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Throne

A throne is the seat of state of a potentate or dignitary, especially the seat occupied by a sovereign (or viceroy) on state occasions; or the seat occupied by a pope or bishop on ceremonial occasions. "Throne" in an abstract sense can also refer to the monarchy itself, an instance of metonymy, and is also used in many expressions such as "the power behind the throne".

A throne is a symbol of divine and secular rule and the establishment of a throne as a defining sign of the claim to power and authority. It can be with a high backrest and feature heraldic animals or other decorations as adornment and as a sign of power and strength. A throne can be placed underneath a canopy or baldachin. The throne can stand on steps or a dais and is thus always elevated. The expression "ascend (mount) the throne" takes its meaning from the steps leading up to the dais or platform, on which the throne is placed, being formerly comprised in the word's significance. Coats of arms or insignia can feature on throne or canopy and represent the dynasty. Even in the physical absence of the ruler an empty throne can symbolise the everlasting presence of the monarchical authority.

When used in a political or governmental sense, a throne typically exists in a civilization, nation, tribe, or other politically designated group that is organized or governed under a monarchical system. Throughout much of human history societies have been governed under monarchical systems, in the beginning as autocratic systems and later evolved in most cases as constitutional monarchies within liberal democratic systems, resulting in a wide variety of thrones that have been used by given heads of state. These have ranged from stools in places such as in Africa to ornate chairs and bench-like designs in Europe and Asia, respectively. Often, but not always, a throne is tied to a philosophical or religious ideology held by the nation or people in question, which serves a dual role in unifying the people under the reigning monarch and connecting the monarch upon the throne to his or her predecessors, who sat upon the throne previously. Accordingly, many thrones are typically held to have been constructed or fabricated out of rare or hard to find materials that may be valuable or important to the land in question. Depending on the size of the throne in question it may be large and ornately designed as an emplaced instrument of a nation's power, or it may be a symbolic chair with little or no precious materials incorporated into the design.

When used in a religious sense, throne can refer to one of two distinct uses. The first use derives from the practice in churches of having a bishop or higher-ranking religious official (archbishop, pope, etc.) sit on a special chair which in church referred to by written sources as a "throne", or “cathedra” (Latin for 'chair') and is intended to allow such high-ranking religious officials a place to sit in their place of worship. The other use for throne refers to a belief among many of the world's monotheistic and polytheistic religions that the deity or deities that they worship are seated on a throne. Such beliefs go back to ancient times, and can be seen in surviving artwork and texts which discuss the idea of ancient gods (such as the Twelve Olympians) seated on thrones. In the major Abrahamic religions of Judaism, Christianity, and Islam, the Throne of Yahweh is attested to in religious scriptures and teachings, although the origin, nature, and idea of the Throne of Yahweh in these religions differs according to the given religious ideology practiced.

In the west, a throne is most identified as the seat upon which a person holding the title King, Queen, Emperor, or Empress sits in a nation using a monarchy political system, although there are a few exceptions, notably with regards to religious officials such as the pope and bishops of various sects of the Christian faith. Changing geo-political tides have resulted in the collapse of several dictatorial and autocratic governments, which in turn have left a number of throne chairs empty. Many of these thrones—such as China's Dragon Throne—survive today as historic examples of nation's previous government.

Antiquity
Thrones were found throughout the canon of ancient furniture. The depiction of monarchs and deities as seated on chairs is a common topos in the iconography of the Ancient Near East.

The word throne itself is from Greek θρόνος (thronos), "seat, chair", in origin a derivation from the PIE root  "to support" (also in dharma "post, sacrificial pole"). Early Greek Διὸς θρόνους (Dios thronous) was a term for the "support of the heavens", i.e. the axis mundi, which term when Zeus became an anthropomorphic god was imagined as the "seat of Zeus". In Ancient Greek, a "thronos" was a specific but ordinary type of chair with a footstool, a high status object but not necessarily with any connotations of power. The Achaeans (according to Homer) were known to place additional, empty thrones in the royal palaces and temples so that the gods could be seated when they wished to be. The most famous of these thrones was the throne of Apollo in Amyclae.

