participating countries, the draw to determine the running order (R/O) of the contest was held on 5 December 1973; prior to its withdrawal, France was scheduled to perform in fourteenth position, between the entries from and.

The interval act was a pre-recorded video montage featuring the Wombles, a novelty pop band based on the children's characters of the same name, in various locations across Brighton. The medallions awarded to the winning songwriters were presented by the Director-General of the BBC and the President of the European Broadcasting Union, Charles Curran.

The winner was represented by the song "Waterloo", composed by Benny Andersson and Björn Ulvaeus, written by Stig Anderson and performed by ABBA. It was Sweden's first contest win.

Spokespersons
Each country nominated a spokesperson, connected to the contest venue via telephone lines and responsible for announcing, in English or French, the votes for their respective country. Known spokespersons at the 1974 contest are listed below.

 * – Aarre Elo
 * – Sophie Hecquet
 * – Sven Lindahl
 * – Colin Ward-Lewis
 * – Helga Vlahović

Detailed voting results
Jury voting was used to determine the points awarded by all countries. The announcement of the results from each country was conducted in a predetermined order chosen at random, with the spokespersons announcing their country's votes in English or French in performance order. The detailed breakdown of the points awarded by each country is listed in the tables below, with voting countries listed in the order in which they presented their votes.

Broadcasts
Broadcasters competing in the event were required to relay the contest via its networks; non-participating EBU member broadcasters were also able to relay the contest. Broadcasters were able to send commentators to provide coverage of the contest in their own native language and to relay information about the artists and songs to their television viewers.

As well as the participating nations, which, with the exception of Italy, all broadcast the contest live on television, the contest was also reportedly aired, live or deferred, by broadcasters in Algeria, Austria, Bulgaria, Cyprus, Czechoslovakia, France, Hungary, Japan, Jordan, Iceland, Morocco, Poland, South Korea, the Soviet Union, and Tunisia. In addition to television coverage, participating broadcasters in Belgium, Finland, Germany, Ireland, Norway, Spain, Sweden, Switzerland, and the United Kingdom were also reported to have relayed the contest via radio. Although the script for the contest's opening remarks by Katie Boyle suggested that around 500 million viewers were expected to watch and listen to the contest, the EBU later put the actual estimated figure for the total audience at 231 million.

Known details on the broadcasts in each country, including the specific broadcasting stations and commentators are shown in the tables below.

Legacy
The 1974 Eurovision Song Contest has retrospectively gained notability for a number of aspects, particularly due to the success of some of the competing acts, as well as political developments within Europe that have indirect links to this edition of the event. Two competing artists at this year's event in particular went on to sustained worldwide success after the contest: Sweden's ABBA and the United Kingdom's Olivia Newton-John.

The individual members of ABBA had made previous attempts to reach Eurovision, participating in Sweden's national selection, Melodifestivalen, several times, both as a group and individually. Anni-Frid Lyngstad participated in Melodifestivalen 1969, placing fourth with the song "Härlig är vår jord", while Benny Andersson competed in the same edition as a songwriter, placing second with the song "Hej clown" performed by Jan Malmsjö. Andersson and Björn Ulvaeus subsequently competed as a songwriting partnership in 1972, penning the Lena Andersson song "Säg det med en sång", which placed third. Following the formation of ABBA, the group (performing under the name "Björn & Benny, Agnetha & Anni-Frid") competed in Melodifestivalen 1973 with the song "Ring Ring", which ultimately placed third. While "Ring Ring" was popular within European markets, wider success for the group, particularly in English-speaking markets, proved elusive, and the group saw Eurovision as a launchpad for exposure among these markets, resulting in a further attempt to get to the contest in 1974. Although "Waterloo" had been written with Eurovision in mind, the group also considered submitting the song "Hasta Mañana" to Swedish broadcaster Sveriges Television (SVT), as the latter song was felt to be more in-line with the songs that had done well in Eurovision in previous years. Ultimately, however, "Waterloo" was chosen, given it was more likely to be unlike other entries submitted, and therefore would stand out more; "Hasta Mañana" was also mainly sung only by Agnetha Fältskog, whereas with "Waterloo" all four members of the group could give their vocals to the song.

Following the group's win, "Waterloo" went on to top the charts in multiple European countries, including the UK singles chart, as well as reaching the top ten in the Billboard Hot 100. Long-term success for the group, however, did not materialise until the release of "SOS" in 1975, which allowed the group to shrug off a perception of being "one-hit wonders" and led to a string of hits through the rest of the 1970s and early 1980s which catapulted the foursome to become one of the best-selling music groups of all time. ABBA's international success within the global music scene, starting from their Eurovision win, additionally led to a large growth in the accessibility of Swedish pop music worldwide, with Sweden often considered a superpower in the realm of music export and claims made by the 2000s of being the third-largest exporter of music globally, behind only the United States and United Kingdom.

Olivia Newton-John was in the early stages of her career when she was approached by the BBC to represent the United Kingdom at Eurovision; she had achieved previous success in the charts in both the UK and US, particularly with country pop songs, and had been a frequent guest on the It's Cliff Richard show, fronted by two-time Eurovision entrant for the United Kingdom Cliff Richard. Newton-John had performed six songs at that year's A Song for Europe contest, with "Long Live Love" being chosen by the viewing public through postcard voting; although it was considered a favourite to win the contest, she later told the press after placing fourth that she felt the wrong song had been chosen and that she would have preferred to have performed a ballad. Newton-John subsequently achieved considerable success in the United States and global recognition after starring in the film musicals Grease and Xanadu.

Following the contest, the Portuguese entry, "E depois do adeus" by Paulo de Carvalho, played a large part in the launching of the Carnation Revolution, which ultimately led to the overthrow of the authoritarian Estado Novo regime, setting Portugal along a path towards the reestablishment of democracy and ending the country's war with its African colonies. The broadcast of the song on radio in the evening of 24 April 1974 was used as a signal to alert rebelling officers in the Portuguese army to begin the coup, which kicked off overnight following the playing of another song, "Grândola, vila morena" by José Afonso, in the early hours of 25 April.

The Italian broadcaster Radiotelevisione italiana (RAI) did not air the contest for several months due to the content of its own entry. The contest coincided with the campaigning period for a referendum on abolishing divorce within the country, which was held one month after the contest, and there were fears that the, "Sì" ("Yes") by Gigliola Cinquetti, could have been seen as an attempt to sway the result of the vote. The contest was, however, available to watch in parts of northern Italy where transmissions of Swiss and Yugoslav Italian-language television were accessible. The contest was eventually broadcast on RAI in June, one month after the referendum.

title: Eurovision Song Contest 1974


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USS Illinois (BB-65)

USS Illinois (BB-65) was the fifth Iowa-class battleship fast battleship that was laid down for the United States Navy during World War II in the 1940s, although she would not be completed. The Navy had initially planned on building four of the Iowas and then developing a new, more powerful ship for what was to be BB-65. The pressing need for more warships at the outbreak of World War II in Europe led the Navy to conclude that new designs would have to be placed on hold to allow the shipbuilding industry to standardize on a small number of designs. As a result, BB-65 was ordered to the Iowa design in 1940. Illinois was laid down in December 1942, but work was given a low priority, and was still under construction at the end of World War II. She was canceled in August 1945, but her hull remained as a parts hulk until she was broken up in 1958.

Background
The Iowa-class battleship of fast battleships was designed in the late 1930s in response to the US Navy's expectations for a future war with the Empire of Japan. American officers preferred comparatively slow but heavily armed and armored battleships, but Navy planners determined that such a fleet would have difficulty in bringing the faster Japanese fleet to battle, particularly the Kongō-class battlecruisers and the aircraft carriers of the 1st Air Fleet. Design studies prepared during the development of the earlier North Carolina-class battleship and South Dakota-class battleshipes demonstrated the difficulty in resolving the desires of fleet officers with those of the planning staff in the displacement limits imposed by the Washington Naval Treaty system, which had governed capital ship construction since 1923. An escalator clause in the Second London Naval Treaty of 1936 that allowed an increase from 35000 LT to 45000 LT in the event that any member nation refused to sign the treaty, which Japan refused to do.

The passage of the Second Vinson Act in 1938 cleared the way for construction of the four South Dakota–class battleships and the first two Iowa-class battleships (USS Iowa (BB-61) and USS New Jersey (BB-62)) for the United States Navy. Two more vessels, USS Missouri (BB-63) and USS Wisconsin (BB-64), were ordered in June 1940, and were to have been the final members of the Iowa class. The Navy initially planned to develop a new, more powerful design for the next battleship, designated "BB-65", which would eventually become the Montana-class battleship. But the need to adopt industrial mobilization as the threat of war loomed forced the Navy to place new designs on hold, and as a result, BB-65 and a second ship were ordered to the Iowa design. The last battleships to be built by the United States, the Iowa-class ships were also the US Navy's largest and fastest vessels of the type.

Design
Illinois was 887 ft long overall and had a beam of 108 ft and a draft of 36 ft. Her standard displacement as completed would have amounted to 48110 LT and increased to 57540 LT at full combat load. Illinois differed from her earlier sisters in that her design called for an all-welded construction, which would have saved weight due to increased strength over a combination riveted/welded hull used on the four completed Iowa-class ships.

