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Delia Derbyshire

Delia Ann Derbyshire (5 May 1937 – 3 July 2001) was an English musician and composer of electronic music. She carried out notable work with the BBC Radiophonic Workshop during the 1960s, including her electronic arrangement of the theme music to the British science-fiction television series Doctor Who. She has been referred to as "the unsung heroine of British electronic music", having influenced musicians including Aphex Twin, the Chemical Brothers and Paul Hartnoll of Orbital.

Early life
Derbyshire was born in Coventry, daughter of Emma ( Dawson) and Edward Derbyshire. of Cedars Avenue, Coundon, Coventry. Her father was a sheet-metal worker. She had one sibling, a sister, who died young. Her father died in 1965 and her mother in 1994.

During the Second World War, immediately after the Coventry Blitz in 1940, she was moved to Preston, Lancashire for safety. Her parents were from the town and most of her surviving relatives still live in the area. She was very bright and, by the age of four, was teaching others in her class to read and write in primary school, but said "The radio was my education". Her parents bought her a piano when she was eight years old. Educated at Barr's Hill Grammar School from 1948 to 1956, she was accepted at both Oxford and Cambridge, "quite something for a working class girl in the 'fifties, where only one in 10 [students] were female", winning a scholarship to study mathematics at Girton College, Cambridge but, apart from some success in the mathematical theory of electricity, she claims she did badly. After one year at Cambridge she switched to music, graduating in 1959 with a BA in mathematics and music, having specialised in medieval and modern music history. Her other principal qualification was LRAM in pianoforte.

She approached the careers office at the university and told them she was interested in "sound, music and acoustics, to which they recommended a career in either deaf aids or depth sounding". Then she applied for a position at Decca Records, only to be told that the company did not employ women in their recording studios. Instead, she took positions at the United Nations in Geneva, from June to September, teaching piano to the children of the British Consul-General and mathematics to the children of Canadian and South American diplomats. Then from September to December, she worked as an assistant to Gerald G. Gross, Head of Plenipotentiary and General Administrative Radio Conferences at the International Telecommunication Union. She returned to Coventry and from January to April 1960 taught general subjects in a primary school there. Then she went to London, where from May to October she was an assistant in the promotion department of music publishers Boosey & Hawkes.

BBC Radiophonic Workshop
In November 1960, she joined the BBC as a trainee assistant studio manager and worked on Record Review, a magazine programme where critics reviewed classical music recordings. She said: "Some people thought I had a kind of second sight. One of the music critics would say, 'I don't know where it is, but it's where the trombones come in', and I'd hold it up to the light and see the trombones and put the needle down exactly where it was. And they thought it was magic." She then heard about the Radiophonic Workshop and decided that was where she wanted to work. This news was received with some puzzlement by the heads in Central Programme Operation because people were usually "assigned" to the Radiophonic Workshop. But in April 1962, she was assigned there in Maida Vale, where for eleven years she would create music and sound for almost 200 radio and television programmes.

In August 1962, she assisted composer Luciano Berio at a two-week summer school at Dartington Hall, for which she borrowed several dozen items of BBC equipment. One of her first works, and most widely known, was her 1963 electronic realisation of a score by Ron Grainer for the theme of the Doctor Who series, one of the first television themes to be created and produced entirely with electronics.

When Grainer heard it, he was so amazed by her arrangement of his theme that he asked: "Did I really write this?", to which Derbyshire replied: "Most of it". Grainer attempted to credit her as co-composer, but was prevented by the BBC bureaucracy because they preferred that members of the workshop remain anonymous. She was not credited on-screen for her work until Doctor Who 's 50th anniversary special, The Day of the Doctor. Derbyshire's original arrangement served as the Doctor Who main theme for its first seventeen series, from 1963 to 1980. The theme was reworked over the years, to her horror, because the only version that had her approval was the original. Delia also composed music for other BBC programmes, including Blue Veils and Golden Sands and The Delian Mode. The Doctor Who story Inferno reused some of Derbyshire's music originally composed for other productions.

In 1964–65, she collaborated with the British artist and playwright Barry Bermange for the BBC's Third Programme to produce four Inventions for Radio, a series of collages of people describing their thoughts on dreams, belief in God, the possibility of life after death, and the experience of old age, voiced over an electronic soundscape. In 1966, working with composer George Newson, she collaborated on the BBC experimental radio drama, The Man Who Collected Sounds with producer Douglas Cleverdon.

Unit Delta Plus
In 1966 while working at the BBC, Derbyshire, fellow Radiophonic Workshop member Brian Hodgson and EMS founder Peter Zinovieff set up Unit Delta Plus, an organisation which they intended to use to create and promote electronic music. Based in a studio in Zinovieff's townhouse in Putney, they exhibited their music at experimental and electronic music festivals, including the 1966 The Million Volt Light and Sound Rave, at which The Beatles' "Carnival of Light" had its only public performance.

In 1966, she recorded a demo with Anthony Newley entitled "Moogies Bloogies", but Newley moved to the United States and the song was left unreleased until 2014. After a troubled performance at the Royal College of Art, in 1967, the unit disbanded.

Kaleidophon and Electrophon years
In the late 1960s she again partnered with Hodgson to set up the Kaleidophon studio in Camden Town with fellow electronic musician David Vorhaus. The studio produced electronic music for London theatre productions, and in 1968 the three produced their first album there as the band White Noise. Their debut, An Electric Storm, is considered an influential album in the development of electronic music. Derbyshire and Hodgson subsequently left the group, and future White Noise albums were solo Vorhaus projects.

The trio, under pseudonyms, contributed to the Standard Music Library. Many of these recordings, including compositions by Derbyshire using the name "Li De la Russe" (from an anagram of the letters in "Delia" and a reference to her auburn hair) were used on the 1970s ITV science fiction rivals to Doctor Who: The Tomorrow People and Timeslip.

In 1967, Derbyshire provided sound design alongside Guy Woolfenden's score for Peter Hall's production of Macbeth with the Royal Shakespeare Company. The two composers also contributed the music to Hall's film Work Is a Four-Letter Word (1968). Her other work during this period included taking part in a performance of electronic music at The Roundhouse, which also featured work by Paul McCartney, the score for an ICI-sponsored student fashion show and the sounds for Anthony Roland's award-winning film of Pamela Bone's photography, entitled Circle of Light. She composed a score for Yoko Ono's short film Wrapping Event, but no copy of the film with the soundtrack is known to exist.

In 1973, Derbyshire left the BBC and worked briefly at Hodgson's Electrophon studio, where she contributed to the soundtrack to the film The Legend of Hell House.

In 1975, she stopped producing music. Her final works included two soundtracks for video artists Madelon Hooykaas and Elsa Stansfield on their short films Een Van Die Dagen ("One Of These Days") in 1973 and Overbruggen ("About Bridges") in 1975.

Later years
Following her music career, Derbyshire worked as a radio operator for a British Gas pipelaying project, in an art gallery, and in a bookshop. In late 1974 she married David Hunter. The relationship was brief, although the couple never divorced. She also frequented the LYC Museum and Art Gallery established by Chinese artist Li Yuan-chia at his stone farmhouse in Cumbria and worked there as his assistant. In 1978, she returned to London and met Clive Blackburn. In January 1980 she bought a house in Northampton, where four months later Blackburn joined her. He remained her partner for the rest of her life.

In 2001, she returned to music, providing sounds used as source material by Peter Kember on Sychrondipity Machine (Taken from an Unfinished Dream), a 55-second track for the compilation Grain: A Compilation of 99 Short Tracks, released by Dot Dot Dot Music in 2001. In the liner notes, she is credited with "liquid paper sounds generated using Fourier synthesis of sound based on photo/pixel info (B2wav – bitmap to sound programme)". The track was released posthumously and dedicated to her.

Derbyshire's later life was chaotic due to struggles with alcoholism. She died of renal failure brought on by cancer, aged 64, in July 2001.

Archive
After Derbyshire's death, 267 reel-to-reel tapes and a box of a thousand papers were found in her attic. These were entrusted to the composer Mark Ayres, who had salvaged the tape archive of the Radiophonic Workshop, and in 2007 were given on permanent loan to the University of Manchester for preservation. The tapes consist primarily of material from Derbyshire's freelance projects (e.g. works for theatre productions, films and festivals), some of her BBC work (the majority of Derbyshire's BBC work, including the original version of the Doctor Who theme, is housed in the BBC Archive Centre at Perivale), off-air recordings of interviews with Derbyshire and recordings of music by other composers and musicians, including Karlheinz Stockhausen, Krzysztof Penderecki and Can. Almost all the tapes were digitised in 2007 by Louis Niebur and David Butler, but none of the music has been published owing to copyright complications. In 2010, the university acquired Derbyshire's childhood collection of papers and artefacts from Andi Wolf. Subsequent donations to the archive have included items and recordings from Brian Hodgson, Madelon Hooykaas, Jo Hutton and Elisabeth Kozmian. These collections of material, including Derbyshire's working papers and digitised transfers of the tapes, are accessible at the John Rylands Library in Manchester. Material from the archive was used in the Radiophonic Workshop's score for the 2018 film Possum and provided a source of inspiration for Cosey Fanni Tutti in her soundtrack to the film Delia Derbyshire: The Myths And The Legendary Tapes (2020).