The Romans also had two types of thrones—one for the emperor and one for the goddess Roma whose statues were seated upon thrones, which became centers of worship.

Persia
In Persia, the traditional name of the throne is the Takht-e Padeshah. From the Achaemenid era to the last Iranian dynasty Pahlavi, the throne was used for sitting shahs.

Hebrew Bible
The word "throne" in English translations of the Bible renders Hebrew כסא kissē'. The pharaoh of the Exodus is described as sitting on a throne (Exodus 11:5, 12:29), but mostly the term refers to the throne of the kingdom of Israel, often called the "throne of David" or "throne of Solomon". The literal throne of Solomon is described in : "Moreover the king made a great throne of ivory, and overlaid it with the best gold.. The throne had six steps, and the top of the throne was round behind: and there were stays on either side on the place of the seat, and two lions stood beside the stays. And twelve lions stood there on the one side and on the other upon the six steps: there was not the like made in any kingdom." In the Book of Esther (5:3), the same word refers to the throne of the king of Persia.

The God of Israel himself is frequently described as sitting on a throne, referred to outside of the Bible as the Throne of God, in the Psalms, and in a vision Isaiah (6:1), and notably in Isaiah 66:1, YHWH says of himself "The heaven is my throne, and the earth is my footstool" (this verse is alluded to by Matthew 5:34-35).

Biblical
In the Old Testament, Book of Kings I explicits the throne of Solomon: "Then the king made a great throne covered with ivory and overlaid with fine gold. The throne had six steps, and its back had a rounded top. On both sides of the seat were armrests, with a lion standing beside each of them. Twelve lions stood on the six steps, one at either end of each step" in Chapter 10 18-20.

In the New Testament, the angel Gabriel also refers to this throne in the Gospel of Luke : "He will be great, and will be called the Son of the Highest; and the Lord God will give Him the throne of His father David. And He will reign over the house of Jacob forever, and of His kingdom there will be no end."

Jesus promised his apostles that they would sit upon "twelve thrones", judging the twelve tribes of Israel. John's Revelation states: "And I saw a great white throne, and him that sat on it, from whose face the earth and the heaven fled away".

The Apostle Paul speaks of "thrones" in. Pseudo-Dionysius the Areopagite, in his work De Coelesti Hierarchia (VI.7), interprets this as referring to one of the ranks of angels (corresponding to the Hebrew Arelim or Ophanim). This concept was expanded upon by Thomas Aquinas in his Summa Theologica (I.108), wherein the thrones are concerned with carrying out divine justice.

In Medieval times the "Throne of Solomon" was associated with the Virgin Mary, who was depicted as the throne upon which Jesus sat. The ivory in the biblical description of the Throne of Solomon was interpreted as representing purity, the gold representing divinity, and the six steps of the throne stood for the six virtues. Psalm 45:9 was also interpreted as referring to the Virgin Mary, with the entire Psalm describing a royal throne room.

Ecclesiastical

From ancient times, bishops of the Roman Catholic, Eastern Orthodox, Anglican and other churches where episcopal offices exist, have been formally seated on a throne, called a cathedra (κάθεδρα, seat). Traditionally located in the sanctuary, the cathedra symbolizes the bishop's authority to teach the faith (hence the expression "ex cathedra") and to govern his flock.

Ex cathedra refers to the explicative authority, notably the extremely rarely used procedure required for a papal declaration to be 'infallible' under Roman Catholic canon law. In several languages the word deriving from cathedra is commonly used for an academic teaching mandate, the professorial chair.