The ship was to have been powered by four General Electric steam turbines, each driving one screw propeller, using steam provided by eight oil-fired Babcock & Wilcox boilers. Rated at 212000 shp, the turbines were intended to give a top speed of 32.5 kn. The ship had a planned cruising range of 15000 nmi at a speed of 15 kn. Her projected crew numbered 117 officers and 1,804 enlisted men.

The ship was to have been armed with a main battery of nine 16 in /50 caliber Mark 7 guns guns in three triple-gun turrets on the centerline, two of which were placed in a superfiring pair forward, with the third aft. The planned secondary battery consisted of twenty 5 in /38 caliber dual purpose guns mounted in twin turrets clustered amidships, five turrets on either side. As designed, the ship was to be equipped with an anti-aircraft battery of eighty 40 mm guns and forty-nine 20 mm auto-cannon.

The main armor belt was 12.1 in thick, while the main armor deck was 6 in thick. The main battery gun turrets had 19.5 in thick faces, and they were mounted atop barbettes that were protected with 17.3 - 11.6 in of armored steel. The conning tower had 17.3 in thick sides. Like the Iowa-class ships from Missouri onward, the traverse bulkhead armor was increased from the original 11.3 in to 14.5 in in order to better protect against fire from frontal sectors. Tests with caissons in 1943 led to improvements for the torpedo defense system that increased its resilience to underwater damage by around twenty percent compared to the first four Iowas.

Construction and cancellation

When BB-65 was redesignated an Iowa-class ship, she was assigned the name Illinois and reconfigured to adhere to the fast battleship designs drawn up in 1938, by the Preliminary Design Branch at the Bureau of Construction and Repair. Her funding was authorized via the passage of the Two-Ocean Navy Act by the U.S. Congress on 19 July 1940, and she would now become the fifth Iowa-class ship built for the U.S. Navy. Her contract was assigned on 9 September 1940, the same date as Kentucky. Funding for the battleship was provided in part by proceeds from the auction of "King Neptune", a Hereford swine presented across the state of Illinois as a fundraiser, ultimately helping to raise $19 million in war bonds.

Illinois's construction was put on hold in 1942, after the Battles of the Coral Sea and Midway, while the Bureau of Ships considered an aircraft carrier conversion proposal for Illinois and Kentucky. As proposed, the converted Illinois flight deck would have been 864 ft long by 108 ft wide, with an armament identical to the carriers of the Essex-class aircraft carrier's four twin 5-inch gun mounts and four more 5-inch guns in single mounts, along with six 40 mm quadruple mounts. The conversion was abandoned after the design team decided that the converted carriers would carry fewer aircraft than the Essex-class, that more Essex-class carriers could be built in the same amount of time to convert the battleships, and that the project would be significantly more expensive than building new Essex-class carriers. Instead, Illinois and Kentucky were to be completed as battleships, but their construction was given very low priority.

Illinois's keel was laid down at the Philadelphia Naval Shipyard, on 6 December 1942; her projected completion date was 1 May 1945. Ultimately, the ship was canceled on 11 August 1945, when she was about 22 per cent complete. She was struck from the Naval Vessel Register on 12 August 1945. Her incomplete hulk initially was retained on the belief that it could be used as a target in nuclear weapons tests. However, the $30 million it would cost to complete the ship enough to be able to launch her proved too great and the plan was abandoned. She remained in the dockyard until September 1958, when she was broken up on the slipway.

The ship's bell, inscribed "USS Illinois 1946", is now at Memorial Stadium at the University of Illinois at Urbana–Champaign. The bell is on loan from the Naval History and Heritage Command (Accession #70-399-A), Washington Navy Yard, Washington DC, to the Naval Reserve Officers Training Corps (NROTC) at the university. The bell is traditionally rung by NROTC members when the university football team scores a touchdown or goal.

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

title: USS Illinois (BB-65)


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Kido Takayoshi

Kido Takayoshi (木戸 孝允), formerly known as Katsura Kogorō (桂 小五郎), was a Japanese statesman, samurai and shishi who is considered one of the three great nobles who led the Meiji Restoration.

Early life
Born Wada Kogorō on August 11, 1833 in Hagi, Chōshū Domain (present-day Yamaguchi Prefecture) as the son of a samurai physician Wada Masakage (和田 昌景) and his second wife Seiko (清子). In 1840, due to his brother-in-law already being the head of the Wada family, he was later adopted into the Katsura family at age seven and was known as Katsura Kogorō (桂 小五郎).

The Katsura family's stipend was originally 150 koku, but due to the late nature of his adoption which took place as his adoptive father Katsura Takako (桂 孝古) was already on his deathbed, who died ten days later, it was reduced to 90 koku. Katsura Kogorō thus became the head of the Katsura family. A year later in 1841, his adoptive mother also died, months later he was returned to his old home. In 1848, he lost his mother and elder half-sister Yaeko to illnesses.

Katsura was educated at Meirinkan, in which he later became increasingly unhappy with and defied his father in order to be educated at Shōka Sonjuku in 1849, the academy of Yoshida Shōin, from whom he adopted the philosophy of Imperial loyalism. In 1851, his father had died.

In 1852, Katsura went to Edo (present-day Tokyo) to study swordsmanship, established ties with radical samurai from the Mito Domain (present-day Mito, Ibaraki Prefecture), learned artillery techniques with Egawa Tarōzaemon, and (after observing the construction of foreign ships in Nagasaki and Shimoda), returned to Chōshū to supervise the construction of the domain's first western-style warship.

Overthrow of the Tokugawa
After 1858, Katsura Kogorō was based at the domain's Edo residence, where he served as a liaison between the domain bureaucracy and radical elements among the young, lower-echelon Chōshū samurai who supported the Sonnō jōi movement. Coming under suspicion by the shogunate for his ties with Mito loyalists after the attempted assassination of Andō Nobumasa, he was transferred to Kyōto. However, while in Kyōto, he was unable to prevent the 30 September 1863 coup d'état by the forces of the Aizu and Satsuma domains, who drove the Chōshū forces out of the city.

Ikedaya incident
According to his personal diary regarding the Ikedaya incident, Katsura was at the loyalist meeting with the Ishin Shishi at the Ikedaya inn in the evening on July 8, 1864, he claimed that they had only met to discuss how to rescue Furutaka Shuntaro from the Shinsengumi. Katsura later left the inn earlier, before the attack by the Shinsengumi troops on that night.

However, there were rumors varied that Katsura was tipped off by his geisha lover Ikumatsu (幾松), that the Shinsengumi were coming for him and wisely chose not show up for the meeting, or that he climbed out the window of the upper floor of the inn during the attack by the Shinsengumi and escaped over the roofs.

He spent the next five days in hiding under Nijō Bridge along the Kamo River, posing as a beggar, his lover would bring him rice balls from the shop of the Chōshū merchant Imai Tarōemon and later aided in his escape.

Kinmon incident
Katsura was involved but not present in the Hamaguri Gate Rebellion on 20 August 1864, with the unsuccessful attempt to capture Emperor Kōmei by the Chōshū forces at Hamaguri Gate in order to restore the Imperial household to its position of political supremacy, the Chōshū forces clashed with Aizu and Satsuma forces who led the defense of the Imperial palace. During the attempt, the Chōshū rebels put Kyoto on fire, starting with the residence of the Takatsukasa family, and that of a Chōshū official.

The rebellion resulted in 28,000 houses being burnt down, with casualties of about 400 from the Chōshū forces, including his adopted son Katsuzaburō, and only 60 from Aizu and Satsuma forces, forcing Katsura into hiding again with his geisha lover. He would later use the name Niibori Matsusuke as an alias in 1865 to continue his work against the Tokugawa bakufu.

Satchō Alliance
After radical elements under Takasugi Shinsaku gained control of Chōshū politics, Katsura, under the new name Kido Junichirō (木戸 準一郎) was instrumental in establishing the Satchō Alliance with Saigō Takamori and Ōkubo Toshimichi through the mediation of Sakamoto Ryōma in 1866, which proved to be critical in the Boshin War and the subsequent Meiji Restoration. Around the same time, he adopted Shojirō, another nephew who was the second son of his younger sister, Kuruhara Haruko, as his heir.

Meiji statesman
Following the overthrow of the Tokugawa bakufu in 1868, Kido claimed a large role in the establishment of the new Meiji government. As a san'yo (Imperial Advisor) he helped draft the Five Charter Oath, and initiated policies of centralization and modernization. He helped direct the Abolition of the han system. In August 1868, he had his lover Ikumatsu adopted into a samurai family of Okabe Tomitarō, and later made her his wife. He was later renamed to Kido Takayoshi (木戸 孝允) in 1869.

On 23 December 1871, he accompanied the Iwakura Mission on its round-the-world voyage to America and Europe, and was especially interested in Western educational systems and politics. On his return to Japan on 13 September 1873, he would become a strong advocate of the establishment of constitutional government. Realizing that Japan was not in any position to challenge the Western powers in its present state, he also returned to Japan just in time to prevent an invasion of Korea (Seikanron).