Dramatic and documentary portrayals
In her 1968 novel The Bloater, Rosemary Tonks describes a BBC experimental sound studio based on the Radiophonic Workshop. Tonks had previously collaborated with Derbyshire at the Workshop on a sound poem, Sono Montage (1966). Min, the narrator of the novel resembles Tonks herself, while her friend Jenny was partly based on Derbyshire.

In 2002, BBC Radio 4 broadcast a radio play entitled Blue Veils and Golden Sands as part of its Afternoon Play strand, telling the story of Derbyshire and her notable musical work. The play starred Sophie Thompson as Derbyshire and was written by Martyn Wade.

In October 2004, the Tron Theatre in Glasgow hosted Standing Wave, a play written by Nicola McCartney focusing on the life of Derbyshire. This was produced by Reeling and Writhing, directed by Katherine Morley, score by Pippa Murphy.

In 2009, Canadian filmmaker Kara Blake released The Delian Mode, a short documentary film about Derbyshire. The film won the Genie Award for Best Short Documentary Film in 2010.

In 2013, the BBC showed a television drama depicting the creation and early days of Doctor Who in 1963, called An Adventure in Space and Time, as part of the celebrations for the programme's 50th anniversary. Derbyshire appeared as a character in it, portrayed by Sarah Winter.

Episode 5 "Derbyshire" of the BBC children's science TV programme Absolute Genius with Dick & Dom is an exploration of Derbyshire's creation of the Doctor Who theme recording using her techniques on equipment archived from the Radiophonic Workshop.

Coventry-based theatre company Noctium Theatre produced a play named Hymns for Robots about Derbyshire's working life, which played at the 2018 Edinburgh Fringe festival.

In 2017, a short film by Caroline Catz, Delia Derbyshire: The Myths And The Legendary Tapes (2017) was screened at the BFI London Film Festival. It has been expanded into a feature-length movie that debuted in October 2020.

The 2020 documentary Sisters with Transistors touches on Delia Derbyshire's work in electronic music and the composing of the Doctor Who soundtrack.

Derbyshire was also featured in episode 4 of Mark Ronson's "Watch the Sound" 2021 documentary series on Apple TV+. The episode deals with synthesizers and hails Derbyshire's contributions.

Honours

Her hometown Coventry named a street after her in November 2016, the "Derbyshire Way".

A blue plaque was unveiled at Derbyshire's former home of 104 Cedars Avenue, Coventry, on 15 June 2017 as part of a BBC initiative celebrating important musicians and venues. The ceremony was performed by former Doctor Who actors Colin Baker and Nicola Bryant along with BBC Coventry & Warwickshire presenter Vic Minett.

On 20 November 2017, Derbyshire was awarded a posthumous honorary doctorate for her notable contributions to electronic music, by Coventry University, who also erected a plaque honoring Derbyshire, on their Ellen Terry Building. Adjacent to it is a mural depicting Derbyshire. There is a permanent display dedicated to Delia at Coventry Music Museum.

In 2022, Coventry University named its new flagship Faculty of Arts and Humanities building after Derbyshire.

Further reading and documentaries

 * BBC 4, "Alchemists of Sound", Saturday 28 May 2005. Television documentary on the BBC Radiophonic Workshop.
 * BBC Radio 4, Sculptress of Sound: The Lost Works of Delia Derbyshire, Saturday 27 March 2010. Radio documentary about Delia Derbyshire, her work at the BBC Radiophonic Workshop, and the ongoing digital archiving of a collection of her recordings.
 * Book by Louis Niebur, "Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop", Oxford University Press, 2010.
 * A short documentary, The Delian Mode, was released in 2009, written and directed by Kara Blake.
 * James Percival's "Delia Derbyshire's Creative Process" (MA dissertation, University of Manchester, 2013), describes some of her sound-construction techniques and contains the most complete catalogue of her known works.
 * Teresa Winter's 2015 PhD thesis, "Delia Derbyshire: Sound and Music for the BBC Radiophonic Workshop, 1962-1973", focuses primarily on Derbyshire's creative output at the BBC Radiophonic Workshop.
 * David Butler's 2019 article, "Whatever Happened to Delia Derbyshire?", addresses several of the myths and assumptions about Derbyshire's life and work, including her creative activity after leaving the BBC in 1973.

title: Delia Derbyshire


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Talk:Parker–Hulme murder case

Murder weapon
I could've sworn she was killed by a brick and not a rock. Does anyone know which it was?

 * The movie definitely has a brick, but one of the contemporary news reports on the NZ library site has a rock. ---Ihcoyc

 * According to this page, which is the text of a pdf of the newspaper report, it was a brick. That seems like a good case for primary source? ---limegreen

the murder weapon was half a brick inside a stocking — Preceding unsigned comment added by 122.60.36.48 (talk) 05:04, 12 April 2014 (UTC)

Where is she?
where is melanie rieper at? (pauline parker) located in Scotland she moved there after she was set free — Preceding unsigned comment added by 122.60.36.48 (talk) 05:05, 12 April 2014 (UTC)

The friendship
What about the girls' relationship was so disturbing? Scorpionman 02:06, 30 August 2005 (UTC)
 * there was nothing desturbing between the relationship they were simply just friends but when the mother wanted to split them up thats when there relationship became closer and they needed to remove the 'obstacle' — Preceding unsigned comment added by 122.60.36.48 (talk) 05:07, 12 April 2014 (UTC)

Rule of Rose
I've removed the following line: Do we have any evidence that the game is inspired by the case. The google references I find trace back to the Wikipedia claim.-gadfium 06:02, 5 March 2006 (UTC)

I can attest to the fact that it is, although I'm hard-pressed to find any information on it that isn't in Japanese, considering that's the language the game is in...
 * Citing evidence in Japanese is a lot better than no evidence. I suggest you reinsert the line with changes such as:
 * A current Japanese video game called Rule of Rose is inspired by the murders. [(Discussion in Japanese)]
 * I tried to improve the grammar on the line while I was retyping it.-gadfium 02:41, 9 March 2006 (UTC)

Daughters of Heaven?
Why is Daughters of Heaven, the play, not mentioned as a portrayal in fiction, and where is it's page?--202.154.147.28 (talk) 00:31, 24 May 2008 (UTC)

Allowed to Contact each other?
Citation #3, that states that the girls were never to be allowed to contact each other is contradicted by Citation #8. Which is correct? — Preceding unsigned comment added by 24.14.20.142 (talk) 20:53, 16 September 2012 (UTC)
 * That's an interesting contradiction. I'll try to find a copy of So Brilliantly Clever later this week and see what it says.- gadfium 01:12, 17 September 2012 (UTC)
 * Sorry for the delay. So Brilliantly Clever, p 261, says
 * "The Sydney Sun-Herald quoted Barnett as saying ... Asked if the girls had been given, or been asked to give, an understanding to keep apart or refrain from corresponding, the secretary for justice said they had not been released on such a condition."
 * Samuel Thompson Barnett, who we don't seem to have an article on, was the secretary for justice (ie in charge of the prison system) from 1949 to 1960.
 * I've adjusted the article to mention the discrepancy between sources.- gadfium 02:56, 17 October 2012 (UTC)

BrooWaha article removed as source
I have removed all references to a BrooWaha article written by "LW" from this Wikipedia article. The link given was http://www.webcitation.org/5XMGiAAg4

The problem is not only that BrooWaha very likely does not meet the criteria listed in WP:RS for reliable sources that can be used in Wikipedia articles but that the article in question was very clearly heavily plagiarized from this very Wikipedia article. Wikipedia cannot use text ripping off earlier versions of the same article as a source for the current article.

I also checked to make sure that it wasn't a case where the Wikipedia article ripped off the other article. That article was published on November 8, 2007, and contains sentences like "The trial was a sensational affair, with allegations of lesbianism and insanity." and others that were present in this Wikipedia article before that date.