From the presence of this cathedra (throne), which can be as elaborate and precious as fits a secular prince (even if the prelate is not a prince of the church in the secular sense), a bishop's primary church is called a cathedral. In the Roman Catholic Church, a basilica—from the Greek basilikos 'royal'—now refers to the presence there of a papal canopy (ombrellino), part of his regalia, and applies mainly to many cathedrals and Catholic churches of similar importance or splendor. In Roman Antiquity a basilica was secular public hall. Thus, the term basilica may also refer to a church designed after the manner of the ancient Roman basilica. Many of the churches built by the emperor Constantine the Great and Justinian are of the basilica style.

Some other prelates besides bishops are permitted the use of thrones, such as abbots and abbesses. These are often simpler than the thrones used by bishops and there may be restrictions on the style and ornamentation used on them, according to the regulations and traditions of the particular denomination.

As a mark of distinction, Roman Catholic bishops and higher prelates have a right to a canopy above their thrones at certain ecclesiastical functions. It is sometimes granted by special privilege to prelates inferior to bishops, but always with limitations as to the days on which it may be used and the character of its ornamentation. The liturgical color of the canopy should correspond with that of the other vestments. When ruling monarchs attend services, they are also allowed to be seated on a throne that is covered by a canopy, but their seats must be outside the sanctuary.

In the Greek Orthodox Church, the bishop's throne will often combine features of the monastic choir stall (kathisma) with appurtenances inherited from the Byzantine court, such as a pair of lions seated at the foot of the throne.

The term "throne" is often used in reference to patriarchs to designate their ecclesiastical authority; for instance, "the Ecumenical Throne" refers to the authority of the ecumenical patriarch of Constantinople.

Western bishops may also use a faldstool to fulfill the liturgical purpose of the cathedra when not in their own cathedral.

Papal
In the Roman Catholic Church, the pope is an elected monarch, both under canon law as supreme head of the church, and under international law as the head of state—styled "sovereign pontiff"—of the Vatican City State (the sovereign state within the city of Rome established by the 1929 Lateran Treaty). Until 1870, the pope was the elected monarch of the Papal States, which for centuries constituted one of the largest political powers on the divided Italian peninsula. To this day, the Holy See maintains officially recognised diplomatic status, and papal nuncios and legates are deputed on diplomatic missions throughout the world.

The pope's throne (Cathedra Romana) is located in the apse of the Archbasilica of St. John Lateran, his cathedral as Bishop of Rome.

In the apse of Saint Peter's Basilica, above the "Altar of the Chair" lies the Cathedra Petri, a throne believed to have been used by St Peter himself and other earlier popes; this relic is enclosed in a gilt bronze casting and forms part of a huge monument designed by Gian Lorenzo Bernini.

Unlike at his cathedral (Archbasilica of St. John Lateran), there is no permanent cathedra for the pope in St Peter's Basilica, so a removable throne is placed in the basilica for the pope's use whenever he presides over a liturgical ceremony. Prior to the liturgical reforms that occurred in the wake of the Second Vatican Council, a huge removable canopied throne was placed above an equally removable dais in the choir side of the "Altar of the Confession" (the high altar above the tomb of St Peter and beneath the monumental bronze baldachin); this throne stood between the apse and the Altar of the Confession.

This practice has fallen out of use with the 1960s and 1970s reform of Papal liturgy and, whenever the pope celebrates Mass in St. Peter's Basilica, a simpler portable throne is now placed on platform in front of the Altar of the Confession. Whenever Pope Benedict XVI celebrated the Liturgy of the Hours at St Peter's, a more elaborate removable throne was placed on a dais to the side of the Altar of the Chair. When the pope celebrates Mass on the basilica steps facing St. Peter's Square, portable thrones are also used.

