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Sealab 2021

Sealab 2021 is an American adult animated television series created by Adam Reed and Matt Thompson for Cartoon Network's late-night programming block, Adult Swim. Cartoon Network aired the show's first three episodes in December 2000 before the official inception of the Adult Swim block on September 2, 2001, with the final episode airing on April 24, 2005. Sealab 2021 is one of the only four original Williams Street series that premiered in 2000 before Adult Swim officially launched, with the others being Aqua Teen Hunger Force, The Brak Show, and Harvey Birdman, Attorney at Law.

Much like Adult Swim's Space Ghost Coast to Coast, the animation used stock footage from a 1970s Hanna-Barbera cartoon, in this case the short-lived, environmentally-themed Sealab 2020, along with original animation. The show was a satirical parody of both the original Sealab series and the general conventions of the 1970s animated children's series. While there was initial resistance from several of the original series' creators to the reuse of their characters, production moved forward on the series. Sealab 2021 was produced by 70/30 Productions.

Production
Adam Reed and Matt Thompson, the creators and writers of Sealab 2021, came up with the idea for the show in 1995 while they were production assistants for Cartoon Network. They stumbled on a tape of the show Sealab 2020, and wrote replacement dialogue. Cartoon Network passed on the show because it did not believe it was funny. Five years after quitting Cartoon Network, the two went back to the original tape, this time making the characters do what they wanted. Cartoon Network bought the show, coincidentally around the same time that Adult Swim was created. The original "pitch pilot" is available on the Season 1 DVD as a special feature.

Very few of the episodes of the series share any continuity or ongoing plot. For instance, the entire installation is destroyed at the end of many episodes, and crew members are often killed in horrible ways, only to return in the following episode. There are occasional running gags, such as the "Grizzlebee's" restaurant chain, a parody of Applebee's and Bennigan's, the character of Sharko, and Prescott, the half-man, half-tentacle monster "from the network". It contains many references to the pop culture of the 1980s–2000s and makes use of other cartoons from the 1970s besides that on which it is based, such as 1973's Butch Cassidy for the on-screen appearances of the Sealab writers, and various one-off appearances of other characters.

Characters

 * Captain Hazel "Hank" Murphy (Harry Goz) is the ostensible leader of the crew, though his qualifications, and even his grasp on reality, are questionable. He is generally found loitering on the bridge, neglecting his duties. Murphy spends his time participating in scams and juvenile antics, generally causing problems that the crew has to solve. The only episode which features Murphy acting responsibly throughout is "7211", which is a faithful reenactment of the original Sealab 2020 show. Captain Murphy is a parody of Captain Mike Murphy from Sealab 2020. Generally, Murphy is incapable to the point of incompetence. On more than one occasion, it has been implied that Murphy has gone insane due to the amount of time he has spent underwater. However, the crew either does not notice this or does not care and usually follow his orders, even when they will directly lead to the crew's deaths. Murphy is a practicing Alvian and has a deep-seated fear of doppelgängers and especially flashlights, the latter a fear for which there is no name. After the death of Harry Goz, Murphy was written out of the show by having him leave Sealab to fight in the "Great Spice Wars". It is implied that Murphy is the leader of the Rebel forces in this war, though the reasoning behind this is or its effect on the war is never explored. A recap montage of Murphy's moments were played in the final episode in memory of his voice actor. However, he later appeared in the Reed and Thompson-created series Archer, where he was voiced by Jon Hamm and debuted in the two-part episode "Sea Tunt".
 * Captain Bellerophon "Tornado" Shanks (Michael Goz) is a retired football coach and health and hygiene teacher who lost his job for slapping (or throat punching) a student. He answered Sealab's help wanted ad and became the new captain, despite having no experience whatsoever. Shanks is from Texas and is the youngest of several brothers all named after characters in Greek mythology, and all of whom met their death on or around a bridge in Shanks's hometown. Dropping his Southern accent late in the series (citing that some viewers thought he was gay), Shanks' personality bears a resemblance to Captain Murphy, being voiced by Harry Goz's son. However, Shanks is much more self-aware than Murphy, openly commenting on the odd goings-on aboard Sealab and even the fact that he is on a television program. Since Shanks has no experience or idea what he is doing, he goes along with whatever the rest of the crew suggests, usually with disastrous results. Captain Shanks debuted in the season 3 episode "Tornado Shanks".
 * Lieutenant Jodene Sparks (Bill Lobley) is the station's radio operator who is always seen sitting with his headsets on. Sparks is a parody of Lieutenant Sparks from Sealab 2020. Sparks mostly uses the radio for his own personal purposes, even going so far as to disconnect vital transmissions that interrupt him. He generally travels around in his office chair, mostly because he is lazy, even though it was suggested that he is crippled. Sparks is a convict serving time at Sealab while still operating a black market distillery and takes part in a wide variety of other illegal activities. He occasionally serves as a voice of reason to the crew, particularly to Murphy. However, he is just as often the catalyst of problems aboard Sealab, including Sealab's destruction. He is claustrophobic and a Malkin, the show's version of Wiccan. Sparks's quest for money has been in several plots, such as the murdering of the crew to collect on life insurance policies, the creation of Stimutacs to "make an assload of money", and his numerous underhand deals with Paddy O'Reilly, and the various Daves. An early episode revealed that he acts as a criminal mastermind called "Overlord" with a hollowed-out volcano base and an army of minions. Episode 46 reveals he enjoys hentai with themes of forced submission and humiliation. Rank: Commander.
 * Debbie "White Debbie" DuPree (Kate Miller) is a marine biologist and one of only two adult women on the base. Serving as a parody of Gail from Sealab 2020, she is a blonde and is often the object of the sexual interest of the males on Sealab. She has an ongoing sexual relationship with Doctor Quinn, and their relationship, its ups and downs, and its effect on the rest of the crew play out in several stories. This does not stop the other males, particularly Stormy, from attempting to get on her good side. Debbie's mood swings are a constant issue to the crew, as she changes wildly from the sole voice of reason to a shrieking lunatic. Debbie picked up the "White Debbie" appellation at the behest of Doctor Quinn, who thought it was unfair that Debbie Love went by "Black Debbie" while Debbie Dupree was simply Debbie. Nevertheless, few of the crew actually call her that. Rank: Lieutenant Commander.
 * Derek "Stormy" Waters (Ellis Henican) is a pretty boy lacking in intelligence or seemingly any qualifications to be working on a government research lab, and a parody of Hal from Sealab 2020. Stormy's job is never clearly defined and he usually walks around Sealab doing whatever he wants or acts as a henchman or assistant to whomever he is nearest. Stormy usually works alongside Quinn, who is frequently the victim of Stormy's ignorance, but ironically is the crew member who's most tolerant of him. The two frequently find themselves in Odd Couple-like situations. Stormy has shown skill in the operation of the submersible Deep Diver, both as a pilot and gunner, as well as operating other technological gadgets, though he is just as irresponsible in those positions as anywhere else. The crew has been shown to dislike or mistreat Stormy on multiple occasions, such as putting a sign outside the mess hall saying "No Stormies" when they held a pizza party or forgetting that he was trapped outside of the closet with Murphy's carnivorous dogs. Stormy is a proudly practicing Alvian, like Murphy. Of all characters, Stormy is the most different in the episode "7211". In the episode, he directs the rest of the crew effectively in the salvage of the damaged sub. He is allergic to shellfish. Rank: Lieutenant Commander.
 * Dr. Quentin Q. Quinn (Brett Butler) is the science officer. Parodying Ed from Sealab 2020, he is an extremely intelligent African-American with an IQ of 260 and Ph.D.s in several scientific disciplines, of which he is not shy about reminding the other characters. Quinn grew up in unbelievably over-the-top poverty and got to where he is through hard work, unlike the majority of the other characters. He is regarded as an uptight killjoy by most of the crew. Quinn is often the only responsible crew member and the sole voice of reason. This has caused the other crew to neglect their duties even further, as they believe "Quinn will handle it." Despite his intelligence, Quinn is extremely vain and prone to outbursts of anger when he is not appreciated. Quinn often attempts to prevent Murphy's questionable plans from being enacted, leading Murphy to distrust Quinn. However, Murphy is aware that he and the station completely depend on Quinn, going so far as to snake his vacation to ensure that he does not leave the station. Quinn has an ongoing sexual relationship with Debbie Dupree. In the first episode, he revealed that he inhabits a robot body of his own design. Rank: Lieutenant Commander.
 * Marco Rodrigo Diaz de Vivar Gabriel Garcia Marquez (Erik Estrada) is the station's engineer. Spoofing Dr. Paul Williams from Sealab 2020, he is very strong and muscular, unlike the rest of the crew. He speaks with a Spanish accent and often exclaims random things in Spanish, although not actually speaking the language. Quinn even remarks that his Spanish is terrible. His name comes from both the Spaniard epic 11th-century poem Cantar del Mio Cid, which featured the character Rodrigo Díaz de Vivar, and from the 1982 Literary Nobel Prize winner journalist and novelist Gabriel García Márquez. Marco's exact heritage is unknown, though he is fiercely not a Spaniard. Marco is prone to violence, both in the defense of the crew and against them. Marco often argues with Murphy about his methods and seems to be the only one to whom Murphy actually listens. Despite this, Murphy often calls Marco "mailbox head" and included a segment on his radio show where listeners could call in to tell him why they hated Marco. Marco gets along with most of the crew, especially Sparks and Quinn. Marco also interacts with the orphans on Sealab and has been shown to have a soft side. Rank: Lieutenant Commander.
 * Hesh Hepplewhite (MC Chris) is the station's reactor operator and, more often than not, their whipping boy. Hesh has a habit of continually referring to himself in the third person. It was revealed that he is Jewish. Nasal-voiced, smart-mouthed, and whiny, Hesh is not well-liked by most of the crew and thus works in the part of the station farthest away from them. He has no real understanding of how the reactor works and generally has to have guidance from Quinn when there is a problem. Hesh's own interactions with the machinery are generally useless or actively destructive, such as the "hammer game", which involves smashing the computers with a hammer. Hesh generally does not participate in the crew's activities unless he interrupts on the radio. Hesh performs the birthday song at Quinn's birthday and acts as Murphy's caddie. Hesh's safety is not a concern to any of the characters, as Murphy sent him into the reactor core to recover a ball. As a result of being isolated in the reactor, Hesh has developed odd tendencies, such as dressing as a woman on multiple occasions. Rank: Lieutenant.
 * Debbie "Black Debbie" Allison Love (Angela Gibbs) is both the only other adult female and the only black female on the station. She is the parody of the Sealab 2020 character Mrs. Thomas (Ed Thomas's mother). She teaches school to the Sealab's orphans and is very proud of her race. She has a relationship with Marco at the beginning of the show and briefly dates Sparks and Tornado in the later seasons. In one episode, her name is displayed on a monitor as Debbie Allison; but in another, her nameplate is shown as Debbie Love. She is a former Heisman trophy winner. Rank: Lieutenant.
 * Dr. Ilad Virjay (Adam Reed) is the station's official doctor and in-house surgeon noted for his thick Indian accent and relatively normal personality. He graduated third in his class from The Medical College of Mescutabuti. He practices Manduism, the Sealab universe's version of Hinduism. Dr. Virjay is shown to be jealous of Dr. Quinn as the latter has multiple Ph.Ds and a higher IQ. Dr. Virjay delivers all his lines in a deadpan, whether informing crew members of medical issues or confronting an invisible monster shortly before his death. It is later revealed that he is also janitor for Sealab's restaurant section. Rank: Unknown.
 * Dolphin Boy is a little chubby boy that speaks in dolphin noises. One of the orphans that inhabit Sealab for some reason, he is a member of Black Debbie's class. Dolphin Boy often wanders around the station and, as a result, is often embroiled in whatever is going on. When translated, Dolphin Boy generally says inoffensive, naively childish statements, universally resulting in derision and hatred from the rest of the crew. He is the target of endless fat jokes and is often killed by the Sealab crew members for no reason whatsoever. He is the persona non grata of Sealab. Rank: Lieutenant Jr. Grade.
 * Sharko (Matt Thompson) is a half-human, half-shark freak of nature who is the result of Marco having sexual relations with a female shark.
 * The Five Jew Bankers are a lampoon of Jewish conspiracy theories. They are introduced in "Neptunati" (Season 3 Episode 13).