(Also, we should in general avoid using webcitation.org links as much as possible. One of the major rules of Wikipedia is that we do not link to pages that are copyright violations, and unless the webcitation.org site has explicit permission from the copyright owner, making a copy of an entire page of another site and putting it online is a clear copyright violation.) DreamGuy (talk) 18:28, 2 December 2012 (UTC)

Merge Pauline Parker to this article
Pauline Parker is different from Juliet Hulme in that she is known only in relationship to this case. I see no reason for there to be a completely separate article on Wikipedia about her. Absolutely anything about her life notable enough for mention in an encyclopedia should go in this one. If it's not notable for this article it wouldn't be notable for another article either. All the two articles do is duplicate efforts. That article should be redirected to this one, and anything in that one of any significance (and that has reliable sources) should be copied into this article. DreamGuy (talk) 19:13, 2 December 2012 (UTC)
 * I support this merge - unlike Juliet Hulme, there doesn't seem to be enough to say about Pauline Parker to justify a separate article independent of this one; her article largely duplicates content already in this one. Robofish (talk) 21:30, 29 January 2013 (UTC)
 * I disagree. Ask any group of New Zealanders who Pauline Parker was, and a good proportion would know. Given that we are talking about a 1950s murder, the event wasn't just recent news; her being well-known would thus indicate notability to me.  Schwede 66  19:31, 7 April 2013 (UTC)
 * I support the merge, for the reasons given. I presume there would be a redirect for Pauline Parker to this article, as her name is clearly well-known in NZ. Kerry (talk) 18:21, 26 April 2013 (UTC)
 * I support a merge with a redirect. She is not independently notable like Juliet Hulme. TheBlinkster (talk) 16:58, 21 January 2016 (UTC)

Motive
What was the motive for the murder? — Preceding unsigned comment added by 2602:306:BC82:E590:6132:4588:E3A8:EBBA (talk) 18:35, 13 October 2013 (UTC)
 * Why don't you just read the article?  Schwede 66  02:20, 14 October 2013 (UTC)

Misunderstanding of reason for moving to South Africa?
Juliet Hulme had already spent time in South Africa - solely for her health. Her father and mother were both returning to the UK - albeit separately. I would conclude that Juliet was therefore to be "sent to live with relatives in South Africa—for her health". There was no "ostensible" about it, and a more "effectively, if not permanently, separated" was not the aim at all, merely a happy result. Do not forget that the Hulme's had not been in NZ very long, and had no reason to stay.125.237.105.102 (talk) 20:19, 21 November 2014 (UTC)

Bad link
Reference #1, Dutiful Daughters is now a dead link. — Preceding unsigned comment added by 73.31.52.185 (talk) 16:26, 31 December 2014 (UTC)
 * Thanks for letting us know. I've linked to an archive.- gadfium 18:52, 31 December 2014 (UTC)

Class Conflict Issue
Rightly or wrongly, this event raises issues of class conflict. These were strongly hinted at in the film, where they were shown as the real reason for officialdoms discomfort at their close relationship, rather than lesbianism or insanity, which were pretexts. Should the entry include something relating to this. 31.68.0.54 (talk) 12:07, 28 September 2015 (UTC)
 * The film Heavenly Creatures is a fictionalised version of events and in no way a suitable source for this article. If you have suitable sources analysing the case in class terms, then it might be appropriate to add a sentence or two.- gadfium 19:08, 28 September 2015 (UTC)

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title: Talk:Parker–Hulme murder case


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Biculturalism

Biculturalism in sociology describes the co-existence, to varying degrees, of two originally distinct cultures.

Official policy recognizing, fostering, or encouraging biculturalism typically emerges in countries that have emerged from a history of national or ethnic conflict in which neither side has gained complete victory. This condition usually arises from colonial settlement. Resulting conflicts may take place either between the colonisers and indigenous peoples (as in Fiji) and/or between rival groups of colonisers (as in, for example, South Africa). A deliberate policy of biculturalism influences the structures and decisions of governments to ensure that they allocate political and economic power and influence equitably between people and/or groups identified with each side of the cultural divide.

Examples include the conflicts between Anglophone and Francophone Canadians, between Anglophone White South Africans and Boers, and between the indigenous Māori people and European settlers in New Zealand. The term biculturalism was originally adopted in Canada, most notably by the Royal Commission on Bilingualism and Biculturalism (1963–1969), which recommended that Canada become officially bilingual.

Because the term biculturalism suggests, more or less explicitly, that only two cultures merit formal recognition, advocates of multiculturalism (for which biculturalism formed a precedent) may regard bicultural outlooks as an inadequate descriptor by comparison. This was the case in Canada where Ukrainian Canadians activists such as Jaroslav Rudnyckyj, Paul Yuzyk and other "third force" successfully pressured the Canadian government to adopt multiculturalism as official policy in 1971.

In the context of relations between the cultures of deafness and non-deafness, people find the word "biculturalism" less controversial because the distinction between spoken language and sign language commonly seems like a genuine binary distinction—transcending the distinctions between various spoken languages.

In the context of the United States of America, bicultural distinctions have traditionally existed between the US and Mexico, and between the White and the African-American population of the US.

Regions which formally recognize biculturalism include:

 * Belgium, divided basically between speakers of French and of Dutch
 * Vanuatu, formerly a condominium with both French and British politico-administrative traditions
 * the Polish–Lithuanian Commonwealth, retrospectively termed "The Commonwealth of Both Peoples"
 * Switzerland, overwhelmingly German and French in language (though with recognition of Italian and Romansch)
 * Paraguay, with a population 90% of which speaks Guaraní and 99% of which speaks Spanish
 * New Zealand, where the Treaty of Waitangi forms the basis of a relationship between the Crown and Māori iwi (tribes) through which te reo Māori is recognised as an official language, and Māori have protected representation in Parliament through the Māori electorates
 * Hong Kong, where both Chinese and English are official languages

Biculturalism can also refer to individuals (see bicultural identity).

title: Biculturalism


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Texaco Star Theater

Texaco Star Theater is an American comedy-variety show, broadcast on radio from 1938 to 1949 and telecast from 1948 to 1956. It was one of the first successful examples of American television broadcasting, remembered as the show that gave Milton Berle the nickname "Mr. Television".

The classic 1940–1944 version of the program, hosted by radio's Fred Allen, was followed by a radio series on ABC (the former NBC Blue) in the spring of 1948. When Texaco (now Chevron Corporation) first took it to television on NBC on June 8, 1948, the show had a huge cultural impact. Once Texaco ended its sponsorship in 1953, the show became known as The Milton Berle Show for its final few seasons.

Radio
The roots of Texaco Star Theater were in a 1930s radio hit, Ed Wynn, the Fire Chief, featuring the manic "Perfect Fool" in a half-hour of vaudevillian routines interspersed with music. Wynn's ratings began to slide and the comedian lapsed amidst personal and professional crises, and the show ended in June 1935. Texaco sponsored The Jumbo Fire Chief Program in 1935–36 and The Fire Chief Concert in 1936.

Comedian Eddie Cantor was the star of a show called "Texaco Town" from 1936 to 1938. The show's cast featured young singers Bobby Breen and Deanna Durbin, announcer Jimmy Wallington, who read the commercials for Fire Chief gasoline, Harry Park, and bandleader Jacques Renard. The show was a combination of comedy and music. Cantor frequently sang a tune about the "mayor of Texaco Town".

Texaco Star Theater (spelled Theatre for most of the radio show's run) was first broadcast on October 5, 1938, and it continued on the air until June 26, 1940. Initial host Adolphe Menjou was succeeded by John Barrymore, who was replaced by Ken Murray. During the almost two-year span, Una Merkel, Irene Noblette, Charlie Ruggles, and Ned Sparks appeared as comedians. Kenny Baker, Jane Froman, and Frances Langford sang, with David Broekman leading the orchestra. Jimmy Wallington was the announcer. The show began as a variety show with dramatizations and songs by guest stars. In 1940, the show became a star vehicle for Allen, with the show re-titled Texaco Star Theater with Fred Allen and the program airing on October 2, 1940. Allen's previous sponsor, Bristol-Myers' Ipana toothpaste and Sal Hepatica laxative, decided to cease their tandem sponsorship of Allen's successful hour, first known as Town Hall Tonight and then, for its final season, The Fred Allen Show. He presided over Texaco Star Theater from 1940 to 1942 as an hour-long show on Wednesday and then Sunday nights, and from 1942 to 1944 as a half-hour show, until he withdrew from work for over a year on his doctor's advice. It was during the half-hour version of the show that the more cerebral (if barbed) Allen premiered the continuing comic sketch for which many remember him best: the ensemble, topical takeoffs of "Allen's Alley". Guests included some of the best comedic actors of the time, including Sam Levene, the legendary Broadway actor and Hollywood film character actor.