In the past, the pope was also carried on occasions in a portable throne, called the sedia gestatoria. Originally, the sedia was used as part of the elaborate procession surrounding papal ceremonies that was believed to be the most direct heir of pharaonic splendor, and included a pair of flabella (fans made from ostrich feathers) to either side. Pope John Paul I at first abandoned the use of these implements, but later in his brief reign began to use the sedia so that he could be seen more easily by the crowds. The use of the sedia was abandoned by Pope John Paul II in favor of the so-called "popemobile" when outside. Near the end of his pontificate, Pope John Paul II had a specially constructed throne on wheels that could be used inside.

Prior to 1978, at the papal conclave, each cardinal was seated on a throne in the Sistine Chapel during the balloting. Each throne had a canopy over it. After a successful election, once the new pope accepted election and decided by what name he would be known, the cardinals would all lower their canopies, leaving only the canopy over the newly elected pope. This was the new pope's first throne. This tradition was dramatically portrayed in the 1968 film The Shoes of the Fisherman.

Medieval and early modern periods
In European feudal countries, monarchs often were seated on thrones, based in all likelihood on the Roman magisterial chair. These thrones were originally quite simple, especially when compared to their Asian counterparts. One of the grandest and most important was the Throne of Ivan "the Terrible". Dating from the mid-16th century, it is shaped as a high-backed chair with arm rests, and adorned with ivory and walrus bone plaques intricately carved with mythological, heraldic and life scenes. The plaques carved with scenes from the biblical account of King David's life are of particular relevance, as David was seen as the ideal for Christian monarchs. In practice, any chair the monarch occupied in a formal setting served as a "throne", though there were often special chairs used only for this kept in places the monarch often went to. Thrones began to be made in pairs, for the king and queen, which remained common in later periods. Sometimes they are identical, or the queen's throne may be slightly less grand.

The throne of the Byzantine Empire (Magnaura) included elaborate automatons of singing birds. In the 'regency' (nominally an Ottoman province, de facto an independent realm) of the bey of Tunis, the throne was called kursi.

Although medieval examples tended to be retained in the early modern period, having acquired the aura of tradition, when new thrones were made they either continued medieval styles or were just very grand and elaborate versions of contemporary chairs or armchairs.

South Asia
In the Indian subcontinent, the traditional Sanskrit name for the throne was siṃhāsana (lit., seat of a lion). In the Mughal times the throne was called Shāhī takht. The term gadi or gaddi (, also called rājgaddī) referred to a seat with a cushion used as a throne by Indian princes. That term was usually used for the throne of a Hindu princely state's ruler, while among Muslim princes or Nawabs, save exceptions such as the Travancore State royal family, the term musnad, also spelt as musnud, was more common, even though both seats were similar.

The Throne of Jahangir was built by Mughal emperor Jahangir in 1602 and is located at the Diwan-i-Khas (hall of private audience) at the Agra Fort.

The Peacock Throne was the seat of the Mughal emperors of India. It was commissioned in the early 17th century by Emperor Shah Jahan and was located in the Red Fort of Delhi. The original throne was subsequently captured and taken as a war trophy in 1739 by the Persian king Nadir Shah and has been lost ever since. A replacement throne based on the original was commissioned afterwards and existed until the Indian Rebellion of 1857.

Maharaja Ranjit Singh's throne was made by the goldsmith Hafez Muhammad Multani about 1820 to 1830. Made of wood and resin core, covered with sheets of repoussé, chased and engraved gold.

The Golden Throne or Chinnada Simhasana or Ratna Simahasana in Kannada is the royal seat of the rulers of the Kingdom of Mysore. The Golden Throne is kept at Mysore Palace.

Southeast Asia

In Burma, the traditional name for a throne is palin, from the Pali term pallaṅka, which means "couch" or "sofa." The Burmese palin in pre-colonial times was used to seat the sovereign and his main consort, and is today used to seat religious leaders such as sayadaws, and images of the Buddha. Royal thrones are called yazapalin (ရာဇပလ္လင်), while thrones seating images or statues of the Buddha are called gaw pallin (ဂေါ့ပလ္လင်) or samakhan (စမ္မခဏ်), from the Pali term sammakhaṇḍa.