Kido lost his dominant position in the Meiji oligarchy to Ōkubo Toshimichi, and resigned from government in protest of the Taiwan Expedition of 1874, which he had strenuously opposed.

Following the Osaka Conference of 1875, Kido agreed to return to the government, and became chairman of the Assembly of Prefectural Governors that the Ōsaka Conference had created. He was also responsible for the education of the young Emperor Meiji.

Death
During the middle of the Satsuma Rebellion in 1877, he died of Colorectal cancer that had been plaguing him for a long time, which consisted of a combination of some form of mental disease and physical exhaustion, years of excessive alcohol consumption as well as an illness assumed to be tuberculosis or beriberi. With his dim consciousness, Kido shook Okubo's hand and said, "Enough Saigo " He is enshrined at Kyoto Ryozen Gokoku Shrine, where his tomb is located.

Legacy
His heir Shojirō, who had studied for ten years in England before returning to Japan in 1882, however died of illness on the ship during the return journey near Ceylon. Kuruhara Hikotarō, another Kido's nephew and Shojirō's eldest brother, succeeded him as the new heir of the Kido family on 18 November 1884 and was known as the Marquis Kido Takamasa.

Kido Takayoshi was enshrined as the Shinto deity of scholarship and the martial arts at the Kido Shrine in about 1886 at Kido Park, Yamaguchi, Yamaguchi Prefecture, Japan.

His widow Matsuko survived him and died in 1887 at the age of 43.

Kido's diary reveals an intense internal conflict between his loyalty to his home domain, Chōshū, and the greater interest of the country. He wrote often of having to fight rumors at home that he had betrayed his old friends; the idea of a nation was still relatively new in Japan and so the majority of samurai cared more for securing privileges for their own domain.

Together with Saigō Takamori and Ōkubo Toshimichi, he was known as the Ishin-no-Sanketsu (維新の三傑), which means, roughly, "Three Great Nobles of the Restoration". His younger sister's grandson was Tokyo politician Kōichi Kido (木戸 幸一).

Kido Takayoshi former residence in Hagi
The house where Kido Takayoshi was born and where he lived for about 20 years before moving to Edo still exists in Hagi and is a memorial museum. Although he had been adopted into the Katsura family when he was seven years old, but he continued to live in this family home. The former residence is located on a street called Edoya Yokocho, and is a two-story wooden building with a tiled roof. Inside exists include hanging scrolls with examples of Japanese calligraphy Kido wrote as a child, with corrections in red ink by his teachers. Volunteer guides are stationed in the building. The building was designated a National Historic Site in 1934.

In popular culture
Kido, referred to by his initial name Katsura Kogorō, was among the historical personalities present in the manga and anime Rurouni Kenshin by Nobuhiro Watsuki, as well as its OVA adaptation Rurouni Kenshin: Trust & Betrayal. While still portrayed as a ruthless radical leader of the Chōshū clan, he serves as a benevolent mentor of sorts to the young Himura Kenshin, who worked under him as the Hitokiri Battōsai. He nonetheless regrets having Kenshin do the dirty work for him after Kenshin's affair with Yukishiro Tomoe (in Tsuiokuhen, he actively encouraged Tomoe to stand by Kenshin to serve as a calming influence), which ultimately boiled over into her conflicting loyalties to the shogunate agent and her emerging feelings for Kenshin. He is voiced by Tomokazu Seki in the OVA, and portrayed by Issey Takahashi in the 2021 live-action adaptation film Rurouni Kenshin: The Beginning.

Japanese actor Ken Ishiguro portrayed him in the 2004 jdorama Shinsengumi! as the old time friend of the protagonist Kondo Isami and also the leader of the Chōshū han.

Japanese actor Shōsuke Tanihara portrayed him in the 2009 jdorama Ryōmaden as the leader of the Chōshū han.

He is also the basis for the character of Katsura Kotarou in the manga and anime Gin Tama by Hideaki Sorachi.

He also appears in the video game Ryū ga Gotoku Ishin!, portrayed by the Yakuza character Shun Akiyama, and voiced by Kōichi Yamadera.

Katsura Kogorō has also a prominent supporting role in Team Ninjas 2024 Action-RPG Rise of the Rōnin and is one of the many popular personalities from the Bakumatsu-Period, that the player can get acquainted with.

Honours

 * Grand Cordon of the Order of the Rising Sun (May 24, 1877)
 * Junior First Rank (May 22, 1901; posthumous)

Notable works

 * The Diary of Kido Takayoshi Volume 1 (1868-1871)
 * The Diary of Kido Takayoshi Volume 2 (1874-1877)

Reference and further reading

 * Akamatsu, Paul. Meiji 1868: Revolution and Counter-Revolution in Japan. Trans. Miriam Kochan. New York: Harper & Row, 1972.
 * Beasley, William G. (1972). The Meiji Restoration. Stanford: Stanford University Press. ISBN 9780804708159; OCLC 579232
 * Beasley, W. G. The Rise of Modern Japan: Political, Economic and Social Change Since 1850. New York: St. Martin's Press, 1995.
 * Craig, Albert M. Chōshū in the Meiji Restoration. Cambridge: Harvard University Press, 1961. OCLC 482814571
 * Jansen, Marius B. and Gilbert Rozman, eds. (1986). Japan in Transition: from Tokugawa to Meiji. Princeton: Princeton University Press. ISBN 9780691054599; OCLC 12311985
 * Kido, Takayoshi. (1983). The Diary of Kido Takayoshi (Sidney DeVere Brown and Akiko Hirota, translators), Vol. I (1868–1871), Vol. II (1871–1874), Vol. III (1874–1877). Tokyo: University of Tokyo Press.
 * Nish, Ian. (1998) The Iwakura Mission to America and Europe: A New Assessment. Richmond, Surrey: Japan Library. 	ISBN 9781873410844; ISBN 0415471796; OCLC 40410662

title: Kido Takayoshi


text:
Talk:Spartacus (film)

Historical Inaccuracies
I am wondering why "slavery" in the next to last bullet is linked to an external page. Shouldn't it link to the Wikipedia entry on slavery? Perhaps the external link should be footnoted, or entirely removed. joplju —Preceding undated comment was added at 07:50, 12 August 2008 (UTC)

By the way, the film is infamous in cineaste circles for its many goofs and historical misses. For instance, the map of Italy in one scene is far more modern-looking and right than any ancient survey map would have been, and in one scene where the slaves and Romans are fighting, a pick-up van is clearly seen driving along the road on the hillside in the background... Strausszek (talk) 16:03, 12 October 2016 (UTC)

Spoiler Alert
Does anyone else agree that a "spoiler alert" on this film is unwarranted (it's not a twist-ending thriller or mystery whodunnit).

This, to me, is tantamount to putting a "spoiler alert" on Oliver Stone's JFK to reveal that he was asassinated or on The Passion to reveal HE was hung at the end. -- Zosodada

Dialogue Issue
By rhetorical I was trying to say that the discussion as a whole was (on one level) a logical argument. Since we can't agree on where the word rhetorical fits in, I'm happy to leave it out.

Regarding this being an "attempted seduction", that seems like a strong interpretation. The scene seems to me more like Crassus feeling out Antoninus to see if there is any interest, not as a full-on attempt to woo Antoninus into bed.

 * The interpretation that it is a seduction scene is pretty widely held. I agree with you that the discussion involves a "logical" argument, but that does not make it rhetorical.  In no way is the discussion as a whole rhetorical. Slrubenstein

 * Fair enough. I don't feel strongly enough to try to find another way to rephrase this.  I do feel the article is improved by quoting the dialogue in question, as it lets the reader interpret what is going on for themself.

 * It had be be left open to interpretation due to then-current censorship practices. Mkweise

 * I have no objection to including the dialogue -- and it is true that the scene works through innuendo. But it really is a common interpretation: I just used google to find online reviews and these were the first two:

 * From TVGuide online: "The restorers took advantage of this opportunity to insert some footage that was considered too suggestive for the film's initial release, a thinly-veiled attempted seduction of Curtis by Olivier."

 * From Epinions review: "The bloodiest battle scenes were restored as were the scenes of Laurence Olivier doing the infamous homosexual seduction in the baths."