Though some believe the title Texaco Star Theater was retired temporarily, in favor of Texaco Time, after Allen scaled the show back to a half-hour, the show retained the Texaco Star Theater title officially, the confusion likely stemming from the announcers' first words of introduction: "It's Texaco time starring Fred Allen." They customarily continued the introduction, as the opening music continued, by referring to Texaco Star Theater. Jimmy Wallington became the show's announcer for most of its life with Allen as the feature (he succeeded George Burns and Gracie Allen sidekick Harry Von Zell), though for a brief spell during its third season the announcer was budding radio personality and future television legend Arthur Godfrey. Kenny Baker also remained for the first two seasons, his previous role with Allen's "rival" Jack Benny serving for a number of situations, although his role was greatly reduced by 1942, partly because Baker had become difficult to manage, particularly after a controversial performance of "Ave Maria" sung in German weeks after the United States officially entered World War II.

Allen was forced to leave the show in 1944 due to hypertension; he returned with a different sponsor on NBC, while staying with and further refining his half-hour format a year later. Texaco Star Theater's next hosts included James Melton (1944–1947), Tony Martin (1947–1948), Gordon MacRae (1948), Jack Carter (1948), and Milton Berle (1948–1949). In 1945 Annamary Dickey was signed to a three-year contract co-hosting the radio program with James Melton through 1947.

Television
On television, continuing a practice long established in radio, Texaco included its brand name in the show title. When the television version launched on June 8, 1948, Texaco also made sure its employees were featured prominently throughout the hour, usually appearing as smiling "guardian angels" performing good deeds of one or another kind, and a quartet of Texaco singers opened each week's show with the theme song.

They did not settle on Berle—who hosted a freshly revived radio version in spring 1948—as the permanent host right away; he hosted the first television Texaco Star Theater in June 1948 but was originally part of a rotation of hosts (Berle himself had only a four-week contract). Comedian Jack Carter was host for August. Berle was named the permanent host that fall.

He was a smash once the new full season began, Texaco Star Theater hitting ratings as high as 80 and owning Tuesday night for NBC from 8 to 9 p.m. ET. And, as the show landed a pair of Emmy Awards in that first year (the show itself, for Best Kinescope Show; and, Berle as Most Outstanding Kinescoped Personality), Uncle Miltie (he first called himself by that name ad-libbing at the end of a 1949 broadcast) joked, preened, pratfell, danced, costumed, and clowned his way to stardom, with Americans discovering television as a technological marvel and entertainment medium seeming to bring the country to a dead stop every Tuesday night, just to see what the madcap Berle might pull next.

With Berle at the helm, Texaco Star Theater was largely credited with driving American television set sales heavily; the number of TV sets sold during Berle's run on the show was said to have grown from 500,000, his first year on the tube, to over 30 million when the show ended in 1956. Texaco Star Theater was also the highest rated television show of the 1950–1951 television season, the first season in which the Nielsen ratings were used.

Uncle Miltie was far from alone in keeping the show alive and kicking. His support players included Fatso Marco (1948–1952), Ruth Gilbert as "Maxine", Milton's love-starved secretary (1952–1955), Bobby Sherwood (1952–1953), Arnold Stang (1953–1955), Jack Collins (1953–1955), and Milton Frome (1953–1955). The show's music was provided by Alan Roth (1948–1955) and Victor Young (1955–1956).

As phenomenally popular as Texaco Star Theater was, it was hardly an undisturbed appeal. "Berle presented himself as one part buffoon and one part consummate, professional entertainer—a kind of veteran of the Borscht Belt trenches," the Museum of Broadcast Communications would observe decades after the show left the air. "Yet even within his shows' sanctioned exhibitionism, some of Berle's behavior could cross the line from affability to effrontery. At its worst, the underlying tone of the Berle programs can appear to be one of contempt should the audience not respond approvingly. In some cases, this led to a surprising degree of self-consciousness about TV itself—Texaco's original commercial spokesman, Sid Stone, would sometimes hawk his products until driven from the stage by a cop. But the uneven balance of excess and decorum proved wildly successful."

Based on episodes that appear on the Internet Archive, it appears the series typically ran 48–50 minutes excluding commercials.

Title changes
Texaco dropped its sponsorship of the show and Buick became the new sponsor in 1953, prompting the show's name change to The Buick-Berle Show. Two years later, it became, simply, The Milton Berle Show, its title until its run ended at last in June 1956. By then, Berle and his audience had probably burned out on each other, and Buick had even dropped sponsorship of the show at the beginning of the 1955–1956 season (opting to sponsor Jackie Gleason's half-hour filmed edition of The Honeymooners), after ratings fell dramatically during the 1954–1955 as well (the higher ratings of his 1955–56 competition, The Phil Silvers Show on CBS, did not help Berle either); though Berle would remain one of the nation's beloved entertainers, overall, the show that made him a superstar was clearly spent for steam and fresh ideas, and two subsequent attempts at television comebacks hosting his own show lasted barely a year each. (Berle did, however, contribute his part to the making of a rock and roll legend: in his final season, he opened his stage to Elvis Presley amid the beginning of the hip-swiveling singer's international popularity.)

Part of the problem was variety shows becoming costlier to produce, compared to the Texaco days when, among other factors, name guest stars did not mind the low appearance fees they got for appearing, because they could bank the exposure they got from even one appearance on the Berle show; or with Fred Allen and Ed Wynn in its earlier radio incarnations.

But part of the problem was Berle himself: with competition (Jack Benny, George Burns, Bob Hope, Perry Como, etc.) crowding him more and more as the years went on, as more television performers and creators found their on-camera legs, and brought new or at least more polished ideas to the air, Berle tried refining his camera persona and evolving from the freewheeling, manic style he cultivated so successfully in the Texaco years. The net result: the balance between excess and decorum now weighted more toward decorum, which wasn't exactly what Berle represented at the height of his popularity. He began losing many of his former fans, who preferred when he kept things more unpredictable, and it would be years before his kind of manic balance would find a television home again.

Broadcast history
NOTE: The most frequent time slot for the series is in bold text.
 * Tuesday at 8:00–9:00 pm on NBC: June 1948 – June 1956
 * Wednesday at 9:00–9:30 pm on NBC: October 1958 – May 1959

U.S. television ratings
Note: Each U.S. network television season starts in late September and ends in late May, which coincides with the completion of May sweeps.

In the 1954–1955 season, the half-hour Texaco Star Theater offered in alternation The Jimmy Durante Show and The Donald O'Connor Show on the NBC Saturday evening schedule.

As a Top 30 program, Texaco Star Theater has an average rating of 47.3.

title: Texaco Star Theater


text:
Eadbald of Kent

Eadbald (Eadbald) was King of Kent from 616 until his death in 640. He was the son of King Æthelberht and his wife Bertha, a daughter of the Merovingian king Charibert. Æthelberht made Kent the dominant force in England during his reign and became the first Anglo-Saxon king to convert to Christianity from Anglo-Saxon paganism. Eadbald's accession was a significant setback for the growth of the church, since he retained his people's paganism and did not convert to Christianity for at least a year, and perhaps for as many as eight years. He was ultimately converted by either Laurentius or Justus, and separated from his first wife, who had been his stepmother, at the insistence of the church. Eadbald's second wife was Emma, who may have been a Frankish princess. They had two sons, Eormenred and Eorcenberht, and a daughter, Eanswith.

Eadbald's influence was less than his father's, but Kent was powerful enough to be omitted from the list of kingdoms dominated by Edwin of Northumbria. Edwin's marriage to Eadbald's sister, Æthelburg, established a good relationship between Kent and Northumbria which appears to have continued into Oswald's reign. When Æthelburg fled to Kent on Edwin's death in about 633, she sent her children to Francia for safety, fearing the intrigues of both Eadbald and Oswald. The Kentish royal line made several strong diplomatic marriages over the succeeding years, including the marriage of Eanflæd, Eadbald's niece, to Oswiu, and of Eorcenberht to Seaxburh, daughter of King Anna of East Anglia.

Eadbald died in 640 and was buried in the Church of St Mary, which he had built in the precincts of the monastery of St Peter and St Paul in Canterbury (a church later incorporated within the Norman edifice of St Augustine's). At that time, his relics were translated for reburial in the south transept ca. A.D. 1087.

He was succeeded by Eorcenberht. Eormenred may have been his oldest son, but if he reigned at all it was only as a junior king.

Early Kent and early sources

Settlement of Kent by continental peoples, primarily Jutes, was complete by the end of the sixth century. Eadbald's father, Æthelberht, probably came to the throne in about 589 or 590, though the chronology of his reign is very difficult to determine accurately. Æthelberht was recorded by the early chronicler Bede as having overlordship, or imperium, over other Anglo-Saxon kingdoms. This dominance led to wealth in the form of tribute, and Kent was a powerful kingdom at the time of Æthelberht's death in 616, with trade well-established with the European mainland.

Roman Britain had become fully Christianized, but the Anglo-Saxons retained their native faith. In 597 Augustine was sent by Pope Gregory I to England to convert them to Christianity. Augustine landed in eastern Kent, and soon managed to convert Æthelberht, who gave Augustine land in Canterbury. Two other rulers, Sæberht, king of Essex, and Rædwald, king of East Anglia, were converted through Æthelberht's influence.