East Asia
The Dragon Throne is the term used to identify the throne of the emperor of China. As the dragon was the emblem of divine imperial power, the throne of the emperor, who was considered a living god, was known as the Dragon Throne. The term can refer to very specific seating, as in the special seating in various structures in the Forbidden City of Beijing or in the palaces of the Old Summer Palace. In an abstract sense, the "Dragon Throne" also refers rhetorically to the head of state and to the monarchy itself. The Daoguang Emperor is said to have referred to his throne as "the divine utensil."

The throne of the emperors of Vietnam are often referred to as ngai vàng ("golden throne") or ngôi báu (大寳/寶座) literally "great precious" (seat/position). The throne is always adorned with the pattern and motif of the Vietnamese dragon, which is the exclusive and privileged symbol of the Vietnamese emperors. The last existing imperial throne in Vietnam is the throne of the Nguyễn emperors placed in the Hall of Supreme Harmony at the Imperial City of Huế. It is designated as a national treasure of Vietnam. In Vietnamese folk religion, the gods, deities and ancestral spirits are believed to seat figuratively on thrones at places of worship. Therefore, on Vietnamese altars, there are various types of liturgical "throne" often decorated with red paint and golden gilding.

The Phoenix Throne (御座/어좌 eojwa) is the term used to identify the throne of the king of Korea. In an abstract sense, the Phoenix Throne also refers rhetorically to the head of state of the Joseon dynasty (1392–1897) and the Empire of Korea (1897–1910). The throne is located at Gyeongbok Palace in Seoul.

The Chrysanthemum Throne (皇位) is the term used to identify the throne of the emperor of Japan. The term also can refer to very specific seating, such as the takamikura (高御座) throne in the Shishin-den at Kyoto Imperial Palace.

The throne of the Ryukyu Kingdom is located in Shuri Castle, Naha.

Modern period
During the Russian Empire, the throne in St. George's Hall (the "Greater Throne Room") in the Winter Palace was regarded as the throne of Russia. It sits atop a seven-stepped dais with a proscenium arch above and the symbol of the imperial family behind (the two-headed eagle). Peter I's Room (the "Smaller Throne Room") is modest in comparison to the former. The throne was made for Empress Anna Ivanovna in London. There is also a throne in the Grand Throne Room of the Peterhof Palace.

In some countries with a monarchy, thrones are still used and have important symbolic and ceremonial meaning. Among the most famous thrones still in usage are St Edward's Chair, on which the British monarch is crowned, and the thrones used by monarchs during the state opening of parliaments in the United Kingdom, the Netherlands, Canada, Australia, and Japan (see above) among others.

Some republics use distinctive throne-like chairs in some state ceremonial. The president of Ireland sits on a former viceregal throne during his or her inauguration ceremony, while lords mayor and lords provost of many British and Irish cities often preside over local councils from throne-like chairs.

Owing to its symbolic nature, a toilet is often jokingly referred to as "a throne" (namely, the "porcelain throne").

Africa

 * Golden Throne of pharaoh Tutankhamun
 * Golden Stool of the Ashanti Empire
 * Throne of David of the Emperors of Ethiopia
 * Chieftaincy Stools of Nigeria