 * and this was maybe the fourth or fifth review: From Thebigpicturedvd.com: "This attempt at seduction provides Antoninus urgent incentive to flee from Crassus and join the revolt against him." Slrubenstein

 * The soundtrack to the seduction scene was lost. For the reissue Curtis had to re-dub the lines alongside another actor whose name I've forgotten impersonating Olivier. Anyone happen to remember who? --Lee M

 * It was Anthony Hopkins. RickK 02:11 18 Jul 2003 (UTC)

 * Right. Now how could I forget that? Lee M 01:59, 8 Aug 2003 (UTC)

 * While I think the conversation is clearly about bisexuality I think linking "eating oysters" to the cunnilingus article and "eating snails" to the fellatio article is way more direct than anything in the movie. It's ridiculous. Gripdamage (talk) 20:22, 30 August 2012 (UTC)

Snails and olives
I remember dragging the SO to see the full version in London some years ago. I remember the comparison being made between green and black olives. Perhaps there were several version? ExpatEgghead 11:11, 12 July 2005 (UTC)

Inaccuracy?
At present the article says under trhe deading "Historical inaccuracies" - ''In the opening of the film, Spartacus is shown performing labor on what appears to be a rock quarry. Most slaves in ancient Rome worked in agricultural environments. - If most'' worked in agircultural environments then by implication some worked in other environment including breaking rocks. Is the author suggesting that slaves weren't used in quaries? I can't see how this can be called an historical inaccuracy. I'm removing it. Jooler 23:18, 29 November 2005 (UTC)

Versions/Plot
I added a section header for "Versions" that seems appropriate. It could use a Plot description, don't you think? I would do it, but film buff that I am, this is one I haven't seen. John 01:38, 30 December 2005 (UTC)

other
Now in the Plot Summary they, like, call Sicilians Cicilians. Which happen to be a type of bug or crestacion or wha-ever (it really doesn't matter. Bt I don't want to change because it might have, like, some sort of reason. —Preceding unsigned comment added by 65.16.183.162 (talk • contribs)
 * Because they're not Sicilians. They're Cilicians. ....(Complain)(Let us to it pell-mell) 01:38, 8 July 2006 (UTC)

Failed GA
This article failed the GA noms due to lack of references and wikification. Tarret 00:29, 17 June 2006 (UTC)

Gracchus
Was Gracchus a real historical figure? If not his inclusion in the movie can probably be labled a historical inaccuracy. --YankeeDoodle14 20:17, 21 July 2006 (UTC)
 * No, he wasn't real. But the film wasn't trying to be real. And the article points out that he's fictional. ....(Complain)(Let us to it pell-mell) 05:19, 27 July 2006 (UTC)
 * However i think it's worth to be mention separately, since his name may be confusing. Crassus, Varinia, Julius Caesar, Lentulus as pictured there don't contradict the real history (or Plutarch's account given as basic source) at least in the main points. I had put the paragraph at 13:35, 15 July 2013 but it was immediately reverted by another user. I don't want to begin the corrections war so i'm putting the question here. Possible source could be: "Spartacus: Film and History" by Martin Winkler, p.103: http://books.google.com/books?id=_qE-Apbp4PMC&pg=PA103&lpg=PA103&dq=spartacus+film+and+history+gracchus+populist+opponent+in+the+senate&source=bl&ots=LzfoaQOu6g&sig=j5hfPbmNLgjaAVcjBYiuWAMu7Gs&hl=iw&sa=X&ei=50PqUdCVGsHt0gWlxYGIDg&ved=0CDAQ6AEwAQ#v=onepage&q=spartacus%20film%20and%20history%20gracchus%20populist%20opponent%20in%20the%20senate&f=false --Alon 68 (talk) 08:17, 20 July 2013 (UTC)

Removing inaccuracy
I took this out

 * Spartacus' original escape plan did not involve Cilician pirates, but rather fleeing north to Gaul and heading to Spain to join forces with another Roman rebel, Quintus Sertorius, a partisan of Gaius Marius's still fighting the government instituted by Sulla. It is widely believed that the German and Gallic parts of the army (under their own leaders) wanted to keep fighting the Romans, and that his own men wanted to turn south and loot the Roman countryside further.

 * 1) The deal with the Cilician Pirates is mentioned in Plutarch's Life of Crassus, 10:1-3. It may not have been the orginal plan - but given that Plutarch also describes the slaves defeating several armies, being clear to escape north over the Alps, and not doing so but going back to southern Italy, we don't know what the slaves' plans were. We don't have any accounts from their perspective after all.
 * 2) No historical source mentions the desire of Spartacus to join Quintus Sertorius, who was assassinated about the time that the Third Servile War was ongoing
 * 3) Sulla died before the events here, so it is doubtful that Sertorius was still fighting Sulla's government. Sertorius was in fact trying to avoid being re-conquered by Pompey.
 * 4) There is no historical account which mentions the "German and Gallic parts" under Crixus specifically "split off" and wanted to stay and keep raiding. This is an interpretation of several mentioned events (including a mention by Plutarch that some of his men wanted to stay and keep raiding), but this is nowhere specifically stated - other interpretations also exist.

Vedexent 22:31, 14 September 2006 (UTC)

"I'm Spartacus"
I've heard that there is a parody of the "I'm Spartacus" scene in the movie In & Out, in which a high school English teacher is revealed to be homosexual, and when he is making a speech (or something) all of the students and parents start shouting out, "I'm gay!" Anyone seen this and can add it to the article? --Kainino 07:10, 13 November 2007 (UTC)

Worth including the 'No, I'm Kirk Douglas' son' heckle?: http://qi.com/talk/viewtopic.php?start=0&t=3334

What is the best heckle you've ever seen?

A: Clearly there is no ‘right’ answer to this, however top points must go to the audience at London’s Comedy Store when faced with a dire routine by the late Eric Douglas, son of Spartacus star Kirk and half brother of Michael.

According to an eye witness, comedian Mickey Hutton, (who mentioned the experience in a Sun newspaper article on 14 May 1999), Eric Douglas ‘lost it on stage’.

"I'm Kirk Douglas' son," Eric screamed in retaliation to the audience’s heckles. In response one audience member stood up and said: ‘No, I'm Kirk Douglas's son!", then another, and another until the whole audience where shouting: ‘No, I’m Kirk Douglas’s son!’.

137.222.142.27 (talk) 09:32, 31 January 2008 (UTC)

"I'm Spartacus" section
Is there any reason to keep the "I'm Spartacus" section out of the article? Most kids and teens, today, have the first contact with the movie by watching the parodies and asking their parents why they are laughing - and then they can be motivated to watch the movie (been there - done that). Albmont (talk) 13:37, 12 March 2008 (UTC)

 * I think you are referring to this deletion, which I agree is excessive. The section contained far too many "in popular culture" spottings, but the Spartacus moment is an identified trope which is now referred to outside of fiction, and it is at least demonstrated (if not adequately sourced) in the Prince Harry story. I'm restoring the top half of this section, but leaving out the IPC spottings, which are unencyclopedic trivia. (TV Tropes Wiki would be a good place for this stuff.)
 * Incidentally, a Google search on "I'm Spartacus" points to this article—redirects to this article from Spartacus moment, I'm Spartacus!, I'm Spartacus and I am Spartacus probably help—so those kids & teens will have little trouble looking it up. / edg ☺ ☭ 14:20, 12 March 2008 (UTC)

 * Uh, no. Tvtropes is not a reliable source. Yworo (talk) 05:09, 31 October 2010 (UTC)

Detail in "I am Spartacus!" section
There has been some editing on this section of the article recently. I found the examples listed in paragraphs to be quite awkward as they were written together in sentences and paragraphs with no apparently logical grouping and in no particular order, so I converted the examples to a bulleted list in chronological order and added some additional information and reference. However, Yworo has objected to the verifiability of the references, deleted almost all of the examples and reverted to writing in prose. I have, in the meantime, revised the earlier version to include additional detail and sources, as can be found at User:Sroc/Spartacus building on the work of those before me, so it is there if anyone wishes to restore some of these examples, and there are additional links going to the notability of the scene generally. —sroc (talk) 04:42, 31 October 2010 (UTC)

 * I think we should present only a few major examples and refer the reader to sources where they can find more as I have done. If a bulleted list is needed, there are either too many examples being given and/or too much detail is being given for minor examples. If minor examples are to be included, they should just be listed, not explained. Please note that these sorts of sections are never intended to be a list of every possible reference ever made, but rather a list of the more notable examples of such references. The bulleted list style encourages people to come by and add yet another and another uncited trivial mention to the list thinking it is supposed to be comprehensive. That's why the bulleted style should not be used. Yworo (talk) 04:45, 31 October 2010 (UTC)

 * I have noticed more examples creeping in and crowding this section with more trivia, which as Yworo has rightly pointed out, is to be avoided. I have therefore removed the more recent/less notable examples and summarised the section, which already includes references to reliable sources for lists of further examples.

 * Please do not add any new examples unless they are notable and are referenced with reliable sources. Thank you.  —sroc (talk) 14:16, 1 January 2012 (UTC)

Criticism
"Critics such as Roger Ebert have argued that the film has flaws which have caused it to become severely dated." If the critical argument is not given, nor a reference, the claim that the film is "severely dated" does not make any sense. The 'authority' of an 'acclaimed' critic is not enough. --Olaf g (talk) 09:11, 17 December 2007 (UTC)

Reading this section looks like this is a minor movie. Spartacus deserves a better article.