An important source for this period in Kentish history is The Ecclesiastical History of the English People, written in 731 by Bede, a Benedictine monk from Northumbria. Bede was primarily interested in the Christianization of England, but he also provides substantial information about secular history, including the reigns of Æthelberht and Eadbald. One of Bede's correspondents was Albinus, abbot of the monastery of St. Peter and St. Paul (subsequently renamed St. Augustine's) in Canterbury. A series of related texts known as the Legend of St Mildrith provides additional information about events in the lives of Eadbald's children and throws some light on Eadbald himself. The Anglo-Saxon Chronicle, a collection of annals assembled in about 890 in the kingdom of Wessex, also provides information. Other sources include papal letters, regnal lists of the kings of Kent, and early charters. Charters were documents drawn up to record grants of land by kings to their followers or to the church, and they provide some of the earliest documentary sources in England. None survive in original form from Eadbald's reign, but some later copies exist.

Ancestry and immediate family

The ancestry of Æthelberht, Eadbald's father, is given by Bede, who states that he was descended from the legendary founder of Kent, Hengist. However, historians believe that Hengist and his brother Horsa were probably mythical figures. It is known that Æthelberht married twice as Eadbald married his step-mother after his father's death, to the consternation of the church.

Eadbald had a sister, Æthelburg, who was probably also the child of Bertha. Æthelburg married Edwin, King of Northumbria, one of the dominant Anglo-Saxon kings of the seventh century. It is possible that there was another brother, named Æthelwald: the evidence for this is a papal letter to Justus, archbishop of Canterbury from 619 to 625, in which a king named Aduluald is referred to, and who is apparently different from Audubald, which refers to Eadbald. There is no agreement among modern scholars on how to interpret this: "Aduluald" might be intended as a representation of "Æthelwald", and hence this may be an indication of another king, perhaps a subking of west Kent; or it may be merely a scribal error which should be read as referring to Eadbald.

Archbishop Laurence of Canterbury persuaded Eadbald to accept Christianity and give up his wife. He then remarried, and his second wife, according to Kentish tradition recorded in the 'Kentish Royal Legend', was a woman named Ymme of Frankish royal blood, though recently it has been suggested that she may have instead been the daughter of Erchinoald, mayor of the palace in Neustria, the western part of Francia.

East and West Kent
The surviving regnal lists show only one king reigning at a time in Kent, but subkingdoms were common among the Anglo-Saxons and from the reign of Hlothhere, in the late seventh century, there is evidence that Kent was usually ruled by two kings, though often one is clearly dominant. It is less clear that this is the case before Hlothhere. Forged charters preserve a tradition of Eadbald ruling during his father's reign, presumably as a subking over west Kent. The papal letter that has been interpreted as indicating the existence of Æthelwald, a brother of Eadbald's, refers to Æthelwald as a king; if he existed, he would presumably have been a junior king to Eadbald.

The two kingdoms within Kent were east and west Kent. Western Kent has fewer archaeological finds from the earliest periods than east Kent, and the eastern finds are somewhat distinct in character, showing Jutish and Frankish influence. The archaeological evidence, combined with the known political division into two kingdoms, makes it likely that the origin of the subkingdoms was the conquest of the western half by the eastern, which would have been the first area settled by the invaders.

Accession and pagan reaction
Eadbald came to the throne on the death of his father on 24 February 616, or possibly 618. Although Æthelberht had been Christian since about 600 and his wife Bertha was also Christian, Eadbald was a pagan. Bertha died some time before Eadbald's accession, and Æthelberht remarried. The name of Æthelberht's second wife is not recorded, but it seems likely that she was a pagan, since on his death she married Eadbald, her stepson: a marriage between a stepmother and stepson was forbidden by the church.

Bede records that Eadbald's repudiation of Christianity was a "severe setback" to the growth of the church. Sæberht, the king of Essex, had become a Christian under Æthelberht's influence, but on Sæberht's death, at about the same time, his sons expelled Mellitus, the bishop of London. According to Bede, Eadbald was punished for his faithlessness by "frequent fits of insanity", and possession by an "evil spirit" (perhaps referring to epileptic fits), but was eventually persuaded to abandon paganism and give up his wife. Eadbald's second wife, Ymme, was a Frank, and it is possible that Kent's strong connections with Francia were a factor in the King's conversion. The missionaries in Canterbury seem to have had Frankish support. In the 620s, Eadbald's sister Æthelburg came to Kent, but sent her children to the court of King Dagobert I in Francia; in addition to the diplomatic connections, trade with the Franks was important to Kent. It is thought likely that Frankish pressure had been influential in persuading Æthelberht to become Christian, and Eadbald's conversion and marriage to Ymme are likely to have been closely connected diplomatic decisions.

Two graves from a well-preserved sixth and seventh-century Anglo-Saxon cemetery at Finglesham have yielded a bronze pendant and a gilt buckle with designs that are related to each other and may be symbolic of religious activity involving the Germanic deity Woden. These objects probably date from the period of the pagan reaction.

Bede's account
Bede's account of Eadbald's rejection of the church and subsequent conversion is quite detailed but not without some internal inconsistency. Bede's version of events is laid out as follows:

 * 24 February 616: Æthelberht dies and Eadbald succeeds.
 * 616: Eadbald leads a pagan reaction to Christianity. He marries his stepmother, contrary to church law, and refuses baptism. At about this time Mellitus, bishop of London, is expelled by the sons of Sæberht in Essex and goes to Kent.
 * 616: Mellitus and Justus, bishop of Rochester, leave Kent for Francia.
 * 616/617: Some time after Mellitus and Justus depart, Laurence, the archbishop of Canterbury, plans to leave for Francia but has a vision in which St Peter scourges him. In the morning he shows the scars to Eadbald who is converted to Christianity as a result.
 * 617: Justus and Mellitus both return from Francia "the year after they left". Justus is restored to Rochester.
 * c. 619: Laurence dies, and Mellitus becomes archbishop of Canterbury.
 * 619–624: Eadbald builds a church which is consecrated by Archbishop Mellitus.
 * 24 April 624: Mellitus dies and Justus succeeds him as archbishop of Canterbury.
 * 624: After Justus's succession, Pope Boniface writes to him to say that he has heard in letters from King Aduluald (possibly a scribal error for Eadbald) of the king's conversion to Christianity. Boniface sends the pallium with this letter, adding that it is only to be worn when celebrating "the Holy Mysteries".
 * By 625 Edwin of Deira, king of Northumbria, asks for the hand in marriage of Æthelburg, Eadbald's sister. Edwin is told he must allow her to practice Christianity and must consider baptism himself.
 * 21 July 625: Justus consecrates Paulinus bishop of York.
 * July or later in 625: Edwin agrees to the terms and Æthelburg travels to Northumbria, accompanied by Paulinus.
 * Easter 626: Æthelburg gives birth to a daughter, Eanflæd.
 * 626: Edwin completes a military campaign against the West Saxons. At "about this time" Boniface writes to both Edwin and Æthelburg. The letter to Edwin urges him to accept Christianity and refers to the conversion of Eadbald. The letter to Æthelburg mentions that the pope has recently heard the news of Eadbald's conversion and encourages her to work for the conversion of her husband, Edwin.

Alternative chronology
Although Bede's narrative is widely accepted, an alternative chronology has been proposed by D.P. Kirby. Kirby points out that Boniface's letter to Æthelburg makes it clear that the news of Eadbald's conversion is recent, and that it is unthinkable that Boniface would not have been kept up to date on the status of Eadbald's conversion. Hence Eadbald must have been converted by Justus, as is implied by Boniface's letter to Justus. The pallium accompanying that letter indicates Justus was archbishop by that time, and the duration of Mellitus's archiepiscopate means that even if Bede's dates are somewhat wrong in other particulars, Eadbald was converted no earlier than 621, and no later than April 624, since Mellitus consecrated a church for Eadbald before his death in that month. The account of Laurence's miraculous scourging by St Peter can be disregarded as a later hagiographical invention of the monastery of St Augustine.

As mentioned above, it has been suggested that King "Aduluald" in the letter to Justus is a real king Æthelwald, perhaps a junior king of west Kent. In that case it would appear that Laurence converted Eadbald, and Justus converted Æthelwald. It has also been suggested that the pallium did not indicate Justus was archbishop, since Justus is told the limited circumstances in which he may wear it; however, the same phrasing occurs in the letter conveying the pallium to Archbishop Augustine, also quoted in Bede. Another possibility is that the letter was originally two letters. In this view, Bede has conflated the letter conveying the pallium with the letter congratulating Justus on the conversion, which according to Bede's account was seven or so years earlier; however, the grammatical details on which this suggestion is based are not unique to this letter, and as a result it is usually considered to be a single composition.