Asia

 * Dragon Throne of the Emperors of China
 * Golden Throne of the Emperors of Vietnam
 * Chrysanthemum Throne of the Emperors of Japan (ja:高御座)
 * Phoenix Throne of the Kings of Korea
 * The Throne of Solomon
 * Lion Throne of the Dalai Lama of Tibet
 * Lion Throne of Sikkim
 * Lion Throne of Konbaung of Burma, (Myanmar)
 * Lotus Throne of Konbaung of Burma
 * Bumblebee Throne of Konbaung of Burma
 * Hamsa Throne of Konbaung of Burma
 * Deer Throne of Konbaung of Burma
 * Elephant Throne of Konbaung of Burma
 * Conch Throne of Konbaung of Burma
 * Stone throne of King Kasyapa from Sri Lanka from the 5th century citadel of Sigiri
 * Stone throne of King Nissankamalla from Sri Lanka from the 12th century Polonnaruwa kingdom
 * Kandian Throne of the Kingdom of Kandy and the Dominion of Ceylon
 * Peacock Throne of the Mughal Emperors of India
 * Sun Throne of Persia/Iran
 * Marble Throne and Sun Throne of the Persian Shahs
 * Peacock Throne of Korea
 * Peacock Throne at Montchobo, then at Ava, ancient capitals of Burma
 * Saridhaleys "ivory throne" and the Sighsana "lion throne" of the Maldives sultanate
 * Sandalwood throne at Bikaner Fort
 * Maharaja Ranjit Singh's throne
 * Shivaji's Golden Throne (Suvarna Sinhasan)
 * Tupou Throne of the Kingdom of Tonga (Polynesian island country)
 * Golden Throne in Mysore India

Europe
By Wilhelm Bendz (1830)
 * Throne of Apollo in Amyclae
 * The British monarch (and queen consort if applicable) is enthroned in a Throne Chair at their coronation. (Note: St. Edward's Chair in Westminster Abbey is not generally considered to be a throne.)
 * Chairing of the Bard in Wales is an ancient ceremonial procedure which dates back to at least 1176, in which the winning poet is chaired Y Prifardd (The Chief Bard) at the National Eisteddfod
 * Chair of St Augustine in Canterbury Cathedral, where Archbishops of Canterbury are inaugurated
 * Throne of Charlemagne in the cathedral at Aachen, Germany
 * Imperial Throne of the medieval German kings and emperors in Goslar, Germany.
 * Throne of the King of Aragon, Valencia, Majorca, Sardinia, Corsica and Sicilia and Count of Barcelona Martin I the Elder
 * Ivory Throne of Ivan the Terrible
 * papal Chair of Saint Peter and sedia gestatoria
 * Throne Chair of Denmark, made of narwhal tusks.
 * Silver Throne in Stockholm Palace, Sweden, on which Swedish monarchs were crowned
 * Queen Lovisa Ulrikas throne at Stockholm Palace, Sweden

North America

 * Thrones of Canada for the Canadian monarch and his or her royal consort or the governor general, representing the monarch, and his or her viceregal consort.

Other uses

 * In music, the stool used to sit behind a drum kit is often called a throne.
 * In religion, a niche in an altar piece for displaying the Holy Sacrament is called a throne.
 * In slang, a common sit-down toilet is also called a throne, or more formally the 'porcelain throne'.
 * One of the Angel choirs is an order called Ophanim or 'Thrones', said to carry God's heavenly throne — other choir names expressing power in secular terms include Powers, Principalities, Dominions

title: Throne


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Henry Brant

Henry Dreyfuss Brant (September 15, 1913 – April 26, 2008) was a Canadian-born American composer. An expert orchestrator with a flair for experimentation, many of Brant's works featured spatialization techniques.

Biography
Brant was born in Montreal, to American parents (his father was a violinist), in 1913. Something of a child prodigy, he began composing at the age of eight, and studied first at the McGill Conservatorium (1926–29) and then in New York City (1929–34). He played violin, flute, tin whistle, piano, organ, and percussion at a professional level and was fluent with the playing techniques for all of the standard orchestral instruments.

As a 19-year-old, Brant was the youngest composer included in Henry Cowell's landmark book from 1933, American Composers on American Music; and Cowell realized that Brant had already demonstrated an early identification with the American experimental musical tradition. He was represented in Cowell's anthology by an essay on oblique harmony, an idea which presaged some of the techniques used in his mature spatial compositions.

Thereafter Brant composed, orchestrated, and conducted for radio, film, ballet, and jazz groups. The stylistic diversity of these early professional experiences would also eventually contribute to the manner of his mature output. Starting in the late 1940s, he taught at Columbia University, the Juilliard School and, for 24 years, Bennington College. His students included American composer Patsy Rogers.