Action-adventure-Biography...
I understand this film falls into a number of different genres, but the number of categories in the first line of the article is ridiculous. It's absolutely comical, and looks as if it was a vandals doing just for the long-windedness of it. Any solutions? —Preceding unsigned comment added by 70.253.128.49 (talk) 01:03, 25 April 2008 (UTC)

Could we just call it an Epic / Historical Epic (that sort or covers everything). Tomgreeny (talk) 08:33, 25 April 2008 (UTC)

I'm Brian!
I added this under the I'm Spartacus section as arguably one of the most high-profile parodies of the line. But shortly afterwards, it (and a couple of other things) was deleted with the explanation "deleted odd stuff". I must highly contest this edit - the Life of Brian is subtly parodying Spartacus all the way through (look at the bit when his girlfriend finds Brian on the cross, says that she admires his sacrifice and leaves him there) and remains something like the number one British comedy ever according to voters. i'd just revert the edit, personally, but I think that's not the best way to go and I'd like another opinion first. Fuzzibloke (talk) 19:23, 19 June 2008 (UTC)
 * Actually, the whole section needs to come out. It's not referenced, trivial and unencyclopedic. Honestly, I took the paragraph out and didn't realize there was so much more there about the line. Feelf free to put it back in, but I'm going to tag the rest of it as uncited trivia and it will either be referenced or be deleted. The other stuff which I removed, placed after the reference section, was a badly written retelling of something already included in the article.

Wildhartlivie (talk) 20:38, 19 June 2008 (UTC)
 * Gotcha. Thanks for that. I believe the debate about whether the section should be there at all has already been done. But it could do with work. I'll return the "I'm Brian!" bit, BUT cite my source. Is that alright with everyone? Fuzzibloke (talk) 13:11, 20 June 2008 (UTC)

Help
I have just watched the excellent 1989 re-release on DVD but I'm confused. The well-known Khatchaturian "Spartacus Theme" was entirely absent. Did I miss something? Was the music changed in the re-release? There seems to be no mention of Khatchaturian on the sleeve notes. Peter Maggs (talk) 10:55, 30 June 2008 (UTC)
 * I have now worked this out. The well-known "Spartacus" theme is, of course from the ballet by Khatchaturian, music made popular in the UK by its use as the theme music for the Onedin Line. Frequent replays on the radio as The Spartacus Theme led me to associate it with the film rather than the ballet. Peter Maggs (talk) 11:40, 7 September 2008 (UTC)

Kirk Douglas and Ben Hur
Does the author of the article know of any references to support the oft repeated story that Douglas was partly drawn to Spartacus to make up for losing the role of Ben Hur? I've read the same story many times but have never found any hard evidence.

144.173.6.74 (talk) 16:18, 30 September 2008 (UTC)

Authorship
I notice that there is no mention of Gore Vidal's uncredited role as screenwriter in this article. Has this already been discussed?

Postdarwin (talk) 21:21, 13 July 2009 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Spartacus (2004 film) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RM bot 05:31, 17 May 2011 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Spartacus (TV mini-series) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RM bot 20:01, 17 May 2011 (UTC)

Filming and Music sections
God, these are horrible. First, the music section is like a bad high school essay. No citations, very POV, extremely poor prose. Then the Filming section is riddled crap like: "Kubrick insisted on shoot the big battle scenes on location in Spain." No he didn't, this was an entirely fiducial decision due to availability of cheap extras with military training in Franco's Spain. Christ... 67.190.86.13 (talk) 04:03, 6 December 2011 (UTC)

Material
In February 1959, Kubrick received a phone call from Kirk Douglas asking him to direct Spartacus (1960), based on the true life story of the historical figure and the events of the Third Servile War. Douglas had acquired the rights to the novel by Howard Fast and blacklisted screenwriter Dalton Trumbo began penning the script. It was produced by Douglas, who also starred as rebellious slave Spartacus, and cast Laurence Olivier as his foe, the Roman general and politician Marcus Licinius Crassus. Douglas hired Kubrick for a reported fee of $150,000 to take over direction soon after he fired director Anthony Mann. Kubrick had, at 31, already directed four feature films, and this became his largest by far, with a cast of over 10,000 and large budget of $6 million. At the time this was the most expensive film ever made in America, and Kubrick became the youngest director in Hollywood history to helm an epic. It was the first time that Kubrick filmed using anamorphic 35mm horizontal Super Technirama process to achieve ultra-high definition, which allowed him to capture large panoramic scenes, including one with 8,000 trained soldiers from Spain representing the Roman army. Disputes broke out during the filming. Kubrick complained about not having full creative control over the artistic aspects, insisting on improvising extensively during the production. He wanted to shoot at a slow pace of two camera set-ups a day, but the studio insisted that he do 32; a compromise of eight had to be made. Stills cameraman William Read Woodfield questioned the casting and acting abilities of some of the actors such as Timothy Carey, and cinematographer Russell Metty disagreed with Kubrick's use of light, threatening to quit, but later muted his criticisms after winning the Oscar for Best Cinematography. Conflicts with Douglas also broke out over the screenplay, and Kubrick angered Douglas when he cut all but two of his lines from the opening 30 minutes. Despite the on-set troubles, Spartacus was a critical and commercial success, earning $14.6 million at the box office in its first run. The film established Kubrick as a major director, receiving six Academy Award nominations and winning four, and ultimately convinced him that if so much could be made of such a problematic production, he could achieve anything. Spartacus marked the end of the working relationship between Kubrick and Douglas. Douglas later stated: "You don't have to be a nice person to be extremely talented. You can be a shit and be talented and, conversely, you can be the nicest guy in the world and not have any talent. Stanley Kubrick is a talented shit." Dr. Blofeld (talk) 18:49, 17 August 2015 (UTC)

2015 Restoration
The current version asserts that the 2015 restoration was made "from a 6K scan of the 1991 reconstructed version of the film" but I believe that is incorrect. A review of the DVD in French states twice that the 6K scan was made of the original Technirama negative, and then the restored version was edited identically to the 1991 cut. Unfortunately the press release from Universal Studios refers to it as "a new extensive restoration of the 1991 reconstructed version of the film" which is ambiguous, but might well be interpreted as meaning that the 2015 restoration team was working from a scan of what was produced in 1991. I would tend to trust the accuracy of what is stated in ON Magazine, until a more authoritative citation can be found. Mathew5000 (talk) 23:36, 7 March 2016 (UTC)

 * Since the ambiguous version seems to have no citation, and you seem to have more than one, I would say change it. Dhtwiki (talk) 05:56, 8 March 2016 (UTC)

 * I've only got one citation, the one in French. I believe it is probably correct but I'm not certain. If it is correct, then surely the information is somewhere online in a Reliable Source in English. Mathew5000 (talk) 21:57, 8 March 2016 (UTC)

Marcus Licinius Crassus as an "arch-conservative"
I'm removing the reference to Marcus Licinius Crassus as an "arch-conservative." Arch-conservative is an undefinable term which varies by political system from place to place. Heck, I'm a conservative and I have no idea what the term means. 155.213.224.59 (talk) 14:39, 8 March 2016 (UTC)

Subtext and political commentary in the film
The section about "Political commentary, Christianity, and reception" says the film suggests parallels to the U.S. anti-communist paranoia of the 1950s, the HUAC hearings and the beginnings of the black Civil Rights movement. Those seem rather remote really, especially the McCarthyism/HUAC thing. Dalton Trumbo, who wrote the script, had been blacklisted as a communist but he was not writing about himself and his accusers. The Civil Rights movement is better, but it was still at an early stage in 1958 when the script was being written. On the other hand, the film seems to have an obvious subtext relating to the wave of de-colonialization in Africa and Asia (often triggered by native armed revolts and guerrilla movements) and not least the Cuban revolution. Castro and his forces were gaining ground in Cuba as Trumbo wrote the script, Batista's flight from Havana at New Year, 1959 happened just weeks before the start of the movie shoot and the Cuban guerrilla war would have been broadly covered in some of the U.S. media at the time; both Trumbo and Kubrick would certainly have been aware of it.

Spartacus as a man isn't modeled on Fidel Castro or Che Guevara but the frame of conflicts of the film and the way it presents Spartacus' army and their egalitarian way of life - exploited slaves/landless farmhands, coloured people and workers trying to overthrow a posh, somewhat decadent upper-class order and restoring a way of life under the signs of freeedom, courage and a romantic return to nature - look very close to how the Cuban revolution and similar movements were being reported and described at the time. Strausszek (talk) 15:36, 12 October 2016 (UTC)

Inaccurate Citation
There is an inaccurate citation in this page. Under the subsection "Political commentary, Christianity, and reception" this is stated:

"At the beginning of the scene when Draba sacrifices himself by attacking Crassus rather than kill Spartacus, the film's narrator comments that slavery was a central issue in American history. The fight to end segregation and to extend equality to African Americans is symbolized in the racial mixing in the gladiatorial school, as well as in the army of Spartacus, where all must battle for freedom."

There is no narrator in this section of the film, nor is this explicitly stated in the film. As cited this is analysis done by the scholar Robert Burgoyne, not a narrator. The citation is not accurate to the text referenced either. The relevant sections as they appear in the text cited:

"In analyzing the scene as a commentary on spectacle and dehumanization, Hark notes that the trident that Draba throws at Crassus is aimed at the camera, as if our cinematic gaze were assimilated to that of the Romans. Moreover, the refusal of Draba to watch an earlier fight, and the several barriers to vision that are imposed on our gaze throughout, suggest that to view the spectacle is to be complicit in it. But this analysis ignores the racial content of the scene, a key component of the film’s overall message of freedom and brotherhood. Draba is played by the actor Woody Strode, who was well known for his earlier role in the anti-rascist film Sergeant Rutledge; Draba’s self-sacrifice, his gesture of mastery over his own body and his own fate, his self-authorship, bring into relief the powerful resonance that Spartacus finds in the slave rebellion as a prefiguration of the American national story.