International broadcast
In Canada, Sealab 2021 currently airs on the local version of Adult Swim. It previously aired on the former Teletoon at Night program block on Teletoon in English Canada.

Home media and streaming
The series has been available on HBO Max since September 1, 2020.

Reception
In January 2009, IGN listed Sealab 2021 as the 79th best in the "Top 100 Animated Series". In 2013 IGN placed Sealab 2021 as number 22 on their list of top 25 animated series for adults.

Paul Di Filippo of the website Sci Fi Weekly, in his review of the Season 3 DVD, felt that general fan opinion of the show declined sharply following the death of Harry Goz (the voice of Captain Hazel Murphy) during Season 3.

In 2021, upon the 20-year anniversary of Adult Swim, Nerdist stated of the series, "It's one thing to imagine Sealab 2021. It's another getting it on the airwaves." Boston's Rock 92.9 published an article calling it "Another masterful reworking of old cartoon footage."

title: Sealab 2021


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Esotropia

Esotropia is a form of strabismus in which one or both eyes turn inward. The condition can be constantly present, or occur intermittently, and can give the affected individual a "cross-eyed" appearance. It is the opposite of exotropia and usually involves more severe axis deviation than esophoria. Esotropia is sometimes erroneously called "lazy eye", which describes the condition of amblyopia; a reduction in vision of one or both eyes that is not the result of any pathology of the eye and cannot be resolved by the use of corrective lenses. Amblyopia can, however, arise as a result of esotropia occurring in childhood: In order to relieve symptoms of diplopia or double vision, the child's brain will ignore or "suppress" the image from the esotropic eye, which when allowed to continue untreated will lead to the development of amblyopia. Treatment options for esotropia include glasses to correct refractive errors (see accommodative esotropia below), the use of prisms, orthoptic exercises, or eye muscle surgery. The term is from Greek eso meaning "inward" and trope meaning "a turning".

Concomitant esotropia
Concomitant esotropia – that is, an inward squint that does not vary with the direction of gaze – mostly sets in before 12 months of age (this constitutes 40% of all strabismus cases) or at the age of three or four. Most patients with "early-onset" concomitant esotropia are emmetropic, whereas most of the "later-onset" patients are hyperopic. It is the most frequent type of natural strabismus not only in humans, but also in monkeys.

Concomitant esotropia can itself be subdivided into esotropias that are either constant, or intermittent.

 * Constant esotropia
 * A constant esotropia, as the name implies, is present all the time.

 * Intermittent esotropia
 * Intermittent esotropias, again as the name implies, are not always present. In very rare cases, they may only occur in repeated cycles of 'one day on, one day off' (Cyclic Esotropia). However, the vast majority of intermittent esotropias are accommodative in origin.

A patient can have a constant esotropia for reading, but an intermittent esotropia for distance (but rarely vice versa).

Accommodative esotropia
Accommodative esotropia (also called refractive esotropia) is an inward turning of the eyes due to efforts of accommodation. It is often seen in patients with moderate amounts of hyperopia. The person with hyperopia, in an attempt to "accommodate" or focus the eyes, converges the eyes as well, as convergence is associated with activation of the accommodation reflex. The over-convergence associated with the extra accommodation required to overcome a hyperopic refractive error can precipitate a loss of binocular control and lead to the development of esotropia.

The chances of an esotropia developing in a hyperopic child will depend to some degree on the amount of hyperopia present. Where the degree of error is small, the child will typically be able to maintain control because the amount of over-accommodation required to produce clear vision is also small. Where the degree of hyperopia is large, the child may not be able to produce clear vision no matter how much extra-accommodation is exerted and thus no incentive exists for the over-accommodation and convergence that can give rise to the onset of esotropia. However, where the degree of error is small enough to allow the child to generate clear vision by over-accommodation, but large enough to disrupt their binocular control, esotropia will result.

Only about 20% of children with hyperopia greater than +3.5 diopters develop strabismus.

Where the esotropia is solely a consequence of uncorrected hyperopic refractive error, providing the child with the correct glasses and ensuring that these are worn all the time, is often enough to control the deviation. In such cases, known as 'fully accommodative esotropias,' the esotropia will only be seen when the child removes their glasses. Many adults with childhood esotropias of this type make use of contact lenses to control their 'squint.' Some undergo refractive surgery for this purpose.

A second type of accommodative esotropia also exists, known as 'convergence excess esotropia.' In this condition the child exerts excessive accommodative convergence relative to their accommodation. Thus, in such cases, even when all underlying hyperopic refractive errors have been corrected, the child will continue to squint when looking at very small objects or reading small print. Even though they are exerting a normal amount of accommodative or 'focusing' effort, the amount of convergence associated with this effort is excessive, thus giving rise to esotropia. In such cases an additional hyperopic correction is often prescribed in the form of bifocal lenses, to reduce the degree of accommodation, and hence convergence, being exerted. Many children will gradually learn to control their esotropias, sometimes with the help of orthoptic exercises. However, others will eventually require extra-ocular muscle surgery to resolve their problems.

Congenital esotropia
Congenital esotropia, or infantile esotropia, is a specific sub-type of primary concomitant esotropia. It is a constant esotropia of large and consistent size with onset between birth and six months of age. It is not associated with hyperopia, so the exertion of accommodative effort will not significantly affect the angle of deviation. It is, however, associated with other ocular dysfunctions including oblique muscle over-actions, Dissociated Vertical Deviation (DVD), Manifest Latent Nystagmus, and defective abduction, which develops as a consequence of the tendency of those with infantile esotropia to 'cross fixate.' Cross fixation involves the use of the right eye to look to the left and the left eye to look to the right; a visual pattern that will be 'natural' for the person with the large angle esotropia whose eye is already deviated towards the opposing side.

The origin of the condition is unknown, and its early onset means that the affected individual's potential for developing binocular vision is limited. The appropriate treatment approach remains a matter of some debate. Some ophthalmologists favour an early surgical approach as offering the best prospect of binocularity whilst others remain unconvinced that the prospects of achieving this result are good enough to justify the increased complexity and risk associated with operating on those under the age of one year.

Incomitant esotropia
Incomitant esotropias are conditions in which the esotropia varies in size with direction of gaze. They can occur in both childhood and adulthood, and arise as a result of neurological, mechanical or myogenic problems. These problems may directly affect the extra-ocular muscles themselves, and may also result from conditions affecting the nerve or blood supply to these muscles or the bony orbital structures surrounding them. Examples of conditions giving rise to an esotropia might include a sixth cranial nerve (or abducens nerve) palsy, Duane's syndrome or orbital injury.

Right, left or alternating
Someone with esotropia will squint with either the right or the left eye but never with both eyes simultaneously. In a left esotropia, the left eye 'squints,' and in a right esotropia the right eye 'squints.' In an alternating esotropia, the patient is able to alternate fixation between their right and left eye so that at one moment the right eye fixates and the left eye turns inward, and at the next the left eye fixates and the right turns inward. This alteration between the left and right eye is mostly spontaneous, but may be voluntary in some cases. Where a patient tends to consistently fixate with one eye and squint with the other, the eye that squints is likely to develop some amblyopia. Someone whose squint alternates is very unlikely to develop amblyopia because both eyes will receive equal visual stimulation. It is possible to encourage alternation through the use of occlusion or patching of the 'dominant' or 'fixating' eye to promote the use of the other. Esotropia is a highly prevalent congenital condition.

Concomitant versus incomitant
Esotropias can be concomitant, where the size of the deviation does not vary with direction of gaze—or incomitant, where the direction of gaze does affect the size, or indeed presence, of the esotropia. The majority of esotropias are concomitant and begin early in childhood, typically between the ages of 2 and 4 years. Incomitant esotropias occur both in childhood and adulthood as a result of neurological, mechanical or myogenic problems affecting the muscles controlling eye movements.

Primary, secondary or consecutive
Concomitant esotropias can arise as an initial problem, in which case they are designated as "primary," as a consequence of loss or impairment of vision, in which case they are designated as "secondary," or following overcorrection of an initial exotropia in which case they are described as being "consecutive". The vast majority of esotropias are primary.