The letter to Æthelburg makes it clear that she was already married at the time the news of Eadbald's conversion reached Rome. This is quite inconsistent with the earlier date Bede gives for Eadbald's acceptance of Christianity, and it has been suggested in Bede's defence that Æthelburg married Edwin substantially earlier and stayed in Kent until 625 before travelling to Rome, and that the letter was written while she was in Kent. However, it would appear from Boniface's letter that Boniface thought of Æthelburg as being at her husband's side. It also appears that the letter to Justus was written after the letters to Edwin and Æthelburg, rather than before, as Bede has it; Boniface's letter to Edwin and Æthelburg indicates he had the news from messengers, but when he wrote to Justus he had heard from the king himself.

The story of Æthelburg's marriage being dependent on Edwin allowing her to practice her faith has been questioned, since revising the chronology makes it likely, though not certain, that the marriage was arranged before Eadbald's conversion. In this view, it would have been the church that objected to the marriage, and Æthelburg would have been Christian before Eadbald's conversion. The story of Paulinus's consecration is also problematic as he was not consecrated until at least 625 and possibly later, which is after the latest possible date for Æthelburg's marriage. However, it may be that he traveled to Northumbria prior to his consecration and only later became bishop.

A revised chronology of some of these events follows, taking the above considerations into account.
 * 616: Eadbald leads a pagan reaction to Christianity.
 * 616: Mellitus and Justus, bishop of Rochester, leave Kent for Francia.
 * c. 619: Laurence dies, and Mellitus becomes archbishop of Canterbury.
 * Early 624?: Justus converts Eadbald. Messengers go to Rome. Also at about this time Æthelburg's marriage to Edwin is arranged, perhaps before the conversion. Eadbald builds a church, and Mellitus consecrates it.
 * 24 April 624: Mellitus dies and Justus succeeds him as archbishop of Canterbury.
 * Mid 624: Edwin agrees to the marriage terms and Æthelburg travels to Northumbria, accompanied by Paulinus.
 * Later 624: the pope receives news of Eadbald's conversion and writes to Æthelburg and Edwin.
 * Still later 624: the pope hears from Eadbald of his conversion, and also hears of Mellitus's death. He writes to Justus to send him the pallium.
 * 21 July 625 or 626: Justus consecrates Paulinus bishop of York.

This timeline extends the duration of the pagan reaction from less than a year, in Bede's narrative, to about eight years. This represents a more serious setback for the church.

Relations with other English kingdoms and church affairs

Eadbald's influence over other Anglo-Saxon kingdoms was less than Æthelberht's. Eadbald's reduced power is apparent in his inability to restore Mellitus to the see of London: in Bede's words, his authority in Essex "was not so effective as that of his father". However, Kentish power was still sufficient to make alliance with Eadbald's relatives attractive to other kingdoms. Edwin's marriage to Eadbald's sister, Æthelburg, was probably also motivated by a desire to gain better access to communications with the continent. The relationship would have been valuable to Eadbald, too; it may have been as a result of this alliance that Edwin's overlordship of Britain did not include Kent. Another factor in Edwin's treatment of Kent may have been the location of the archbishopric in Canterbury: Edwin was well aware of the importance of Canterbury's metropolitan status, and at one time planned to make York an archbishopric too, with Paulinus as the planned first incumbent. Paulinus eventually returned to Kent, where at Eadbald's and Archbishop Honorius's request he became bishop of Rochester, and York was not made an archbishopric for another century. Within a year of Edwin's death in 633 or 634, Oswald took the throne of Northumbria, and it seems likely that his relations with Eadbald were modelled on Edwin's. Oswald's successor, Oswiu, married Eanflæd, who was Edwin's daughter and Eadbald's niece, thereby gaining both Deiran and Kentish connections.

Eadbald and Ymme had a daughter, Eanswith (who founded the very first nunnery on English soil at Folkestone, 15 miles from Canterbury), and two sons, Eorcenberht and Eormenred. Eormenred was the older of the two, and may have held the title of regulus, perhaps implying that he held the junior kingship of Kent. He appears to have died before his father, leaving Eorcenberht to inherit the throne. An additional son, Ecgfrith, is mentioned in a charter of Eadbald's, but the charter is a forgery, probably dating from the eleventh century.

Several of Eadbald's near relatives were involved in diplomatic marriages. King Anna of East Anglia married his daughter, Seaxburh, to Eorcenberht, and their daughter Eormenhild married Wulfhere of Mercia, one of the most powerful kings of his day. Eanflæd, Eadbald's niece, married Oswiu, king of Northumbria and the last of the northern Angles Bede listed as holding imperium over southern England. Eadbald's granddaughter Eafe married Merewalh, king of the Magonsæte.

Trade and connections to the Franks
There is little documentary evidence about the nature of trade in Eadbald's reign. It is known that the kings of Kent had established royal control of trade in the late seventh century, but it is not known how early this control began. There is archaeological evidence that suggests that the royal influence predates any of the written sources, and it may have been Eadbald's father, Æthelberht, who took control of trade away from the aristocracy and made it a royal monopoly. The continental trade provided Kent access to luxury goods, which was an advantage in trading with the other Anglo-Saxon nations, and the revenue from trade was important in itself. Kent traded locally made glass and jewelry to the Franks; Kentish goods have been found as far south as the mouth of the Loire, south of Brittany. There was probably also a flourishing slave trade. The wealth this commerce brought to Kent may have been the basis of the continuing, though diminished, importance of Kent in Eadbald's reign.

Coins were probably first minted in Kent in Æthelberht's reign, though none bear his name. These early golden coins were probably the shillings that are mentioned in Æthelberht's laws. The coins are also known to numismatists as "thrymsas". Thrymsas are known from Eadbald's reign, but few are known that carry his name: one such was minted at London and inscribed "AVDVARLD". It has been suggested that kings did not have a monopoly on the production of coinage at that time.

Connections with Francia went beyond trade and the royal marriages Æthelberht and Eadbald made with Frankish princesses. Eadbald's granddaughter, Eorcengota, became a nun at Faremoutiers, and his great-granddaughter, Mildrith, was a nun at Chelles. When Edwin was killed in about 632, Æthelburg, escorted by Paulinus, fled by sea to Eadbald's court in Kent, but in a further sign of her family's ties across the channel she sent her children to the court of King Dagobert I of the Franks, to keep them safe from the intrigues of Eadbald and Oswald of Northumbria.

Succession
Eadbald died in 640, and according to most versions of the Kentish Royal Legend was succeeded solely by his son Eorcenberht. However, an early text (Caligula A.xiv) refers to Eormenred as 'king', suggesting either he was a junior king under Eorcenberht, or had a shared kingship. One suggestion is that the other version of events in the 'legend', which gives him no title, may have been an attempt to discredit royal claimants from Eormenred's line.

title: Eadbald of Kent


text:
Canterbury College

Canterbury College may refer to:

 * Canterbury College (Indiana), U.S.
 * Canterbury College (Waterford), Queensland, Australia
 * Canterbury College (Windsor, Ontario), Canada
 * Canterbury College, Kent, England
 * Canterbury College, Oxford, England
 * Canterbury Girls' Secondary College, Victoria, Australia
 * Canterbury University (Seychelles)
 * University of Canterbury, New Zealand

title: Canterbury College


text:
Apollo Computer

Apollo Computer Inc., founded in 1980 in Chelmsford, Massachusetts, by William Poduska (a founder of Prime Computer) and others, developed and produced Apollo/Domain workstations in the 1980s. Along with Symbolics and Sun Microsystems, Apollo was one of the first vendors of graphical workstations in the 1980s. Like computer companies at the time and unlike manufacturers of IBM PC compatibles, Apollo produced much of its own hardware and software.

Apollo was acquired by Hewlett-Packard in 1989 for US$476 million (equivalent to $ million in ), and gradually closed down over the period of 1990–1997. The brand (as "HP Apollo") was resurrected in 2014 as part of HP's high-performance computing portfolio.

History
Apollo was started in 1980, two years before Sun Microsystems. In addition to Poduska, the founders included Dave Nelson (Engineering), Mike Greata (Engineering), Charlie Spector (COO), Bob Antonuccio (Manufacturing), Gerry Stanley (Sales and Marketing), and Dave Lubrano (Finance). The founding engineering team included Mike Sporer, Bernie Stumpf, Russ Barbour, Paul Leach, and Andy Marcuvitz.

In 1981, the company unveiled the DN100 workstation, which used the Motorola 68000 microprocessor. Apollo workstations ran Aegis (later replaced by Domain/OS), a proprietary operating system with a Unix alternative shell. Apollo's networking was particularly elegant, among the first to allow demand paging over the network, and allowing a degree of network transparency and low sysadmin-to-machine ratio.