Although ancient Rome and Greece were slave societies, Roman slavery was not racialized, but was based instead on the enslavement of foreigners. Romans had the absolute right not to be slaves of other Romans: a “bond of freedom shared by male Roman citizens at all levels of wealth was shored up by the enslavement of foreigners. . . The presence of a substantial number of slaves in Roman society defined free citizens, even if they were poor, as superior.” Because of this, a paradoxical situation arose that M. I. Finley describes as “the advance, hand in hand, of freedom and slavery.” For the Romans to be free meant that a substantial portion of the external population had to be enslaved. As the number of free Romans increased, a greater and greater number of foreign lands had to be conquered. Freedom and slavery, as Finley says, advanced “hand in hand.”

As Nathan Huggins writes, “Freedom among the white servant classes and lower orders had meaning precisely because of slavery. Racial slavery created among white men a kind of equality (in freedom) and a common bond which could be made to take precedence over all other interests. . . American freedom finds its meaning in American slavery.” Viewed from this perspective, the scene featuring Draba’s sacrifice takes on a specifically national, allegorical meaning. The black gladiator Draba leaps onto the parapet as if he were leaping onto the balcony of history to remind us of the legacy of slavery, and the way it is bound to our idealized conceptions of freedom, Roman and American. He confronts both Crassus and the film’s spectator. The film suggests here that slavery and race are at the center of US history, as slavery was at the center of the history of Rome. The film also establishes in Spartacus an obligation; as Draba’s sacrifice comes to signify a historical debt, it assumes the status of a message that should not so much be read as lived."

-- Burgoyne, Robert. The Hollywood Historical Film

This information seems perfectly relevant to this page, but should be presented accurately: as scholarly analysis, not a statement made via narration in the film. As it stands it misses the nuance of the argument being made. What Burgoyne is saying is that the freedom that is idealized by American and Roman societies could not exist without slavery. That while Roman and American societies both had slavery, it was only the American kind that was a racist institution. By having Draba, a black gladiator, confront "both Crassus and the film's spectator" only then does the film suggest the American brand of slavery. Finally, by this sacrifice being made it "establishes in Spartacus an obligation" due to this historical debt of American slavery.

This is a nuanced argument that is simplified and misleading as it currently exists in the article. The second half about the fight to end segregation and racial mixing does not exist in Burgoyne's text. While I'm sure this observation has been made by a credible source, in its current form it is not properly cited.

Personally, I would suggest changing this to a quotation from the text. Perhaps something like:

Robert Burgoyne observed that when Draba, a black gladiator, confronts "both Crassus and the film's spectator" in self-sacrifice it reminds the viewer of the legacy of American slavery, which unlike Roman slavery was racialized.

This still misses tons of the nuance of the argument, but it least presents the information in a manner that it accurate to the source. Since I am not a Wikipedian I don't feel comfortable making this change myself. However, I feel as it stands this statement runs contrary to Wikipedia's central objectives of accuracy and verifiability. I didn't check the other references to Burgoyne's work, but it would seem likely that they may contain a similar mix of credible research being presented inaccurately with what is perhaps original research done by the editor. As such, these citations likely would be worth someone looking into further.

2603:7081:3841:ED00:A02B:7449:1C20:4A7A (talk) 22:06, 9 August 2021 (UTC)

 * I dug in a little further into the page history. old revision from 2012 seems to be the source of the information. While the language is cumbersome, the information is more accurate to the work being referenced. Then much more recently, in  May 2021 revision, the language about narration found its way in. It appears that over the years multiple attempts have been made to clarify the language, but have only gotten further from the material referenced with accurate information being replaced by inaccurate information. Oddly, the line about segregation and racial mixing appears to be there from the beginning and, as I stated above, is not found in the material being referenced and may violate WP:NOR.

 * 2603:7081:3841:ED00:A02B:7449:1C20:4A7A (talk) 22:38, 9 August 2021 (UTC)
 * I took out the sentence, :At the beginning of the scene when Draba sacrifices himself by attacking Crassus rather than kill Spartacus, the film's narrator comments that slavery was a central issue in American history" because there is no narrator in this scene, as has been pointed out. I cannot understand why this error was left in. Montju (talk) 02:01, 24 July 2023 (UTC)

Sentence removed
I've removed the sentence "The controversy over its 'legitimacy as an expression of national aspirations' continued until newly elected US President John F. Kennedy crossed a picket line set up by anticommunist organizers to attend the film" from the Political commentary section because the page of the reference cited says nothing of the sort: Robert Burgoyne: The Hollywood Historical Film 2008, Blackwell, p. 93 (available at Internet Archive). This leaves the sentence before it unreferenced, but I don't know if the removed reference was referring to it also or not. -- Pete Best Beatles (talk) 07:14, 8 March 2022 (UTC)
 * It depends which edition of the book you look at. It was on page 84 in the version I checked. Changes in typesetting and image size can cause things to move about. Or it could be vandalism or just a plain old mistake. - X201 (talk) 09:01, 8 March 2022 (UTC)
 * Additional. Looking at when that line was inserted it used to be supported by a reference to the New York Times as well. Their historical articles are now behind a paywall (See NYT search). But at least we know that it was on Page 39 of the February 5, 1961 edition. I'm sure someone in the Wikipedia reference library would verify it if it was needed as a back up source. - X201 (talk) 09:24, 8 March 2022 (UTC)
 * Good enough then! Pete Best Beatles (talk) 13:01, 8 March 2022 (UTC)
 * I have access to the New York Times article. Let me know if you'd like me to share the text. Erik (talk | contrib) (ping me) 13:07, 8 March 2022 (UTC)
 * I would like that very much. How do we go about it, by e-mail? Pete Best Beatles (talk) 07:00, 10 March 2022 (UTC)
 * Sorry, I overlooked this somehow. Here is the image of the article. Erik (talk | contrib) (ping me) 20:50, 14 March 2022 (UTC)
 * Thanks. All is good. --  Pete Best Beatles (talk) 05:00, 15 March 2022 (UTC)

title: Talk:Spartacus (film)


text:
Gilles Binchois

Gilles de Bins dit Binchois (also Binchoys; c. 1400 – 20 September 1460) was a Franco-Flemish composer of early Renaissance music. A central figure of the Burgundian School, Binchois and his colleague Guillaume Du Fay were deeply influenced by the contenance angloise style of John Dunstaple. His efforts in consolidating a 'Burgundian tradition' would be important for the formation of the Franco-Flemish School. One of the three most famous composers of the early 15th century, Binchois is often ranked behind Du Fay and Dunstable by contemporary scholars, but his works were still widely cited, emulated and used as source material after his death.

Described by the musicologist Anthony Pryer as a "supreme miniaturist", he generally avoided large scale works, and is most admired for his shorter secular chansons. Despite this, it is thought that considerably more of his sacred music survives than secular music, creating a 'paradoxical image' of the composer. Reflecting on his style, the Encyclopædia Britannica comments that "Binchois cultivated the gently subtle rhythm, the suavely graceful melody, and the smooth treatment of dissonance of his English contemporaries".

Early life
The composer's full name is Gilles de Bins dit Binchois, consisting of the byname 'Gilles de Binche' (also spelled 'Gilles de Bins') and the dit name Binchois (also spelled 'Binchoys'). Obituary records from St Vincent, Soignies name his parents as Johannes and Johanna de Binche, usually identified with Jean de Binch (?) and his wife Jeanne, née Paulouche (?). His parents were of the upper class in Mons and probably from the town of Binche; his father was a councillor to Duke William IV of Hainault and later Jacqueline, Countess of Hainaut. The elder Binchois was also a councillor for the Ste Waudru church of Mons, and built a chapel for the St Germain church. Their son Gilles Binchois was probably born in Mons, the same city in which the composer Orlande de Lassus would be born a century later.

Nothing for certain is known about Binchois until 8 December 1419, when he is known to have been the organist at Ste Waudru in Mons. It is possible that Gilles Binchois received an early musical education near the court of Mons, and like other composers of his time, he probably trained as a chorister in his youth, perhaps at St Germain. An account from Jules Houdoy (1880) which refers to the chorister Jean de Binche at Cambrai Cathedral has often been misinterpreted as referring to Binchois. There is no evidence that Binchois was a chorister at Cambrai in his youth.

Records from 28 July 1423 indicates that he soon moved to Lille. Around this time he may have been a soldier, as indicated by a line in the funeral motet Deploration for Binchois, composed in his memory by Johannes Ockeghem. Binchois might have served under the Englishman William de la Pole, 1st Duke of Suffolk, who was in France for the Hundred Years' War. This association is evidenced by a 1426 document which records that the Duke of Suffolk commissioned the otherwise unknown rondel Ainsi que a la foiz m’y souvient from a 'Binchoiz'.