Treatment
The prognosis for each patient with esotropia will depend upon the origin and classification of their condition. However, in general, management will take the following course:

 * 1) Identify and treat any underlying systemic condition.
 * 2) Prescribe any glasses required and allow the patient time to 'settle into' them.
 * 3) Use occlusion to treat any amblyopia present and encourage alternation.
 * 4) Where appropriate, orthoptic exercises (sometimes referred to as Vision Therapy) can be used to attempt to restore binocularity.
 * 5) Where appropriate, prismatic correction can be used, either temporarily or permanently, to relieve symptoms of double vision.
 * 6) In specific cases, and primarily in adult patients, botulinum toxin can be used either as a permanent therapeutic approach, or as a temporary measure to prevent contracture of muscles prior to surgery
 * 7) Where necessary, extra-ocular muscle surgery, like strabismus surgery, which is a surgery where the doctors physically move the muscle that is making the eye contract. This can be undertaken to improve cosmesis and, on occasion, restore binocularity.

Etymology
The term "esotropia" is ultimately derived from the Ancient Greek ἔσω ésō, meaning “within”, and τρόπος trópos, meaning “a turn”.

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

title: Esotropia


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History from Below (album)

History from Below is the follow-up album to 2008's critically acclaimed Ode to Sunshine by San Diego's Delta Spirit. The album was released on June 8, 2010.

The band began streaming "White Table" on its website on May 6.

"Devil Knows You're Dead" was featured in the series finale of Friday Night Lights on July 15, 2011, and "Salt in the Wound" was featured on the television show Grey's Anatomy.

Track listing

 * 1) "9/11" – 3:16
 * 2) "Bushwick Blues" – 3:42
 * 3) "Salt in the Wound" – 5:51
 * 4) "White Table" – 5:07
 * 5) "Ransom Man" – 4:28
 * 6) "Devil Knows You’re Dead" – 3:58
 * 7) "Golden State" – 3:16
 * 8) "Scarecrow" – 4:07
 * 9) "Vivian" – 4:29
 * 10) "St. Francis" – 4:23
 * 11) "Ballad of Vitaly" – 8:05

The last song on the album, "Ballad of Vitaly," was inspired by the story of Vitaly Kaloyev.

Personnel

 * Matthew Vasquez – lead vocals, guitars, drums, keyboards, percussion, harmonica
 * Kelly Winrich – vocals, keyboards, guitars, drums, percussion, dronebox, horn arrangements
 * Jonathan Jameson – vocals, bass guitar, drums, percussion
 * Brandon Young – vocals, drums, percussion

Additional musicians:
 * Bo Koster – additional keyboards, percussion
 * Elijah Thomson – vocals
 * Carl Broemel – pedal steel on Devil Knows You're Dead
 * Blake Mills – guitar on Devil Knows You're Dead
 * Brett Wagner – horn section on St. Francis
 * Additional horn arrangements on St. Francis by Brett Wagner

title: History from Below (album)


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Stompin' Tom Connors

Charles Thomas "Stompin' Tom" Connors, OC (February 9, 1936 – March 6, 2013) was a Canadian country and folk singer-songwriter. Focusing his career exclusively on his native Canada, he is credited with writing more than 300 songs and has released four dozen albums, with total sales of nearly four million copies.

Connors' songs have become part of the Canadian cultural landscape. Among his best-known songs are "Sudbury Saturday Night", "Bud the Spud" and "The Hockey Song"; the last is played at various games throughout the National Hockey League, including at every Toronto Maple Leafs home game. In 2018, the song was inducted into the Canadian Songwriters Hall of Fame in a ceremony at a Leafs game.

Early life
Charles Thomas Connors was born on February 9, 1936, at the General Hospital in Saint John, New Brunswick, to Isabel Connors and Thomas Joseph Sullivan.

Isabel's family were Irish Protestants, and his maternal grandfather, John Connors, was a sea captain from Boston, Massachusetts, who had died before Charles was born. His father was a Catholic of Irish ancestry, and "may have been Métis or ... Micmac." Isabel Connors and Thomas Joseph Sullivan did not marry until 30 years later, as Sullivan's family were devout Catholics and did not want him marrying a Protestant; they later divorced. Sullivan's mother gave him $10, and he was told to leave home. Connors was also a cousin of New Brunswick fiddling sensation, Ned Landry.

Connors' first home was on St. Patrick Street, in the "poorest and most rundown part of Saint John". He lived there with his mother, his maternal grandmother Lucy Scribner, and his maternal stepgrandfather Joe Scribner When Connors was three, Lucy and Joe died within weeks of each other. This forced Isabel to move to a two-bedroom apartment. Around this time Isabel got pregnant again by Tom's father when he briefly returned, and Tom got a taste of hitchhiking when he and Isabel went to visit relatives in Tusket Falls, Nova Scotia. This trip was the first time he saw his mother steal to feed them, when she stole food from a Chinese restaurant in Yarmouth, Nova Scotia. When they returned to Saint John, they moved in with friends of Isabel and she gave birth to Tom's sister Marie, who had to stay in hospital to have a birthmark removed. Later, Isabel and Tom moved in with her new boyfriend Terrence Messer at the corner of Clarence and Erin Streets. While they did not marry, the family would take on his surname. Terrence and Isabel did pretend to be married to find a place to live, due to the moral standards of the time. The family was quite poor, and Terrence was a neglectful stepfather, who spent most of the family's money on wine. When they missed paying rent, the family was evicted and moved to a house on St. Patrick Street. Marie finally came home from the hospital then, but she died when Tom was four, following more surgery to remove another birthmark. To make ends meet, Isabel got a job scrubbing floors and Terrence did odd jobs. The family was evicted again after a spat with the landlord when Tom started a fire in their apartment. Their next home was a basement apartment on King Street.

Connors spent a short time living with his mother in a low-security women's penitentiary before he was seized by Children's Aid Society and later adopted by Cora and Russell Aylward in Skinners Pond, Prince Edward Island.

At 13 he ran away from his adoptive family to hitchhike across Canada. He got his first guitar at 14, and at 15 he wrote his first song called "Reversing Falls Darling". His hitchhiking journey consumed the next 13 years of his life as he travelled among various part-time jobs while writing songs on his guitar, singing for his supper. He worked in mines and rode in boxcars, and in the coldest part of winter he welcomed vagrancy arrests for the warm place to sleep. At his last stop in Timmins, Ontario, he found himself a nickel short of a 35-cent beer at the city's Maple Leaf Hotel. Connors told the bartender to put the cap back on the bottle and he'd head for the Sally Ann, but the bartender, Gaëtan Lepine, accepted the 30 cents and offered him a second beer if he would open his guitar case and play a few songs. These few songs turned into a 14-month run at the hotel, a weekly spot on CKGB in Timmins, eight 45-RPM recordings, and the end of the beginning for Tom Connors.

Musical career
Connors was never part of the Canadian musical establishment, and his style was quite different from other Canadian icons such as Leonard Cohen or Gordon Lightfoot. He could, however, be characterized as a passionist poet within Canadian culture, similar to Milton Acorn and Stan Rogers. As the National Post characterized him:

"He sang of a nation without politics, to its proud history, and to its better angels. His songs remind us that Canada matters—that we've built something amazing here, and must not take it for granted."

Typically writing about Canadian lore and history, some of Connors' better-known songs include "Bud the Spud", "Big Joe Mufferaw", "The Black Donnellys", "The Martin Hartwell Story", "Reesor Crossing Tragedy", "Sudbury Saturday Night", and "The Hockey Song". This last, often incorrectly called "The Good Old Hockey Game," is frequently played over sound systems at National Hockey League (NHL) games.

Throughout the years, Connors never lost touch with Gaëtan Lepine, the bartender he befriended in Timmins; in fact, the two wrote many songs together. These songs are featured in 250 Songs by Stompin' Tom: Including All the Words and Chords.

In 1968, he composed and sang a radio jingle for a Sudbury-area tire store, Duhamel & Dewar, in exchange for a set of winter tires: "When your tires are old and worn

and you think they should be newer,

drive on down to the Tire Town

and see Duhamel and Dewar." During the mid-1970s Connors wrote and recorded The Consumer, an ode to bill-paying that became the theme song for the popular Canadian Broadcasting Corporation (CBC) consumer affairs program Marketplace. For the first few seasons, Connors appeared in the program's opening credits, before "The Consumer" was replaced as the theme—initially by an instrumental background version and ultimately by a different piece of music.

In 1974 Connors had a series running on CBC Television in which he met and exchanged with folks from all across Canada. Stompin' Tom's Canada was co-produced with the CBC, and consisted of 26 half-hour episodes.

The song that Connors wrote in the least time was "Maritime Waltz", which was completed in 12 minutes.

His character was rough but genuine. As the National Post noted:

"[T]hat persona wasn't shtick. Stompin' Tom was one of the great Canadian story-tellers, and a uniquely collegial one as well. The proper venue for a Gordon Lightfoot performance is a concert hall, where the audience connects silently and contemplatively. The proper venue for Mr. Connors was a smoky bar room where people connected by slamming their beer mugs together, hopefully obliterating whatever differences existed between them."

In 1999, after completing a 38-city tour, Connors received the National Achievement Award at the annual SOCAN Awards held in Toronto.

In 2009, Connors was the recipient of the prestigious Lifetime Achievement Award at the annual SOCAN Awards in Toronto.

Nickname
Connors' habit of stomping the heel of his left boot to keep rhythm earned him the nickname "that stompin' guy", or "Stomper". It wasn't until Canada's 100th birthday, July 1, 1967, that the name "Stompin" Tom Connors was first used, when Boyd MacDonald, a waiter at the King George Tavern in Peterborough, Ontario, introduced Connors on stage. Based on an enthused audience reaction to it, Connors had it officially registered in Ontario as Stompin' Tom Ltd. the following week. Various stories have circulated about the origin of the foot stomping, but it's generally accepted that he did this to keep a strong tempo for his guitar playing—especially in the noisy bars and beer joints where he frequently performed. After numerous complaints about damaged stage floors, Connors began to carry a piece of plywood that he stomped even more vigorously than before. The "stompin board became one of his trademarks. After stomping a hole in the wood, he would pick it up and show it to the audience (accompanied by a joke about the quality of the local lumber) before calling for a new one. It was reported that when asked about his "stompin' board", Connors replied, "it's just a stage I'm going through". Connors periodically auctioned off his "stompin' boards" for charity, with one board selling for $15,000 in July 2011.

Favourite guitar
Connors's favourite guitar was a Gibson Southern Jumbo acoustic that he purchased in 1956 while on his way through Ohio to Nashville, Tennessee, and Mexico. He discovered it in a furniture store, hidden in a case on top of a shelf and, after some haggling, purchased it for $80 (he had $90 with him). The guitar was used to audition in 1964 at the Maple Leaf Hotel in Timmins, as well as for writing Bud the Spud four years later. Although retired in 1972, it remained in his possession. It has subsequently been refurbished, a birthday gift from his wife Lena. The serial number inside the guitar reads 2222 in red stamped numbers and the actual age of the guitar is still unknown.