From 1980 to 1987, Apollo was the largest manufacturer of network workstations. Its quarterly sales exceeded $100 million for the first time in late 1986, and by the end of that year, it had the largest worldwide share of the engineering workstations market, at twice the market share of the number two, Sun Microsystems. At the end of 1987, it was third in market share after Digital Equipment Corporation and Sun, but ahead of Hewlett-Packard and IBM. Apollo's largest customers were Mentor Graphics (electronic design), General Motors, Ford, Chrysler, Chicago Research and Trading (Options and Futures) and Boeing.

Apollo was acquired by Hewlett-Packard in 1989 for US$476 million, and gradually closed down over the period 1990-1997. But after acquiring Apollo Computer in 1989, HP integrated a lot of Apollo technology into their own HP 9000 series of workstations and servers. The Apollo engineering center took over PA-RISC workstation development and Apollo became an HP workstation brand name (HP Apollo 9000) for a while. Apollo also invented the revision control system DSEE (Domain Software Engineering Environment) which inspired IBM IBM DevOps Code ClearCase. DSEE was pronounced "dizzy".

Apollo machines used a proprietary operating system, Aegis, because of the excessive cost of single-CPU Unix licenses at the time of system definition. Aegis, like Unix, was based on concepts from the Multics time-sharing operating system. It used the concepts of shell programming (à la Stephen Bourne), single-level store, and object-oriented design. Aegis was written in a proprietary version of Pascal.

The dual 68000 processor configuration was designed to provide automatic page fault switching, with the main processor executing the OS and program instructions, and the "fixer" processor satisfying the page faults. When a page fault was raised, the main CPU was halted in mid (memory) cycle while the fixer CPU would bring the page into memory and then allow the main CPU to continue, unaware of the page fault. Later improvements in the Motorola 68010 processor obviated the need for the dual-processor design.

Certain efficiencies were gained by careful design; for example, the memory page size, network packet, and disk sector were all 1K byte in size. With this arrangement, a page fault could take place across the network as well as on the individual computer and Aegis file system was a single system of memory mapped files across the entire network. The namespace of the network was self discovering as new nodes (workstations) were added.

Domain/OS (Distributed On-line Multi-access Interactive Network/Operating System) was initially a layer over Aegis and was not built on a Unix kernel. Release 10 incorporated large parts of Unix but the burden of backwards compatibility with previous releases led to a system that was larger and significantly slower than the previous ones. In the end, Hewlett Packard shut down the Domain/OS line. Release 10 came out as competitors were gaining ground in the area of graphics and windowing systems, particularly with the trend to open systems and the X Window System.

Another feature was its proprietary token ring network, which was originally designed to support relatively small networks of, at most, dozens of computers in an office environment. It was a superb design, allowing direct memory access page faulting from any hard drive on the network, but it did not inter-operate with any other existing network hardware or software. The industry widely adopted Ethernet and TCP/IP, a more universal, albeit much slower network. Apollo later added support for these industry standards while continuing to support its own Domain networking using both Ethernet and token ring. The Domain network routing was modeled after Xerox Network Systems.

The company moved from a proprietary data bus architecture in favor of IBM's AT-bus, as used in the second generation of IBM PCs, and was simultaneously embracing RISC technology moving towards high-end processors, eventually producing the PRISM line.

The workstation industry in general experienced hard times in the second half of the 1980s, as IBM Personal Computers and IBM PC compatibles began making inroads on their customer base.

Thomas Vanderslice was hired as President and CEO in 1984, and founder William Poduska left the company in 1985 to found Stellar.

The company incurred large losses in 1987 in currency speculation due to the trading activities of one individual, and in 1988 from declining demand for its products. In 1989, Apollo was acquired by Hewlett-Packard for US$476 million (equivalent to $ million in ). HP support for Apollo products was fragmented for the first few years, but was reorganized in late 1992, at which point there were still some 100,000 users of Apollo products and the user group IWorks (formerly InterWorks) had some 4,500 members. Earlier that year, Sun had already offered discounts on its systems for customers trading in their Apollo machines; HP responded the next winter with a trade-in program of its own, that also allowed trading in hardware from Sun and other vendors in return for a discount on HP workstations.

Apollo was gradually closed down over the period of 1990–1997.

title: Apollo Computer


text:
Talk:Boeing B-29 Superfortress

Survivability
The B-17 article has a number of examples listed of notable cases were the aircraft received considerable battle-damage yet returned its crew safely.

Is there a reason why this article does not follow the convention established in the B-17 article?

Here are a few examples of B-29s rammed and shot into swiss cheese but ultimately survived to land its crew. [http://www.airspacemag.com/history-of-flight/unbreakable-42839119/?page=2 Unbreakable World War II aircraft that were shot to hell—and came back, 2001. ''The B-17’s big brother proved to be no less rugged. On a bombing mission near Tokyo, Japan, a Boeing B-29 Superfortress named Irish Lassie was rammed twice by Japanese aircraft and then riddled with gunfire when it fell out of formation...Irish Lassie flew home and broke apart upon landing when its nose gear collapsed. However, the entire crew survived.'']

Boundarylayer (talk) 11:01, 30 November 2016 (UTC)

First I quote a current paragraph: ''In wartime, the B-29 was capable of flight at altitudes up to 31,850 feet (9,710 m),[27] at speeds of up to 350 mph (560 km/h) (true airspeed). This was its best defense, because Japanese fighters could barely reach that altitude, and few could catch the B-29 even if they did attain that altitude. Only the heaviest of anti-aircraft weapons could reach it, and since the Axis forces did not have proximity fuzes, hitting or damaging the aircraft from the ground in combat proved difficult. Also paragraph is marked for lack of a reference. '' Article has no statements as to how many were lost during the War, and if so to what causes- Would be a nice add if found. Wfoj3 (talk) 13:05, 5 December 2018 (UTC)

Specifications
I see that a user has removed some data from a referenced source, from the bomb load specification section, which states (amongst other things) that:

"Could be modified to carry two 22,000 lb (10.0 t) Grand Slam bombs externally."

The criticism given to justify the deletion was:

"a single example could when heavily modified - not part of its common specification"

The reason given seems entirely credible - however, it's not referenced and, to my mind, isn't a valid reason for removing the data.

I have two points to make:

1) I followed a referenced source which made that claim; the user who deleted the data made no reference to justify the reason behind the claim for deletion.

2) Assuming that the reason given for deleting that part of the bomb load specification is true - and I strongly suspect that the given reason is indeed true - it's not relevant, since the referenced claim is that the B-29 COULD be modified to carry two 22,000 lb (10.0 t) Grand Slam bombs externally. The point is that, bearing in mind the other bomb load specifications, this is claimed as an exceptional case not normally carried.

Please also note that the bomb load specification I looked up on-line replaced the previous version, which stated simply:

"bombs=20,000 lb (9,000 kg) standard loadout."

- which is both poorly referenced, and to anyone who has a clue about WWII bombers, obviously nonsense.

The thing is, the B-29 really was an exceptional machine, and I feel that the Wikipedia page should reflect its true abilities. Please allow the bomb load specifications to show this: my additions reflect a referenced source which make it quite clear that the normal "absolute max over short range" was less than half the "twin grand slam" load but nevertheless, a B-29 could carry an astonishingly huge bomb load if called upon.

Michael F 1967 (talk) 04:05, 16 August 2017 (UTC)

 * purpose of specifications section is to give a good grasp of the overall parameters of an aircraft. Taking a path between the barest of height, length, width and weight and every possible detail down to the size of the windows. Accepted practice is to pick a given major variant rather than lump all the numbers from all variants together. The layout style guide for aircraft on Wikipedia (reached by consensus and practice) says "These specifications should relate to a specific variant of the aircraft, and be labeled accordingly. Usually this will be the most famous/noteworthy/numerous variant. Each article should only have one set of specifications and any model differences should be described in the variants or development sections. ". Putting an exceptional situation into the specifications gives impression that this was something that was or could be regularly done. The information on the dual Grand Slam trials should be given in full context and there's plenty of room for it in article, but the specifications section is not it. GraemeLeggett (talk) 05:31, 16 August 2017 (UTC)

I take your point, but bear in mind that I am following the guideline calling for a single set of specifications. In the case of bomb-load, typical bombers then and now have a range of bomb loads which they can carry so it makes sense to provide information on this in the specification section.

You surely must concede that information on the range of bomb loads that a bomber was shown to carry aids in giving (as required) a good grasp of the overall parameters of the aircraft - which is the over-arching intent of the specifications section.

It is not the case, as you suggest in your objection, that putting the disputed remark in the specifications section gives the impression that this is something which was generally done, since the text I use states plainly that:

"Could be modified to carry two 22000 lb Grand Slam bombs externally."