Burgundian court

Sometime during the late 1420s Binchois joined the court chapel choir of Burgundy; the exact date is unknown due to chapel's lost employment records from 1419 to 1436. A 1427 disposition from Guillaume Benoit which includes Binchois' name suggests he was there by then, though this is uncertain. He was certainly in the chapel when he wrote Nove cantum melodie—one of his only datable compositions—on the 18th of January 1431, as it was for the baptism of Anthony, bastard of Burgundy. The musicologist Fallows notes that "he must have been there some years earlier since the list of 1436 places him as fifth chaplain in order of seniority within the choir". The Burgundian court under Philip the Good was perhaps the most lively and prominent court of the area; its members compared it to that of Alexander The Great. The musicologist Reinhard Strohm commented that Philip's court of "eclectic and flamboyant culture typified the feudal aspirations of the age".

Among the residents of the court was the painter Jan van Eyck, who, according to the art historian Erwin Panofsky, may have portrayed Binchois in the Léal Souvenir portrait, though there is no widespread agreement for this. Binchois was associated with the leading composer of his day, Guillaume Du Fay. They likely met, alongside the poet Martin le Franc, during a meeting at Chambéry of the Burgundian and Savoy courts in February 1434. It was probably here that Le Franc wrote his famous Le champion des dames poem, which depicts the two composers and blind Burgundian vielle players. The only certain meeting of the composers was in March 1449, when Du Fay resided with Binchois in Mons for a convocation of canons. Aside from Du Fay, important composer contemporaries of Binchois included John Dunstaple, Lionel Power, Hugo de Lantins and Arnold de Lantins.

The Burgundian chapel choir was unique in allowing its members to become clergy without being ordained as a priest; in 1437 Binchois became a subdeacon. Probably due to Philip's favor, he held prebends for at least four churches until his death: St Donatian, Bruges (from 7 January 1430); Ste Waudru, Mons (from 17 May 1437); St Vincent, Soignies (from 1452); and St Pierre, Cassel (from 21 May 1459). He was also made honorary court secretary in 1437 by Phillip, who paid for a now-lost work by him on 29 May 1438, Passions en nouvelle maniere. It is possible that Binchois had some experience in medicine, since he attended to a duchess's toothache in July 1437. The choir's attendance records are fairly thorough, and indicate that Binchois did not travel much on his own.

Final Soignies years
He eventually retired in Soignies by February 1453, receiving a substantial pension until his death, presumably for his long years of excellent service to the Burgundian court. In 1452 he became provost of the collegiate church of St Vincent. Around this time Soignies grew its reputation for musical excellence; Guillaume Malbecque and Johannes Regis were active there, while the contemporary writers Jacobus Lessabaeus and Lodovico Guicciardini praised the town's musical standard. Binchois may have been involved in the well known 1454 Feast of the Pheasant in Lille, as the motet Lamentatio sanctae matris ecclesiae Constantinopolitanae was performed, which may be by Binchois, but is usually ascribed to Du Fay. On 20 September 1460 Binchois died in Soignies; his will mentions otherwise unknown family members, including his brothers Andri de Binch and Ernoul de Binch. Upon his death Ockeghem wrote a deploration, Mort, tu as navré de ton dart; its opening appears to quote an otherwise unknown chanson by Binchois. Fallows has suggested that Du Fay composed the rondeau En triumphant in 1460 for his colleague's death, since it seemingly references two songs by Binchois.

Music
The Encyclopædia Britannica remarks that "Binchois cultivated the gently subtle rhythm, the suavely graceful melody, and the smooth treatment of dissonance of his English contemporaries". As a melodist in particular, Binchois is often considered among the finest of the 15th century; Fallows argues that in this regard he had no contemporary equal. As such, Binchois is best known for his lyric-driven secular French songs, known as chansons, which were widely transmitted and imitated by fellow composers.

Most commentators agree that Binchois was not a progressive composer. The musicologist Reinhard Strohm concludes that although Binchois although "earned his enormous reputation in the one genre in which he excelled as a composer, performer and possibly even poet [...] this master of melody and courtly performer apparently does not explore the depths of the art". Binchois utilized a limited range of musical techniques, favoring older styles, such as melodies evocative of the 12th-century amour courtois tradition of the  troubadours and trouvères. In genre choice too he was conservative, eschewing newer voguish forms—such as Cyclic masses and Cantus firmus masses based on secular tunes—in favor of smaller-scale works. In fact, only a single large-scale work of his survives, an incomplete isorhythmic motet: Nove cantum melodie (1481).

His tunes appeared in copies decades after his death, and were often used as sources for Mass composition by later composers. Most of his secular songs are rondeaux, which became the most common song form during the century. Binchois' melodies are generally independent of the rhyme scheme of the verses they are set to, an approach which was uncommon by 15th century European composers.

Like Du Fay, Binchois was deeply influenced by the contenance angloise style of the English composer John Dunstaple. The court of Philip had generally good relations with the English, and had established both diplomatic and cultural links with their northern neighbor; his court was open to English diplomats, businessmen and musicians.

About half of his extant secular music is found in the manuscript Oxford, Bodleian Library MS Canon. misc. 213.

Legacy
Modern musicologists generally hold Binchois, along with Du Fay and John Dunstable as the three major European composers of the early 15th-century. Binchois, however, is usually ranked below the other two. Although Du Fay and Binchois have been grouped together since their lifetimes, the musicologist Reinhard Strohm considers this misleading, noting that that while Binchois "earned his enormous reputation in the one genre in which he excelled as a composer, performer and possibly even poet, Du Fay's creativity unfolded along many more musical lines". In general Du Fay is often considered the leading European composer of his lifetime, and his career was both lengthier and more prolific than Binchois. While Dunstaple was described by the musicologist Margaret Bent as "probably the most influential English composer of all time." Reflecting on this, Fallows contends that regardless, "the extent to which [Binchois's] works were borrowed, cited, parodied and intabulated in the later 15th century implies that he had more direct influence than either [Du Fay or Dunstaple]".

The 20th century saw two major publications of music by Binchois: the musicologist Wolfgang Rehm edited a 1957 edition of his secular works, while a 1992 edition of his religious music was edited by Philip Kaye.

title: Gilles Binchois


text:
Komura Jutarō

Marquess Komura Jutarō, (小村 壽太郎) was a Japanese statesman and diplomat.

Early life
Komura was born to a lower-ranking samurai family in the service of the Obi Domain in Kyushu's Hyūga Province (now Nichinan, Miyazaki Prefecture). He attended the Daigaku Nankō, the predecessor of Tokyo Imperial University. In 1875, he was selected by the Ministry of Education as one of the first students to study abroad under a government scholarship. At Harvard University, Komura shared lodgings with the fellow Japanese student Kaneko Kentarō. Komura graduated from Harvard Law School in 1878.

While at Harvard, Kaneko and Komura visited the home of Alexander Graham Bell and spoke on an experimental telephone with a fellow Japanese student, Izawa Shunji. According to Bell, this was the first instance of any language besides English being spoken into the new invention.

Career

In 1880, Komura joined the Ministry of Justice and, after serving as a judge of the Supreme Court of Japan, transferred in 1884 to the Translation Bureau in the Ministry of Foreign Affairs.

In 1893, Komura was the chargé d'affaires at the Japanese legation in Beijing, in Qing dynasty China. In that position, he conveyed to the Chinese government Japan's intention of dispatching troops to Korea under the provisions of the Treaty of Tientsin to subdue the Tonghak Rebellion, which led to the First Sino-Japanese War. During the war, Komura was appointed as civilian administrator for territories Japan had captured in Manchuria. He was also a key figure in the negotiations to end the war, culminating in the Treaty of Shimonoseki, which he helped to draft.

Following the assassination of Queen Min of Korea, Komura was dispatched to replace Miura Gorō as the Japanese minister to Korea. In his position as resident minister in Korea, he negotiated the Komura-Weber Memorandum in May 1896 with his Russian counterpart, Karl Ivanovich Weber, to allow joint interference in Korean internal affairs by the Japanese and the Russian Empires.

Komura served as Vice Minister for Foreign Affairs until September 1898, when he was named ambassador to Washington, D.C.

In September 1901, Komura became Minister for Foreign Affairs under the first Katsura administration, and he signed the Boxer Protocol on behalf of Japan. He was elevated into the kazoku peerage with the title of baron (danshaku) in 1902 and decorated with the 1st class of the Order of the Rising Sun.

In 1902, Komura helped to conclude the Anglo-Japanese Alliance in 1902. His tenure as foreign minister was marked with increasing tension between Japan and Russia over Korea and Manchuria, which cumulated in the Russo-Japanese War in 1904–1905.

After the withdrawal of Russian forces in the region, Russian diplomats Witte and Rosen and their Japanese colleagues Takahira Ochiai, Komura, and others met in Portsmouth to sign the peace treaty. During the negotiations, Witte tried to keep Russia's rights on the southern part of Sakhalin island, referring to the Treaty of Saint Petersburg (1875), which gave the Kuril Islands to Japan in exchange for Russian rights in Sakhalin, but Komura declared that "war cancels all treaties."