Releases
Connors released music on seven different labels. His earliest foray into recording was on the CKGB Timmins radio station label. These 45 RPM singles were pressed by Quality Records in Toronto, and distributed (and paid for) primarily by Tom. His first two albums (and two subsequent 45 RPM singles) were released on the Rebel Records bluegrass label, under the name "Tom Connors". These two albums were subsequently re-released on Dominion Records under the Stompin' Tom moniker and had to be totally re-recorded due to a dispute with Rebel Records owner John Irvine.

Most of Connors's well-known albums were released on Dominion Records (1969–70), and after 1971 on the Boot Records label that he co-founded with Jury Krytiuk and Mark Altman. His releases on Dominion (and all subsequent releases) were done under the name "Stompin' Tom Connors". Most of the Rebel and Dominion albums would be reissued (and in some cases, re-recorded) under the Boot label, and would represent the bulk of his recorded material. It was released on 33$1⁄3$ RPM record albums, 45 RPM record singles, 8-tracks, and cassette tapes.

After his retreat from the music business in the late 1970s, he started the A-C-T (Assisting Canadian Talent) label in 1986, and released two albums: Stompin' Tom is Back to Assist Canadian Talent and his comeback album, Fiddle and Songs in 1988. A-C-T also re-released Connors's back catalogue on cassette tapes only.

All of his subsequent releases (and re-releases) have been through Capitol Records / EMI. Most of this work is now available on Compact Disc. In recent years, many of his album releases have included at least one re-recording of one of his earlier songs.

Promoting Canadian artists
Connors founded three record labels, which promoted not just his own work, but that of other Canadian artists:
 * Boot Records, together with its budget label Cynda, which were active in the 1970s and 1980s
 * A-C-T, active from the late 1980s

Among artists who were featured on these labels were Liona Boyd, Rita MacNeil, The Canadian Brass, Dixie Flyers, Charlie Panigoniak, among others. Liona Boyd recalled in 2013 about the time Connors signed Boyd to Boot for her first record, 1974's The Guitar, and two more:

"It was Tom's vision obviously. And as I understood it, he wasn't really a fan of classical music but he had heard Canada had no classical label, which was absolutely true. So bless him, he went and decided he'd be the first one. And he signed myself and the Canadian Brass. It's like me deciding, 'Well listen, maybe I don't know much about rap, but hey Canada's doesn't have a rap label, I'll go and do it.' So he was a bit of a pioneer with classical music."

Cultural and historical references
In the book Shake Hands with the Devil: The Failure of Humanity in Rwanda, Romeo Dallaire, the Canadian general who led the UNAMIR peacekeeping force in Rwanda during that country's 1994 genocide reported that he played a recording of Connors's song "The Blue Berets" (about United Nations peacekeeping forces) to keep up his troops' morale while their headquarters was under bombardment.

The Les Claypool Frog Brigade mentions Connors in the song "Long in the Tooth" on the album Purple Onion, while Corb Lund references him in the song "Long Gone to Saskatchewan" and Dean Brody references him in the song "Canadian Girls".

Tim Hus also wrote a song titled "Man with the Black Hat" about Connors.

Songs referencing Canadian historical events
The following is a list of events in the history of Canada which have been the subject of a song by Connors, who is widely renowned for singing about both well-known and little-known episodes in the country's past.

Personal life
Connors married Lena Welsh on November 2, 1973. The ceremony was broadcast live on Elwood Glover's Luncheon Date on CBC Television. During an interview on the show, he said they had chosen to get married on television to share this happy moment with his fans across the country whose support had rescued him from a difficult pre-showbusiness life. Connors had a son, Taw Connors. He also had another son, Tom Jr.

Connors was a heavy smoker—estimated to consume 100 cigarettes a day —and an equally heavy drinker. On tour, he had to drive the lead truck, and could never be the last person to go to bed, and that often meant that his fellow musicians had to keep up with his pace.

Connors always wore his black Stetson in public, and refused to remove it for any reason, even when meeting Queen Elizabeth II at a dinner in Ottawa in October 2002. Buckingham Palace smoothed the way by likening Mr. Connors's hat to a religious headdress such as a nun's habit or a Sikh's turban. However, Connors did go hatless during his nationally-televised wedding on CBC-TV to Lena Welsh.

Retirement and nationalist protest
As the 1970s progressed, he retired to his farm at Ballinafad, near Erin, Ontario, to protest the lack of support given to Canadian stories by the policies of the Federal government, particularly the Canadian Radio-television and Telecommunications Commission (CRTC). He also boycotted the Juno Awards in protest of the qualification guidelines set by the Canadian Academy of Recording Arts and Sciences (CARAS) for possible nominees who were being consistently nominated and awarded outside of their musical genre. He strongly opposed artists who conducted most of their business in the United States being nominated for Junos in Canada. Connors, who referred to these particular artists as "turncoat Canadians", felt that in view of the fact that they had chosen to live and work in the U.S., it was only fair that they competed with Americans for Grammy Awards, and left the Juno competition to those who lived and conducted business in Canada.

His protest caught national attention when he sent back his six Junos accompanied by a letter to the board of directors.

"Gentlemen:

I am returning herewith the six Juno awards that I once felt honoured to have received and which, I am no longer proud to have in my possession. As far as I am concerned you can give them to the border jumpers who didn't receive an award this year and maybe you can have them presented by Charley Pride. I feel that the Junos should be for people who are living in Canada, whose main base of business operations is in Canada, who are working toward the recognition of Canadian talent in this country and who are trying to further the export of such talent from this country to the world with a view to proudly showing off what this country can contribute to the world market.

Until the academy appears to comply more closely with aspirations of this kind, I will no longer stand for any nominations, nor will I accept any award given.

Yours very truly, Stompin' Tom Connors"

He remained in retirement for 12 years, only returning to the studio in 1986 to produce a new album to promote Canadian artists. That year, Tim Vesely and Dave Bidini of Rheostatics crashed his 50th birthday party and published an article about it in a Toronto newspaper, initiating a resurgence of public and record label interest in his work which resulted in the release in 1988 of Fiddle and Song, his first new album since 1977.

Guest of honour on Late Night
Connors' music is rarely heard outside Canada, with the possible exception of his anthemic "The Hockey Song" which has been recorded by many artists and played regularly within the arenas of the National Hockey League. It has been suggested that Connors refused to allow foreign release of his material, although a more likely reason is that the very Canadian-specific subject matter of many of his folk songs has resulted in limited demand in foreign markets. When Late Night with Conan O'Brien taped a week's worth of shows in Canada in 2004, Connors was one of the guests of honour, leading the Toronto audience in a rendition of "The Hockey Song"; this was one of the few times Connors performed on American television. Another Canadian-taped installment of Late Night featured a segment in which Triumph the Insult Comic Dog visited Quebec; a parody of Connors' "Canada Day, Up Canada Way" is heard during the segment.

Dispute with the Canadian Broadcasting Corporation
According to Connors' promoter, Brian Edwards, the CBC had expressed interest for Connors to do a music special since 1990. Connors shot and edited a live concert presentation at Hamilton Place at a cost of over $200,000 of his own money in September 2005. Edwards said that a copy was presented to the CBC's head of TV variety and that he received a reply the next day telling him that a decision would be reached within a few weeks. After 10 weeks, another email was then sent to the newly appointed programming VP, and a prompt reply came back that said that the broadcaster was moving away from music and variety programming and that the Connors special did not fit with its strategy.

Edwards said that he received another letter from the CBC that reinforced its lack of interest in the concert special but said that Connors would have been a great guest to perform a song on the network's Hockeyville series or an excellent subject for a Life and Times project. In response, Connors said:

"As far as I'm concerned, if the CBC, our own public network, will not reconsider their refusal to air a Stompin' Tom special, they can take their wonderful offer of letting me sing a song as a guest on some other program and shove it."

In 2014, the soundtrack to the unbroadcast special was released posthumously on CD by Universal Music Canada.

Autobiography
Stompin' Tom: Before the Fame is an autobiography detailing Connors' childhood years in an orphanage, and as a farm labourer. It was a runner-up for the Edna Staebler Award for Creative Non-Fiction in 1996 and became a bestseller in 1997. It details his life before becoming famous. In 2000 Connors wrote his second autobiography The Connors Tone.

Death and memorial service
Connors died of kidney failure on March 6, 2013, at his home in Ballinafad. He refused to seek medical treatment, as he was skeptical of the benefits of medical technology. On March 7, flags were lowered to half-mast at the National Arts Centre in Ottawa, and also in Tillsonburg, to mark his death. On March 9, that following Saturday night, Hockey Night in Canada broadcast a special tribute to Connors at the opening of its broadcast.

Immediately after his death, The Globe and Mail noted:

"These days, Canada isn't scared to be a little loud and proud. Politicians push patriotic buttons and endlessly recite their devotion to 'hard-working Canadians.' Advertisers shamelessly (and successfully) plug our country and its natural beauty, and play up Canadians' adventuresome and ribald sides. But Stompin' Tom was doing that a long time ago, celebrating the end of a hard week's work with famous lyrics like,

 * The girls are out to bingo and the boys are getting' stinko
 * And we'll think no more of Inco on a Sudbury Saturday night."

In a 1995 interview, Mr. Connors offered the opinion that nobody should die happy:

"I think people should die without their dreams being fulfilled, so maybe they can have an excuse for coming around again."

On March 7, several members of the federal New Democratic Party caucus, led by former musicians Charlie Angus and Andrew Cash, performed a group rendition of Connors' signature song "Bud the Spud" in the foyer of the House of Commons of Canada in tribute.

In addition to reports and obituaries published in the Canadian media, his death was also reported by The New York Times, BBC News and the Xinhua News Agency.

A memorial was held on March 13, 2013, at the Peterborough Memorial Centre in Peterborough, Ontario. Tommy Hunter attended, and the celebration included speeches by former governor general Adrienne Clarkson and Ken Dryden. Testimonials were given or read from others, including Roméo Dallaire, Rita MacNeil and Liona Boyd. Before his death, Connors had personally selected the artists who would perform:

At the end of the service, before Sudbury Saturday Night was played, Tom Connors, Jr., spoke about his father, and looked to the future:

"I heard some people comment at the funeral, saying there'll never be another Stompin' Tom. Well, I got news for you. We still have a Canada, and we still have the roads, towns, people, jobs – and that's what Tom wrote about. So never say never.... He never liked anyone copying him, but anyone who wants to sing about Canada, keep 'er on going.