Now then, that claim comes from a source which I referenced in the article. The objections raised here in the talk section do not provide any references to back up the objections - not even a reference to show that this modification was only made on one machine. Not that I think this claim is bogus (common sense applied to the other bomb load figures suggests that an unmodified B-29 was unlikely to be able get far - probably not even off the runway - with a 44,000lb bomb load) - but surely we must base our decisions on information which is properly referenced.

Moreover, without referenced information we cannot (as suggested by GraemeLeggett) put information about this version into the article.

I note also that for more than two years, this article contained the misleading (to the point of inaccuracy) claim that the B-29's bomb load was:

"20,000 lb (9,000 kg) standard loadout"

which no-one seemed bothered about correcting; I decided to look up some referenced information to deal with the problem.

I suggest therefore that unless and until someone does come up with a reference to back up the unreferenced claims about this particular point, that my properly referenced, relevant, and accurate data should be allowed to stand in the specifications part of the article.

The point is that at the moment, there's no other sensible way to include this accurate, relevant, and referenced information in the article - nor is there referenced information provided to back up the main reason for removing this twin Grand Slam bomb load.

Without references to back up the specific claims of the exceptional nature of the bomb load, where's the justification for removing the data?

Find a reference for the twin Grand Slam B-29, put the data elsewhere in the article - great. But until then, how else to include this data?

Michael F 1967 (talk) 19:27, 16 August 2017 (UTC)
 * The source you are referencing does not appear to be a reliable source, but is an archived pagefrom a personal website, so the information shouldn't be included AT ALL until a better source is used, while the standard loadout is sourced to a reliable source. If you do find a reliable source, then discussion of the mod should be discussed in the body of the text, not in the specifications table, as that would be misleading.Nigel Ish (talk) 19:54, 16 August 2017 (UTC)

 * From a hunt around, the internet suggests the aircraft in question was B-29-75-BW, serial 44-70060. Photographs of it with intert (sand filled) Grandslams exist. No other instances. GraemeLeggett (talk) 07:55, 17 August 2017 (UTC)
 * 'Certainly the B-29, vehicle for the atomic bomb and holder of the long-distance record (8,198 miles in 35hr 5min) was one of the war's great aircraft. Had the atomic bomb not shattered Japan's resistance the type would have gone into action within a fortnight carrying one 22,000-pounder, and experiments were in progress to increase the load for Japan to two external "Grand Slams". Experimental flights had, in fact, been made with this load.' From 'Bombs Versus Concrete', Flight, May 30 1946, pp.537-539. https://www.flightglobal.com/pdfarchive/view/1946/1946%20-%201049.html 44-70060 seems to have been a one-off conversion by Boeing Wichita. There are photos of it in flight, so it could clearly get off the ground, but the range might have been an issue. And there's no indication that they ever actually tried dropping the two bombs at once. On the other hand, the US was producing Grand Slams and special B-29s to carry them singly, and these would have seen imminent action had the war not ended. So the single Grand Slam does seem to have been an authorised combat load, though it required a special loading pit to be dug, as with the atomic bombs, because of the aircraft's low stance. Three of the Grand Slam B-29s were detached to RAF Marham in 1946 for Project Ruby, when Lancasters and B-29s dropped Grand Slams, Tallboys and other penetration bombs on the concrete U-boat shelter at Farge to find out why they didn't work (which they didn't), with a view to making better 'bunker busters' in future. Khamba Tendal (talk) 16:57, 21 November 2019 (UTC)

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Dubious
The Armament section here says that the B-29 could carry a 20,000 maximum bombload "over short distances at low altitude" but also that it "could be modified to carry two 22,000lb Grand Slam bombs externally". Thus is supported by the source given, but is it true? That the B-29 could double its maximum bomb-load if they were strapped on outside? Or is the author thinking of the 10,000 lb Tallboy, which would also need to be carried externally or in a modified bomb bay. Is there another source for this? Xyl 54 (talk) 22:43, 25 September 2020 (UTC)
 * Speaking as the author of the source cited in the bomb load section: I'm proud of The Pacific War Online Encyclopedia, and have done my best to make it accurate, but it is nevertheless a tertiary self-published source and should not be cited by Wikipedia. I've listed the sources I used for that article at the foot of the article and those sources should be consulted and used instead.
 * That said: I don't recall off-hand what the source was for the Grand Slam factoid. I included it in my article because it was one of those quirky factoids that's just irresistible. I can check the list of sources (I have most of them on my bookshelves) and see if I can piece it together, and make a guess whether the Tallboy was meant, and make an assessment whether the source for it is unreliable. (That's quite possible.) Meanwhile, since I doubt a B-29 ever actually carried a Wallis earthquake bomb over enemy territory, it might be best to just remove that statement. --Kent G. Budge (talk) 01:29, 26 September 2020 (UTC)
 * Okay, I found the source. It's Bill Gunston, 1986. American Warplanes. New York: Crescent Books. ISBN 0-89673-000-X. Page 202: "With modification, carried two 22,000lb British bombs externally under inner wings." Gunston is pretty good with his books on specific aircraft types, and his book on aircraft engines was one of the most enjoyable reads I've ever had, full of geeky technical goodness. But I doubt he's as reliable in compendia like this one. But the claim seems pretty specific and there's no doubt he means the Grand Slam. I found this in Walter J. Boyne, 1994, "Clash of Wings: World War II in the Air, p. 294: "The Lancaster could carry a normal load of 14,000 pounds of bombs (compared with the B-17's 4,000 pounds), and a relatively simple modification enabled it to carry the 22,000-pound 'Grand Slam,' the heaviest bomb of the war." I'd judge it's just within the realm of possibility that a Silverplate-type variant of the B-29 could carry a couple of Grand Slams. But, as I said, I doubt it was ever actually done in combat, so perhaps still best to just remove the claim. --Kent G. Budge (talk) 02:06, 26 September 2020

(UTC)
 * See above, under 'Specifications'. One B-29, 44-70060, was modified to carry two Grand Slams under the wings. There are photos of it in flight, but no recorded attempt was made to drop the things. If one hung up, the aircraft would be in serious trouble. It is also likely that the range was seriously compromised. A number of B-29s carried and dropped a single Grand Slam in trials just after the war, but it was never an approved combat load. In June 1943 Norman F. Ramsey, a Columbia physicist working in Parsons' delivery group on the Manhattan Project, identified the British Lancaster as the only Allied bomber that could carry the atomic weapon internally, except the B-29, which would require major modifications, not least joining the two bomb bays into one. (Rhodes, The Making of the Atomic Bomb, Schuster, 1986, p.478.) The B-29 was encountering severe development problems at the time, but the Lancaster would have had to launch from no further than Iwo Jima and bomb from about 23,000 feet at a much lower dash speed than the B-29 (though its cruise speed was about the same), so the B-29 had to be made to fit the bill. The bomb attachment and release mechanism for the nuclear weapon, however, was taken from the Grand Slam Lancaster. Khamba Tendal (talk) 18:26, 13 May 2023 (UTC)

Forward dorsal turret, 2 or 4 machine guns?
Did the forward dorsal turret have two or four machine guns, or did this change at some point? MKFI (talk) 14:43, 24 November 2020 (UTC)

Sources conflict over Col. Irvine's flight time
The sourced document for Col. Irvine's record flight lists a time of "35 hours" whereas his May 1955 biography and the National Museum of the United States Air Force web page devoted to Irvine's aircraft both list a specific flight time of "39 hours and 36 minutes." If no one objects, I'll correct the time hack and I'll cite both sources for it. Enjoy! Rob Rosenberger (talk) 02:42, 27 October 2021 (UTC)

title: Talk:Boeing B-29 Superfortress


text: Talk:Apollo Computer

title: Talk:Apollo Computer


text:
Woodlawn Memorial Park (Nashville, Tennessee)

Woodlawn Memorial Park is one of the largest cemeteries in Nashville, known as a site where many prominent country music personalities are buried including Porter Wagoner, George Jones, Tammy Wynette, and Eddy Arnold. It is located 660 Thompson Lane, a site rich in history. The land was originally a Revolutionary War land grant of 968 acres given to John Topp in 1788, eight years before Tennessee became a US state. In 1836 it became known as "Melrose" when US Senator Alexander Barrow purchased it and built a fine mansion with that name. The property served as a field hospital in 1865 during American Civil War Battle of Nashville. The site was established as a cemetery in the 1930s, and in 1993 the property, then reduced to 205 acres, was acquired by Roesch-Patton Corporation.

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 * Billy Collins (1963–1984), boxer
 * Jerry Chesnut (1931–2018), country music songwriter
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 * Joe Moscheo (1937–2016), singer, The Imperials and Elvis backup
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 * Porter Wagoner (1927–2007), Country Music Hall of Fame singer
 * Tammy Wynette (1942–1998), Country Music Hall of Fame singer