The war was ended with Komura's signature on behalf of the Japanese government of the Treaty of Portsmouth, which was highly unpopular in Japan and led to the Hibiya incendiary incident.

Komura also met with E. H. Harriman, the American railway magnate, to propose a joint venture between Harriman's conglomerate and Japan towards the development of the South Manchuria Railway. On his return to Japan, he found that the agreement was opposed by the genrō and so it was not implemented.

Komura also met with Chinese representatives in Beijing and signed the Peking Treaty of December 1905, which transferred the former Russian rights in southern Manchuria to Japan.

For those services, Komura was awarded the Order of the Paulownia Flowers in 1906 and was appointed to become a member of the Privy Council.

From June 1906 to August 1908, Komura served as ambassador to Britain and was made a Knight Commander of the Order of the Bath by King Edward VII and a member of the Royal Victorian Order. On his return to Tokyo, he resumed the post of foreign minister in the second Katsura administration and signed the Root–Takahira Agreement with the United States. His peerage title was also elevated to that of Count ("hakushaku") in 1907.

Komura also played a key role in the Japan-Korea Annexation Treaty in 1910 and in concluding various international agreements in 1911 to restore Japan's tariff autonomy. He was elevated to the title of Marquis ("koshaku") on April 21, 1911.

Suffering from tuberculosis in his final years, Komura moved to the seaside resort of Hayama in Kanagawa Prefecture, but he died of the disease on November 26, 1911. His grave is at Aoyama Cemetery, Tokyo.

In popular culture
In Ryōtarō Shiba's semi-historical work Saka no Ue no Kumo, Komura inherited massive debts from his father, which he had difficulty with repayment. As a result, he wore the same frayed frock coat for years, regardless of season or occasion. That, combined with his short stature and a large mustache, led to the derisive nickname of "the rat minister" in the diplomatic community in his early career. In the Japanese Taiga drama adaptation of Shiba’s work, the role of Komura is played by actor Naoto Takenaka.

Honors
From the article in the Japanese Wikipedia

Peerages

 * Baron - 7 February 1902
 * Count - 21 September 1907
 * Marquess - 21 April 1911

Decorations and ranks

 * Order of the Sacred Treasure, Third Class (31 October 1895)
 * Grand Cordon of the Order of the Rising Sun (27 February 1902; Second Class: 21 October 1899)
 * Hon. Knight Grand Cross of the Order of St Michael and St George (GCMG) - 8 July 1905.
 * Grand Cordon of the Order of the Paulownia Flowers - 1 April 1906
 * Hon. Knight Grand Cross of the Order of the Bath (GCB) - 1907.
 * Hon. Knight Grand Cross of the Royal Victorian Order (GCVO) - 7 May 1907.
 * Second degree in the official order of precedence - 26 November 1911 (posthumous)

An International Center Komura Memorial Hall was built in Nichinan, Miyazaki on the former Obi domain of the Komura family in honour of Komura Jutarō and his accomplishments in Japan foreign relations expansion. This memorial and museum is presented on the web site of the Ministry of Land, Infrastructure, Transport and Tourism for the island of Kyūshū.

title: Komura Jutarō


text:
Katsura cabinet

Katsura Cabinet may refer to:

 * First Katsura Cabinet, the Japanese government led by Katsura Tarō from 1901 to 1906
 * Second Katsura Cabinet, the Japanese government led by Katsura Tarō from 1908 to 1911
 * Third Katsura Cabinet, the Japanese government led by Katsura Tarō from 1912 to 1913

title: Katsura cabinet


text:
User talk:Janewayite

Hi there Janewayite, and welcome to Wikipedia! I hope you like it here and decide to stay. There are always lots of volunteers working away on the site, and if you have any questions feel free to ask them at the Village pump. Enchanter

title: User talk:Janewayite


text:
User:John B Henshall

I discovered Wikipedia at the beginning of March 2003 and think the idea of a free encyclopedia is a great idea. The growth has been fantastic since its inception and the quality of most of the articles I have read are of a very high standard. I hope to maintain that standard with my own contributions, particularly relating to the chemical industry.

title: User:John B Henshall


text:
Machiavellian intelligence hypothesis

In primatology, the Machiavellian intelligence or social brain hypothesis describes the capacity of primates to manuever in complex social groups. The first introduction of this concept came from Frans de Waal's book Chimpanzee Politics (1982). In the book de Waal notes that chimpanzees performed certain social maneuvering behaviors that reminded him of the works of Machiavelli.

This hypothesis posits that large brains and distinctive cognitive abilities of humans have evolved via intense social competition in which social competitors developed increasingly sophisticated “Machiavellian” strategies as a means to achieve higher social and reproductive success.

Behaviors of organisms
Machiavellian intelligence may be demonstrated by primate behaviors including:
 * Mate seeking
 * Acts of reciprocity and aggression
 * Complex group manuevers, such as co-operation and competition
 * Acts of misdirection by the primate

Food and nutrient factors
The claim that large brains are linked to large social groups in primates and cetaceans, on which the Machiavellian intelligence hypothesis is based, is criticized by a number of researchers for overlooking the availability of food as a common limiting factor for brain size and social group size. Among primates as well as cetaceans, there are some opportunistic species that eat most types of food and other species that are specialised in particular types of food, as well as differences in the overall availability of food between different geographical regions in which the animals live. Some critics of Machiavellian intelligence argue that species that have to keep their use of nutrients down due to food poverty or specialisation in a rare type of food lowers average brain size for species that live in smaller groups, making big brains falsely appear to be linked to large groups due to the common causes of opportunistic foraging for nutritious food and a rich supply of food. These critics also cite that the "exceptions" in the form of small-brained primates in very large groups typically eat abundant but nutrient-poor foods (such as geladas that eat grass), as predicted by the food-based model, and argue that the higher individual need for nutrients put on by large brains causes groups to become smaller if the species have the same degree of digestive specialisation and environmental availability of food.

History
The term refers to the hypothesis that the techniques which lead to certain kinds of political success within large social groups are also applicable within smaller groups, including the family-unit. The term "everyday politics" was later introduced in reference to these various methods. These arguments are based on research by primatologists such as Nicholas Humphrey (1975).

title: Machiavellian intelligence hypothesis


text:
Proto-human

Proto-human may refer to:

 * Archaic Homo sapiens, a loosely defined classification that includes a number of varieties of Homo
 * Australopithecina, a collective classification of extinct, close relatives of humans, some of which are probable ancestors of humans and early hominins
 * Proto-Human language, a designation of the hypothetical most recent common ancestor of all the world's languages

title: Proto-human


text:
Maurice Greene (composer)

Maurice Greene (12 August 1696 – 1 December 1755) was an English composer and organist.

Biography
Born in London, the son of a clergyman, Greene became a choirboy at St Paul's Cathedral under Jeremiah Clarke and Charles King. He studied the organ under Richard Brind, and after Brind died, Greene became organist at St Paul's.

With the death of William Croft in 1727, Greene became organist at the Chapel Royal, and in 1730 he became Professor of Music at Cambridge University. In 1735 he was appointed Master of the King's Musick. At his death, Greene was working on the compilation Cathedral Music, which his student and successor as Master of the King's Musick, William Boyce, was to complete. Many items from that collection are still used in Anglican services today.

He wrote very competent music in the style prevalent in Georgian England, particularly longer Verse Anthems. His acknowledged masterpiece, Lord, Let Me Know Mine End, is a representative example. Greene sets a text full of pathos using a polyphonic texture over a continuous instrumental walking bass, with a particularly effective treble duet in the middle of the work. Both this section and the end of the anthem contain superb examples of the Neapolitan sixth chord. His organ voluntaries - published only some years after his death - are closer to Thomas Roseingrave in style than, say, John Stanley or William Boyce, and are more contrapuntal than melodic. They display a more reflective and profound character, and do not specify manuals or stops unlike later contemporaries such as Bennett, Boyce and Stanley. Instances of 'false relation' can be heard frequently in these works.

He died in 1755 aged 59 and was initially buried at St Olave Old Jewry. On the church's demolition in 1887, he was reburied in St Paul's Cathedral.

Works
Greene wrote a good deal of both sacred and secular vocal music, including:
 * the anthem Hearken Unto Me, Ye Holy Children (1728).
 * the oratorio The Song of Deborah and Barak (1732)
 * the oratorio Jephtha (1737), libretto by John Hoadly (1711–76).
 * the opera Florimel (1734).
 * settings of sonnets from Edmund Spenser's Amoretti (1739).
 * a collection of anthems (1743), of which the best-known is Lord, Let Me Know Mine End.
 * the opera Phoebe (completed 1747).

He also published keyboard music, including:
 * Choice Lessons, for harpsichord or spinet (London, 1733).
 * 6 Overtures … in Seven Parts, arranged for harpsichord or spinet (London, 1745).
 * A Collection of Lessons, for harpsichord (London, 1750).
 * Twelve Voluntarys, for organ or harpsichord ((published posthumously by J. Bland of Holborn) London, 1779).

title: Maurice Greene (composer)