It's nice to travel south. It might be warmer on the skin, but if you go east and west, it'll be warmer on your hearts."

He was subsequently buried at Erin Union Cemetery in Erin, Ontario. The headstone contains these words:

"The body has returned to sod, The spirit has returned to God. So on this spot, no need for grief, Here only lies a fallen leaf. Until new blossoms form in time, The tree is where I now reside. But with this poem, as you can see, They haven't heard the last of me."

Connors was also the subject of a video tribute at the 2013 East Coast Music Awards on March 10.

Honours

The following honours were conferred on him: In 1993, he declined to be inducted into the Canadian Country Music Hall of Fame.
 * From the Juno Awards, Country Male Vocalist of the Year (1971–1975) and Country Album of the Year (1974, for To It And at It) —all subsequently returned in 1978. He left instructions that the Junos were not to celebrate him after his death.
 * In 1993, a Doctor of Laws degree honoris causa from St. Thomas University, which was the inspiration for his album titled Dr. Stompin' Tom Connors, eh?, released the same year.
 * In 1996, Officer of the Order of Canada.
 * In 2000, a Lifetime Artistic Achievement award for Popular Music from the Governor General's Performing Arts Awards.
 * In 2000, an honorary LL.D. from the University of Toronto.
 * In 2002, an honorary Litt.D. from the University of Prince Edward Island.
 * In 2009, a SOCAN award for Lifetime Achievement.
 * In 2014, it was announced that a commemorative statue would be located in downtown Sudbury, ON.

In The Greatest Canadian list, he ranked thirteenth, the highest placing for any artist on the list. Connors was one of four musicians pictured on the second series of the Canadian Recording Artist Series issued by Canada Post stamps on July 2, 2009.

Albums
From 1991, Connors recorded his albums at Escarpment Sound Studio in Acton, Ontario.

 * Notes
 * ARe-released on A-C-T Records in the mid-1980s as "Northland Zone" due to a printing error
 * BLater released as "Stompin' Tom and the Moon-Man Newfie" in 1973
 * CContains four Stompin' Tom songs plus an intro and final message to support Canadian talent. Otherwise, this is an album which also features other Canadian country musicians: Wayne Chapman, Cliff Evans, Donna Lambert, Bruce Caves, Art Hawes, Kent Brockwell
 * DA five-song EP containing The Confederation Bridge, My Home Cradled Out In The Waves, Bud the Spud, Skinner's Pond Teapot, J.R.'s Bar – basically PEI songs.

Compilations

 * Notes
 * AThis is a Five Record box set that has never been re-released
 * BThis is another Five Record box set that has never been re-released
 * COriginal Soundtrack recording (at the Horseshoe Tavern) for "Across This Land with Stompin' Tom". Also features Bobby Lalonde, Joey Tardif, Chris Scott, Kent Brockwell, Sharon Lowness and The Rovin' Cowboys plus a separately recorded "Tribute To Stompin' Tom" by Fred Dixon. This 'double-album' has never been re-released.
 * DFirst of four volumes (to date) compiling demos, unreleased studio recordings and (despite the title of the series) previously released tracks. Vol. 2 (2015); Vol. 3 (2018); Vol. 4: Let's Smile Again (2021).

Filmography

 * This Is Stompin' Tom (1972) – includes a performance by Connors
 * Across This Land with Stompin' Tom Connors (1973)
 * Catch The Sun (1973) – includes a performance by Connors
 * Stompin' Tom's Canada (1974–1975) – TV series
 * Stompin' Tom in Live Concert (2006) – TV special

Other creations
In 1976, Connors created and sold a perpetual calendar that cross-references dates to days of the week, which is valid for all years from 1 to 3100 AD. It was released to Harrowsmith's Truly Canadian Almanac in 2012.

title: Stompin' Tom Connors


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User talk:CrusadeOnTerrorists

 * B``H stands for BARUCH HASHEM - in Hebrew it means "Blessed be the name". Placing this on top of many encyclopedia article is vandalism.

 * Some people find the word "crusade", in this context, potentially offensive. See also the "Reputation and evaluation" section of Crusade. And the policy of no offensive usernames.

 * CrusadeOnTerrorists was sympathetic to these concerns and changed hir name to ShameOnTerrorists. Nobody has any problems with the username "ShameOnTerrorists".

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Primary source

In the study of history as an academic discipline, a primary source (also called an original source) is an artifact, document, diary, manuscript, autobiography, recording, or any other source of information that was created at the time under study. It serves as an original source of information about the topic. Similar definitions can be used in library science and other areas of scholarship, although different fields have somewhat different definitions.

In journalism, a primary source can be a person with direct knowledge of a situation, or a document written by such a person.

Primary sources are distinguished from secondary sources, which cite, comment on, or build upon primary sources. Generally, accounts written after the fact with the benefit of hindsight are secondary. A secondary source may also be a primary source depending on how it is used. For example, a memoir would be considered a primary source in research concerning its author or about their friends characterized within it, but the same memoir would be a secondary source if it were used to examine the culture in which its author lived. "Primary" and "secondary" should be understood as relative terms, with sources categorized according to specific historical contexts and what is being studied.

History
In scholarly writing, an important objective of classifying sources is to determine their independence and reliability. In contexts such as historical writing, it is almost always advisable to use primary sources and that "if none are available, it is only with great caution that [the author] may proceed to make use of secondary sources." Sreedharan believes that primary sources have the most direct connection to the past and that they "speak for themselves" in ways that cannot be captured through the filter of secondary sources.

Other fields
In scholarly writing, the objective of classifying sources is to determine the independence and reliability of sources. Though the terms primary source and secondary source originated in historiography as a way to trace the history of historical ideas, they have been applied to many other fields. For example, these ideas may be used to trace the history of scientific theories, literary elements, and other information that is passed from one author to another.

In scientific literature, a primary source, or the "primary literature", is the original publication of a scientist's new data, results, and theories. In political history, primary sources are documents such as official reports, speeches, pamphlets, posters, or letters by participants, official election returns, and eyewitness accounts. In the history of ideas or intellectual history, the main primary sources are books, essays, and letters written by intellectuals; these intellectuals may include historians, whose books and essays are therefore considered primary sources for the intellectual historian, though they are secondary sources in their own topical fields. In religious history, the primary sources are religious texts and descriptions of religious ceremonies and rituals.

A study of cultural history could include fictional sources such as novels or plays. In a broader sense primary sources also include artifacts like photographs, newsreels, coins, paintings or buildings created at the time. Historians may also take archaeological artifacts and oral reports and interviews into consideration. Written sources may be divided into three types.
 * Narrative sources or literary sources tell a story or message. They are not limited to fictional sources (which can be sources of information for contemporary attitudes) but include diaries, films, biographies, leading philosophical works, and scientific works.
 * Diplomatic sources include charters and other legal documents which usually follow a set format.
 * Social documents are records created by organizations, such as registers of births and tax records.

In historiography, when the study of history is subject to historical scrutiny, a secondary source becomes a primary source. For a biography of a historian, that historian's publications would be primary sources. Documentary films can be considered a secondary source or primary source, depending on how much the filmmaker modifies the original sources.

The Lafayette College Library provides a synopsis of primary sources in several areas of study: The definition of a primary source varies depending upon the academic discipline and the context in which it is used.
 * In the humanities, a primary source could be defined as something that was created either during the time period being studied or afterward by individuals reflecting on their involvement in the events of that time.
 * In the social sciences, the definition of a primary source would be expanded to include numerical data that has been gathered to analyze relationships between people, events, and their environment.
 * In the natural sciences, a primary source could be defined as a report of original findings or ideas. These sources often appear in the form of research articles with sections on methods and results.

Finding primary sources
Although many primary sources remain in private hands, others are located in archives, libraries, museums, historical societies, and special collections. These can be public or private. Some are affiliated with universities and colleges, while others are government entities. Materials relating to one area might be located in many different institutions. These can be distant from the original source of the document. For example, the Huntington Library in California houses many documents from the United Kingdom.

In the US, digital copies of primary sources can be retrieved from a number of places. The Library of Congress maintains several digital collections where they can be retrieved. Some examples are American Memory and Chronicling America. The National Archives and Records Administration also has digital collections in Digital Vaults. The Digital Public Library of America searches across the digitized primary source collections of many libraries, archives, and museums. The Internet Archive also has primary source materials in many formats.

In the UK, the National Archives provides a consolidated search of its own catalog and a wide variety of other archives listed on the Access to Archives index. Digital copies of various classes of documents at the National Archives (including wills) are available from DocumentsOnline. Most of the available documents relate to England and Wales. Some digital copies of primary sources are available from the National Archives of Scotland. Many County Record Offices collections are included in Access to Archives, while others have their own online catalogs. Many County Record Offices will supply digital copies of documents.

In other regions, Europeana has digitized materials from across Europe while the World Digital Library and Flickr Commons have items from all over the world. Trove has primary sources from Australia.

Most primary source materials are not digitized and may only be represented online with a record or finding aid. Both digitized and not digitized materials can be found through catalogs such as WorldCat, the Library of Congress catalog, the National Archives catalog, and so on.

Using primary sources
History as an academic discipline is based on primary sources, as evaluated by the community of scholars, who report their findings in books, articles, and papers. Arthur Marwick says "Primary sources are absolutely fundamental to history." Ideally, a historian will use all available primary sources that were created by the people involved at the time being studied. In practice, some sources have been destroyed, while others are not available for research. Perhaps the only eyewitness reports of an event may be memoirs, autobiographies, or oral interviews that were taken years later. Sometimes the only evidence relating to an event or person in the distant past was written or copied decades or centuries later. Manuscripts that are sources for classical texts can be copies of documents or fragments of copies of documents. This is a common problem in classical studies, where sometimes only a summary of a book or letter has survived. Potential difficulties with primary sources have the result that history is usually taught in schools using secondary sources.

Historians studying the modern period with the intention of publishing an academic article prefer to go back to available primary sources and to seek new (in other words, forgotten or lost) ones. Primary sources, whether accurate or not, offer new input into historical questions and most modern history revolves around heavy use of archives and special collections for the purpose of finding useful primary sources. A work on history is not likely to be taken seriously as a scholarship if it only cites secondary sources, as it does not indicate that original research has been done.

However, primary sources – particularly those from before the 20th century – may have hidden challenges. "Primary sources, in fact, are usually fragmentary, ambiguous, and very difficult to analyze and interpret." Obsolete meanings of familiar words and social context are among the traps that await the newcomer to historical studies. For this reason, the interpretation of primary texts is typically taught as part of an advanced college or postgraduate history course, although advanced self-study or informal training is also possible.

Strengths and weaknesses
In many fields and contexts, such as historical writing, it is almost always advisable to use primary sources if possible, and "if none are available, it is only with great caution that [the author] may proceed to make use of secondary sources." In addition, primary sources avoid the problem inherent in secondary sources in which each new author may distort and put a new spin on the findings of prior cited authors. "A history, whose author draws conclusions from other than primary sources or secondary sources actually based on primary sources, is by definition fiction and not history at all."

- Kameron Searle

However, a primary source is not necessarily more of an authority or better than a secondary source. There can be bias and tacit unconscious views that twist historical information. "Original material may be... prejudiced, or at least not exactly what it claims to be."

- David Iredale

The errors may be corrected in secondary sources, which are often subjected to peer review, can be well documented, and are often written by historians working in institutions where methodological accuracy is important to the future of the author's career and reputation. Historians consider the accuracy and objectivity of the primary sources that they are using and historians subject both primary and secondary sources to a high level of scrutiny. A primary source such as a journal entry (or the online version, a blog), at best, may only reflect one individual's opinion on events, which may or may not be truthful, accurate, or complete.

Participants and eyewitnesses may misunderstand events or distort their reports, deliberately or not, to enhance their own image or importance. Such effects can increase over time, as people create a narrative that may not be accurate. For any source, primary or secondary, it is important for the researcher to evaluate the amount and direction of bias. As an example, a government report may be an accurate and unbiased description of events, but it may be censored or altered for propaganda or cover-up purposes. The facts can be distorted to present the opposing sides in a negative light. Barristers are taught that evidence in a court case may be truthful but may still be distorted to support or oppose the position of one of the parties.

Classifying sources
Many sources can be considered either primary or secondary, depending on the context in which they are examined. Moreover, the distinction between primary and secondary sources is subjective and contextual, so that precise definitions are difficult to make. A book review, when it contains the opinion of the reviewer about the book rather than a summary of the book, becomes a primary source.

If a historical text discusses old documents to derive a new historical conclusion, it is considered to be a primary source for the new conclusion. Examples in which a source can be both primary and secondary include an obituary or a survey of several volumes of a journal counting the frequency of articles on a certain topic.

Whether a source is regarded as primary or secondary in a given context may change, depending upon the present state of knowledge within the field. For example, if a document refers to the contents of a previous but undiscovered letter, that document may be considered "primary", since it is the closest known thing to an original source; but if the letter is later found, it may then be considered "secondary"

In some instances, the reason for identifying a text as the "primary source" may devolve from the fact that no copy of the original source material exists, or that it is the oldest extant source for the information cited.

Forgeries
Historians must occasionally contend with forged documents that purport to be primary sources. These forgeries have usually been constructed with a fraudulent purpose, such as promulgating legal rights, supporting false pedigrees, or promoting particular interpretations of historic events. The investigation of documents to determine their authenticity is called diplomatics.

For centuries, popes used the forged Donation of Constantine to bolster the Papacy's secular power. Among the earliest forgeries are false Anglo-Saxon charters, a number of 11th- and 12th-century forgeries produced by monasteries and abbeys to support a claim to land where the original document had been lost or never existed. One particularly unusual forgery of a primary source was perpetrated by Sir Edward Dering, who placed false monumental brasses in a parish church. In 1986, Hugh Trevor-Roper authenticated the Hitler Diaries, which were later proved to be forgeries. Recently, forged documents have been placed within the UK National Archives in the hope of establishing a false provenance. However, historians dealing with recent centuries rarely encounter forgeries of any importance.

title: Primary source


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The Four Seasons (Vivaldi)

The Four Seasons (Le quattro stagioni) is a group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year. These were composed around 1718–1720, when Vivaldi was the court chapel master in Mantua. They were published in 1725 in Amsterdam, together with eight additional concerti, as Il cimento dell'armonia e dell'inventione (The Contest Between Harmony and Invention).

The Four Seasons is the best known of Vivaldi's works. Though three of the concerti are wholly original, the first, "Spring", borrows patterns from a sinfonia in the first act of Vivaldi's contemporaneous opera Il Giustino. The inspiration for the concertos is not the countryside around Mantua, as initially supposed, where Vivaldi was living at the time, since according to Karl Heller they could have been written as early as 1716–1717, while Vivaldi was engaged with the court of Mantua only in 1718.

They were a revolution in musical conception: Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, and warm winter fires.

Unusually for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called program music—in other words, music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. For example, in the middle section of "Spring", when the goatherd sleeps, his barking dog can be heard in the viola section. The music is elsewhere similarly evocative of other natural sounds. Vivaldi divided each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections.

Structure
Vivaldi's arrangement is as follows:

 * 1) Concerto No. 1 in E major, Op. 8, RV 269, "Spring" (La primavera)1. Allegro (in E major)

2. Largo e pianissimo sempre (in C♯ minor)

3. Allegro pastorale (in E major)
 * 1) Concerto No. 2 in G minor, Op. 8, RV 315, "Summer" (L'estate)1. Allegro non molto (in G minor)

2. Adagio e piano – Presto e forte (in G minor)

3. Presto (in G minor)
 * 1) Concerto No. 3 in F major, Op. 8, RV 293, "Autumn" (L'autunno)1. Allegro (in F major)

2. Adagio molto (in D minor)

3. Allegro (in F major)
 * 1) Concerto No. 4 in F minor, Op. 8, RV 297, "Winter" (L'inverno)1. Allegro non molto (in F minor)

2. Largo (in E♭ major)

3. Allegro (in F minor)

A performance of all four concerti may take about 40–43 minutes. Approximate timings of the individual concerti:
 * 1) Spring: 10 minutes
 * 2) Summer: 11 minutes
 * 3) Autumn: 11 minutes
 * 4) Winter: 9 minutes

Sonnets and allusions
There is some debate as to whether the four concertos were written to accompany four sonnets or vice versa. Though it is not known who wrote the accompanying sonnets, the theory that Vivaldi wrote them is supported by the fact that each sonnet is broken into three sections, each neatly corresponding to a movement in the concerto. Regardless of the sonnets' authorship, The Four Seasons can be classified as program music, instrumental music intended to evoke something extra-musical, and an art form which Vivaldi was determined to prove sophisticated enough to be taken seriously.

In addition to these sonnets, Vivaldi provided instructions such as "The barking dog" (in the second movement of "Spring"), "Languor caused by the heat" (in the first movement of "Summer"), and "the drunkards have fallen asleep" (in the second movement of "Autumn").

A new translation of the sonnets into English by Armand D'Angour was published in 2019.

Recording history
The date and personnel on the first recording of The Four Seasons are disputed. There is a compact disc of a recording made by the violinist Alfredo Campoli taken from acetates of a French radio broadcast; these are thought to date from early in 1939. The first proper electrical recording was made in 1942 by Bernardino Molinari; though his is a somewhat different interpretation from modern performances, it is clearly recognisable as The Four Seasons. Molinari's recording was made for Cetra, and was issued in Italy and subsequently in the United States on six double-sided 78s, in the 1940s. It was then reissued on long-playing album in 1950, and, later, on compact disc.

The first American recording was made in the final week of 1947 by the violinist Louis Kaufman. The recording was made at Carnegie Hall in advance of a scheduled recording ban effective 1 January 1948. The performers were The Concert Hall Chamber Orchestra under Henry Swoboda, Edith Weiss-Mann (harpsichord) and Edouard Nies-Berger (organ). This recording helped the re-popularisation of Vivaldi's music in the mainstream repertoire of Europe and America following on the work done by Molinari and others in Italy. It won the French Grand Prix du Disque in 1950, was elected to the Grammy Hall of Fame in 2002, and was selected the following year for the National Recording Registry in the Library of Congress. Kaufman, intrigued to learn that the four concertos were in fact part of a set of twelve, set about finding a full score and eventually recorded the other eight concertos in Zürich in 1950, making his the first recording of Vivaldi's complete Op. 8.

The ensemble I Musici has recorded The Four Seasons probably more often than any other established musical group to date: The debut recording in 1955 with Felix Ayo; again with Ayo in 1959, this time in stereo — the very first stereo recording of the work; subsequent recordings featuring Roberto Michelucci (1969), the highly acclaimed 1982 recording with Pina Carmirelli, Federico Agostini (1988), Mariana Sîrbu (1995), Antonio Anselmi (2012) and Marco Fiorini (2021). There is also a video recording of The Four Seasons performed by I Musici in Antonio Vivaldi's hometown of Venice, filmed by Anton van Munster in 1988.

The 1969 Argo recording by the Academy of St. Martin-in-the-Fields conducted by Neville Marriner and featuring the soloist Alan Loveday sold over half a million copies; it became the ensemble's first gold record.

I Solisti di Zagreb, under the baton of Antonio Janigro with Jan Tomasow as violin soloist and Anton Heiller on harpsichord, followed in 1957 on the Vanguard label, further reissued under the Philips and other labels. Wilfrid Mellers, an English music critic, musicologist and composer wrote of this performance, "the soloists phrase their lyricism beautifully." John Thornton wrote about this recording, "Here is matchless ensemble playing, topped by Tomasow's secure playing. Janigro reveals his talent for conducting, which competes with his considerable talent for cello playing."

Ivan Supek wrote of this recording:

"I will attempt to convey to you how much this performance means to me, and might mean to you, as well. My first encounter with the records took place almost thirty years ago, when 'our' Antonio revealed to me the true significance of the piece of another great Antonio, his famous namesake, whose Le Quattro Staggioni I could hardly listen any more because of the 'grand', actually too grand, performances usual at that time, let alone enjoy them. What a change it was – a window into a new world; music is fast, precise and true to life, the intonation is correct, the continuo appropriate, and the violin of beautiful sound in fitting correlation with the Zagreb Soloists. The self-assured and fine tone of Jan Tomasow's solo violin relates perfectly with the Soloists; the entire performance is impregnated with the spirit of Janigro's perfectionism, leaving the music and its soul fully exposed. It had been for a long time the only performance I could listen to. Only during [the] last decade some new kids, playing authentic instruments, have offered to me similar pleasure and insights into the music of Antonio Vivaldi and, to my great pleasure, Janigro's performance is no longer the only choice for me.

In my opinion, this also shows how Janigro's performance in cooperation with the Zagreb Soloists was far ahead its time, as corroborated by Igor Stravinsky, who claimed that it was the most beautiful performance of Le Quattro Staggioni he had ever heard, a statement which I only recently learned about. No wonder, since such “bareness” and precision of Janigro's interpretation must have appealed to him. It was much later that I discovered the excellence of the recording as well. At that time, the Zagreb Soloists were recording for Vanguard, mostly in Vienna at various locations, and this particular recording was made in 1957 at Rotenturmstrassaal. Recording was produced by Seymour Solomon, chief producer of the entire edition, who would personally come from the USA to oversee every recording to be made by the Zagreb Soloists, whereas the Vanguard branch in Vienna 'Amadeo' was in charge of the organisation. (My gratitude to one of the founders of the Zagreb Soloists, Mr. Stjepan Aranjoš, for providing me with some important insights). Janigro was a perfectionist, often rather merciless, not only in matters of music but also in terms of the sound, so he participated directly and intensely in [the] recording process, which was quite uncommon at that time. All that great care, by all participants in the project, is amply reflected in the recording itself, resulting in an airy performance of appropriate spaciousness and extension, with only occasional “congestion” of high tones in forte sections."

Paul Shoemaker wrote about this recording:

"Nothing I have heard changes my view that the best Seasons ever was performed by Jan Tomasow and I Solisti di Zagreb and beautifully recorded by Vanguard at the very beginning of the stereo era. If you have almost every other version of the Seasons, you’ll want this one, too. If money and space are no obstacle, it might be worth having."Nigel Kennedy's 1989 recording of The Four Seasons with the English Chamber Orchestra sold over three million copies worldwide, becoming one of the best-selling classical works ever. The marketing of Kennedy's record was described as "the first time that a classical artist had been given the full pop marketing treatment", with a promotional single, and advertisements on billboards, TV and radio.

Gil Shaham and the Orpheus Chamber Orchestra recorded The Four Seasons as well as a music video for the first movement of "Winter" that was featured regularly on The Weather Channel in the mid-1990s.

Surround sound versions of the piece have been issued on Super Audio CD by Richard Tognetti, Pinchas Zukerman, Jonathan Carney and Rachel Podger.

The World's Encyclopedia of Recorded Music in 1952 cites only two recordings of The Four Seasons – by Molinari and Kaufman. , approximately 1,000 recorded versions have been made since Campoli's in 1939.

In 2009, all four concertos were arranged for piano by pianist Jeffrey Biegel, who then recorded them the same year for the Naxos label. It is available in Europe and the United States as a CD.

Classical musicians have sought to distinguish their recordings of The Four Seasons, with historically informed performances, and embellishments, to the point of varying the instruments and tempi, or playing notes differently from the listener's expectation (whether specified by the composer or not). It is said that Vivaldi's work presents such opportunities for improvisation. Many period-based ensembles have recorded The Four Seasons, including La Serenissima under the direction of Adrian Chandler who recorded the Manchester version of The Four Seasons, The English Concert under the direction of Trevor Pinnock, the Academy of Ancient Music under the direction of Christopher Hogwood and Europa Galante under the direction of Fabio Biondi.

Reception
The Four Seasons was voted #67 in the Classic FM Hall of Fame. Three of the four concerti were included in the Classic 100 Concerto listing.

Derivative works
Derivative works of these concerti include arrangements, transcriptions, covers, remixes, samples, and parodies in music — themes in theater and opera, soundtracks in films (or video games), and choreography in ballet (along with contemporary dance, figure skating, rhythmic gymnastics, synchronized swimming, etc.) — either in their entirety, single movements, or medleys. Antonio Vivaldi appears to have started this trend of adapting music from The Four Seasons, and since then it has expanded into many aspects of the performing arts (as have other instrumental & vocal works by the composer). This contest between harmony and invention (as it were) now involves various genres around the world:

 * 1726 (or 1734)
 * Vivaldi re-scored the Allegro movement from the "Spring" concerto, both as the opening sinfonia (third movement), and chorus (adding lyrics) for his opera Dorilla in Tempe.
 * J. S. Bach used the theme of the first movement of the "Spring" concerto for the third movement (aria) of his cantata Wer weiß, wie nahe mir mein Ende? (BWV 27).

 * 1727 (or 1730, 1731)
 * Vivaldi based his setting of "Gelido in ogni vena", an aria from Metastasio's Siroe, re di Persia libretto, on the first movement of the "Winter" concerto. Vivaldi's Siroe, containing an aria on this text, premiered in 1727 (music lost). An aria on the "Gelido in ogni vena" text also appeared in his 1730 Argippo (music lost). In 1731, he inserted the extant version of this aria in his Farnace when this opera was restaged in Pavia.

 * 1739
 * Nicolas Chédeville (France) arranged the concerti (as "Le printemps, ou Les saisons amusantes") for hurdy-gurdy or musette, violin, flute, and continuo.

 * 1765
 * The French composer Michel Corrette composed and published a choral motet, Laudate Dominum de Coelis, subtitled Motet à Grand Chœur arrangé dans le Concerto de Printemps de Vivaldi. The work, for choir and orchestra, consists of the words of Psalm 148 set to the music from the Spring concerto with vocal soloists singing the solo concerto parts.

 * 1775
 * Jean-Jacques Rousseau published his flute version of the "Spring" concerto.

 * 1969
 * The Swingle Singers (France) recorded an album (The Joy of Singing) based on the work (and that of other composers).

 * 1970
 * Astor Piazzolla (Argentina) published Estaciones Porteñas, "The Four Seasons of Buenos Aires"; these have been included in "eight seasons" performances, along with Vivaldi's work, by various artists.

 * 1972
 * Moe Koffman (Canada) recorded a jazz album of the concerti.

 * 1976
 * The New Koto Ensemble (Japan) recorded the concerti on koto instruments.

 * 1978
 * Michael Franks (United States) composed a vocal serenade based on the theme of the Adagio from the "Summer" concerto. This was subsequently covered by WoongSan (Korea) in 2010.

 * 1981
 * The Four Seasons is used in the eponymous 1981 film, along with other Vivaldi concertos for flute.

 * 1982
 * Patrick Gleeson (United States) recorded a "computer realization" of the concerti.

 * 1984
 * Thomas Wilbrandt (West Germany) composed and recorded "The Electric V" (later adapted for film), which interprets Vivaldi's work with ambient electronics, vocals, and samples of the original concerti.
 * Roland Petit (France) choreographed a ballet (entitled "Les Quatre Saisons") to an I Musici performance of Vivaldi's work.

 * 1987
 * Ben Shedd (United States) produced a scenic tour of nature with the concerti as background music (narrated by William Shatner).

 * 1990
 * A MIDI arrangement of the "Spring" concerto by Passport Designs was included with Windows 3.0.

 * 1993
 * Jean-Pierre Rampal (France) recorded arrangements of the concerti for flute; these were also recorded by Jadwiga Kotnowska.

 * 1995
 * Arnie Roth (United States) recorded "The Four Seasons Suite", including sonnets (recited by Patrick Stewart). This may not qualify as a derivative work, depending on whether Vivaldi's translated sonnets were meant to be narrated with the music (versus being read in Italian, or silently by the audience).

 * 1997
 * The Baronics (Canada) recorded surf guitar versions of one movement from each of the concerti.
 * French musician Jacques Loussier composed and recorded, with his trio, jazz-swing interpretations of the concerti.

 * 1998
 * The Great Kat (England/United States) recorded a shred guitar (and violin) version of the Presto movement from the "Summer" concerto.
 * Vanessa-Mae (Singapore/Britain) recorded a crossover version of the same movement for electric violin.

 * 1999
 * The Chinese Baroque Players recorded arrangements of the concerti for traditional Chinese instruments.
 * Petrova & Tikhonov (Russia) performed their long program to a medley of Vivaldi's seasons to win the European Figure Skating Championships.

 * 2000
 * Venice Harp Quartet (Italy) recorded arrangements of the concerti for harp ensemble.
 * Gustavo Montesano (Argentina) recorded a tango guitar version of the "Spring" Allegro with the Royal Philharmonic Orchestra.
 * Jochen Brusch (Germany) & Sven-Ingvart Mikkelsen (Denmark) recorded arrangements of the concerti for violin and organ.

 * 2001
 * Ferhan & Ferzan Önder (Turkish twin sisters) recorded a transcription of the concerti for two pianos by Antun Tomislav Šaban.
 * BanYa (South Korea) recorded a dance version of the "Winter" concerto for the Pump It Up video game.
 * Susan Osborn (United States) recorded a new-age vocal serenade based on the "Winter" Largo.
 * The Charades (Finland) recorded the Presto from the "Summer" concerto as "Summer Twist", for surf guitar ensemble.
 * The Charades (Finland) recorded the Presto from the "Summer" concerto as "Summer Twist", for surf guitar ensemble.

 * 2003
 * Red Priest (UK) recorded arrangements of the concerti for recorder.
 * A muzak version of the "Spring" concerto is heard in The Simpsons: Hit & Run when the player is in the Stonecutter's Tunnel.
 * Hayley Westenra (New Zealand) adapted the "Winter" concerto into a song titled "River of Dreams" which is sung in English. It was recorded for her Pure album on July 10.

 * 2004
 * Tafelmusik (Canada) arranged a cross-cultural arts special based on the concerti, involving a Chinese pipa, Indian sarangi and Inuit throat-singing.

 * 2005
 * Mỹ Linh (Vietnamese singer) adapted the "Winter" concerto into a song titled "Mùa Đông" (which means "winter" also) on her album Chat với Mozart (Chat with Mozart).
 * Dark Moor (Spain) recorded an electric-guitar version of the Allegro non molto movement from the "Winter" concerto; this was later integrated into the Finnish video game Frets on Fire.
 * 2006
 * Juliette Pochin (Wales) performed on her debut album an operatic suite of sonnets set to the concerti.
 * Accentus chamber choir (France) recorded a choral version of the "Winter" concerto.
 * Stéphane Lambiel (Switzerland) performed his long program to a medley of the concerti to win the World Figure Skating Championships.

 * 2007
 * Celtic Woman (Ireland) recorded the "Winter" Largo with vocals (Italian lyrics). The youngest former member, Chloë Agnew, originally recorded it for her Walking in the Air album which was released in 2002.
 * PercaDu (Israel) performed an arrangement of the Allegro non molto movement from the "Winter" concerto, for marimbas with chamber orchestra.
 * Mauro Bigonzetti (Italy) choreographed a ballet of the concerti for a French-Canadian dance company.
 * Tim Slade (Australia) directed 4, a documentary which follows four classical violinists in their homelands (of Tokyo; Thursday Island, New York; and Lapland), as they relate to Vivaldi's Four Seasons.
 * Seoul Metropolitan Traditional Music Orchestra performed the concerti with arrangement for Korean traditional music (gugak) orchestra by Seong-gi Kim. It was recorded live and released with CD from Synnara Music same year.

 * 2008
 * Sveceny & Dvorak (Czech Republic) produced both an album and stage production of world music based on the concerti.
 * Yves Custeau (Canada) recorded a rock & roll "one-man band" version of the "Spring" Allegro.
 * Daisy Jopling (England/United States) recorded a violin & hip-hop version of the Allegro non molto movement from the "Winter" concerto, and also performs it reggae-style.
 * Innesa Tymochko (Ukraine) performed her crossover version of the Presto from the "Summer" concerto, for violin.
 * Wez Bolton (Isle of Man) recorded a cover version of the Allegro non molto movement from the "Winter" concerto, based on the Japanese video game "Beatmania" remix.
 * Patrick Chan (Canada) performed his long program to a medley of the concerti to win the Canadian Figure Skating Championships.

 * 2009
 * Absynth Against Anguish (Romania) produced an electronic (trance) version of the concerti.
 * Riccardo Arrighini (Italy) recorded the concerti for solo piano, in a jazz style.
 * Christophe Monniot recorded ambient-jazz interpretations of the concerti.
 * Christian Blind (France) recorded a surf guitar/acid rock version of the Allegro movement from the "Spring" concerto.

 * 2010
 * Art Color Ballet (Poland) performed their "4 elements" show to the Presto movement from the "Summer" concerto, arranged by Hadrian Filip Tabęcki (Kameleon).
 * David Garrett (Germany) recorded a crossover version of Vivaldi's winter (allegro non molto), combining classical violin with modern rock music.

 * 2011
 * Black Smith (Russia) performed the Presto movement from the "Summer" concerto in the style of thrash metal music (likewise, this movement has been covered numerous times by aspiring electric guitar virtuosos, and other crossover musicians).
 * Angels (Greece) performed their crossover version of the same movement, scored for electric strings.
 * Szentpeteri Csilla (Hungary) performed her crossover version of the same movement, scored for piano.
 * Leonel Valbom (Portugal) remixed the Presto movement from the "Summer" concerto with VST Synths.
 * Tim Kliphuis (Netherlands) performed the Allegro from the "Spring" movement as a crossover of world-music styles.
 * Niibori Guitar Ensemble (Japan) Performed the Presto from the "Summer" movement as a arrangement for their concert at the Minato Mirai Hall on 1 June 2011

 * 2012
 * Russian violinist Olga Kholodnaya and Argentinian drummer Marino Colina arranged and recorded live in Berlin a version for violin and drum kit.
 * German-born British composer Max Richter created a postmodern and minimalist recomposition, Recomposed by Max Richter: Vivaldi – The Four Seasons. Working with solo violinist Daniel Hope, Richter discarded around 75 per cent of the original source material; the album is 44 minutes long.
 * Aura (Japan) recorded an a cappella arrangement of the concerti, and had also performed Vivaldi's Spring chorus (from Dorilla in Tempe) on a prior album.
 * Sinfonity (Spain) performed the concerti for "electric-guitar orchestra".
 * Bachod Chirmof (USA) produced a MIDI recording & animation of Vivaldi's winter (movements I & III).
 * Tornado Classic (Russia) performed the Presto movement from the "Summer" concerto, with electric guitar and slap bass.
 * The symphonic rock band Trans-Siberian Orchestra used a portion of the first movement of the "Winter" concerto in their song "Dreams of Fireflies (On A Christmas Night)" on their Dreams of Fireflies EP.

 * 2013
 * Richard Galliano (France) recorded the concerti for accordion, as well as a few of his opera arias on the instrument.
 * Vito Paternoster (Italy) recorded the concerti in the form of sonatas for cello.
 * Periodic (Germany) produced a megamix of the concerti, which incorporates electronica with samples of a classical recording.
 * Steven Buchanan (USA) produced a tetralogy of "midseasons" (slow movements and corresponding sonnets) from Vivaldi's program music.
 * William Harvey (USA) conducts the Afghan Youth Orchestra, the primary ensemble of Afghanistan National Institute of Music, in his composition "The Four Seasons of Afghanistan" at the Kennedy Center and Carnegie Hall.

 * 2014
 * The Piano Guys (USA) recorded an arrangement for piano and cello, a crossover between the "Winter" concerto and "Let it Go" from the animated film Frozen.
 * Along with the original composition of "Winter" included in Fantasia: Music Evolved, there are also two mixes: the "Alt Rock" mix, and the "Steve Porter" mix.

 * 2015
 * Nihad Hrustanbegovic (The Netherlands) recorded the concerti for solo accordion on Zefir Records.
 * Zozimo Rech and Adrianne Simioni (Brazil) recorded the concerti on electric and acoustic guitar on the Astronomusic label.
 * Lupe Fiasco's songs "Summer", "Fall", "Winter", & "Spring" on his album Tetsuo & Youth reference the concerti.

 * Justin Bird (New Zealand) transcribed the concerti for solo piano.
 * In April, violist David Aaron Carpenter recorded the concerti, arranged for viola and released with an arrangement of Piazzolla's Estaciones Porteñas and The Four Seasons of Manhattan by Alexey Shor.
 * In April, violist David Aaron Carpenter recorded the concerti, arranged for viola and released with an arrangement of Piazzolla's Estaciones Porteñas and The Four Seasons of Manhattan by Alexey Shor.

 * 2019
 * "For Seasons" is a recomposition of Vivaldi's concertos using algorithms to portray climate change from 1725 to 2019. Arranged by Simone Candotto and performed in November 2019 by the NDR Elbphilharomie Orchestra, under the direction of Alan Gilbert.
 * Portrait of a Lady on Fire used La Serenissima's Four Seasons as part of their film soundtrack.
 * Winter is used in John Wick: Chapter 3 – Parabellum during the assault in the Continental by Zero and his students

 * 2021
 * Ballet Arizona performed original choreography by artistic director Ib Andersen in an outdoor performance set against the lush Southwest landscape of the Desert Botanical Gardens.
 * "The [Uncertain] Four Seasons" is a reworking of Vivaldi's original, by both human composers and AI algorithms based on climate predictions for the year 2050. Each performance is modified to fit the climatic predictions for the location of performance. The project includes a multi-orchestra, streamed event planned for November 1, 2021, in connection with the United Nations Climate Change conference held in Glasgow, Scotland. It was inspired by the 2019 performance, "For Seasons."
 * ATEEZ incorporated the "Summer" concerto into their cover of iKON's "Rhythm Ta" on Kingdom: Legendary War.

 * 2022
 * The Brazilian telenovela Quanto Mais Vida, Melhor! covered the "Summer" concerto for a special sequence where the four main characters "switch bodies". For the scene, the compositions also had different rhythms involving rock, classical music, pop, and samba, respectively.
 * Vivaldi and Italian Baroque specialists, La Serenissima (UK), "Winter" from the Manchester version of The Four Seasons was sampled in a Beats by Dre advertisement.
 * The eponymous heroine of Wednesday plays Winter at the cello. (episode 3)

 * 2023
 * A song "A Dramatic Irony" incorporating remixes elements of Winter and Summer were also heard in Kafka's character introduction trailer from the game Honkai: Star Rail.

title: The Four Seasons (Vivaldi)


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Booderee National Park and Botanic Gardens

Booderee National Park and Botanic Gardens, formerly Jervis Bay National Park and Jervis Bay Botanic Gardens, are located in the Jervis Bay Territory of Australia. The reserve is composed of two sections:
 * the Bherwerre Peninsula, on the southern foreshore of Jervis Bay, Bowen Island and the waters of the south of the bay
 * lands bordered by Wreck Bay to the south, St Georges Basin to the north and Sussex Inlet to the west

What is now a national park was declared as a nature reserve in 1971. In 1992, Jervis Bay National Park was declared. The local Aboriginal community was offered two seats on the park's Board of Management and declined as part of a protest over land rights issues.

In 1995, the park was transferred to the Wreck Bay Aboriginal Community. At this time, the name of the park was changed to "Booderee". The name, meaning "bay of plenty" or "plenty of fish" in the Dhurga language, was chosen by the local Aboriginal community. It is now co-managed with Parks Australia.

History
In 1995, the park was transferred to the Wreck Bay Aboriginal Community, when the name was changed to "Booderee". The name, meaning "bay of plenty" or "plenty of fish" in the Dhurga language, was chosen by the local Aboriginal community. It is now co-managed with Parks Australia. In 2010 the park won international award in the Virgin Holidays' Responsible Tourism Awards.

The lighthouse was built during the 19th century because of the number of the shipwrecks that happened nearby. Unfortunately, the lighthouse was built in the wrong spot and it came to be regarded as a navigational hazard.

Description
The park is managed as an Indigenous Protected Area.

The reserve is composed of two sections:
 * The Bherwerre Peninsula, located on the southern foreshore of Jervis Bay;
 * The lands bordered by Wreck Bay to the south.

There are hundreds of kilometres of walking tracks.

Park highlights
Cave Beach with its unspoiled beaches and abundant flora and fauna, the park, located just three hours from the cities of Sydney and Canberra, is extremely popular with tourists.

The park's sea cliffs are the highest in New South Wales and among the highest anywhere on the east coast of Australia, peaking at Steamers Head which rises to 130 m.

The Cape St George Lighthouse ruin is considered the most significant European heritage site in the park and was listed on the Register of the National Estate in 1981.

The beach at Greenpatch is a popular destination, and is said to have the whitest sand in the world. In addition there are abundant surf breaks on the ocean sides of the Park, most notably South Coast Pipe.

Although not accessible to the public, a little penguin rookery exists on Bowen Island.

Murrays beach lies just to the west of the southern headland, facing Bowen Island and is one of the most beautiful in the park.