During the mid-1950s Brant came to the conclusion that (as he himself put it) "single-style music … could no longer evoke the new stresses, layered insanities, and multi-directional assaults of contemporary life on the spirit." In pursuit of an optimal framework for the presentation of a music which embraced such a simultaneity of musical textures and styles, Brant made a series of experiments and compositions exploring the potential for the physical position of sounds in space to be used as an essential compositional element.

As well as producing works for the concert hall, Brant worked as an orchestrator for many Hollywood productions, including the Elizabeth Taylor movie Cleopatra (1963), one of many collaborations with composer Alex North. Brant helped with the orchestration of North's score for 2001, and due to North's stress-induced muscle spasms, Brant had to conduct the recording session for the film score. Other composers whom he assisted as orchestrator included Virgil Thomson, Aaron Copland, George Antheil, Douglas Moore, and Gordon Parks. Brant's work as an orchestrator was not limited to film and stage: his long-term affinity for the music of Charles Ives — whose The Unanswered Question was an acknowledged inspiration for Brant's spatial music — was ultimately found in the premiere of Brant's arrangement of Ives' Second Piano Sonata, "Concord, Mass 1840–60" as A Concord Symphony in 1996. A Concord Symphony was recorded by the San Francisco Symphony on its SFS Media label.

From 1981, Brant made his home in Santa Barbara, California. There he died on April 26, 2008, at the age of 94.

Music
Beginning with the 1953 score Rural Antiphonies (predating Stockhausen's Gruppen of 1955–57 but coming thirty-five years after Charles Ives's Fourth Symphony of 1912–18 and Rued Langgaard's Music of the Spheres of 1916–18), Brant developed the concept of spatial music, in which the location of instruments and/or voices in physical space is a significant compositional element. He identified the origins of the concept in the antiphonal music of the late renaissance and early baroque, in the antiphonal use of four brass ensembles placed in the corners of the stage in the Requiem of Hector Berlioz and, most importantly, in works of Charles Ives, in particular The Unanswered Question. Henry Brant was America's foremost composer of acoustic spatial music. The planned positioning of performers throughout the hall, as well as on stage, was an essential factor in his composing scheme and a point of departure for a radically expanded range and intensity of musical expression. Brant's mastery of spatial composing technique enabled him to write textures of unprecedented polyphonic and/or polystylistic complexity while providing maximum resonance in the hall and increased clarity of musical detail for the listener. His catalogue comprises over 100 spatial works. In keeping with Brant's belief that music can be as complex and contradictory as everyday life, his larger works often employ multiple, contrasting performing forces, as in Meteor Farm (1982) for symphony orchestra, large jazz band, two choruses, West African drum ensemble and chorus, South Indian soloists, large Javanese Gamelan ensemble, percussion orchestra and two Western solo sopranos. Brant's spatial experiments convinced him that space exerts specific influences on harmony, polyphony, texture and timbre. He regarded space as music's "fourth dimension," (after pitch, time and timbre). Brant experimented with new combinations of acoustic timbres, even creating entire works for instrumental family groups of a single timbre: Orbits for 80 trombones, organ and sopranino voice, Ghosts & Gargoyles for 9 flutes, and others for multiple trumpets and guitars. This predilection for ensembles of a single tone quality dates from Angels and Devils (1932) for an ensemble of 11 flutes. His experimentation was not always successful however. His 1972 piece Immortal Combat staged outside Lincoln Center was drowned out by traffic noise and a thunderstorm. With the exception of pieces composed for recorded media (in which he used over-dubbing or acoustical sound sources), Brant did not use electronic materials or permit amplification in his music.

He is perhaps best known for his compositions Verticals Ascending (conceptually based on the architecture of the Watts Towers in Los Angeles) and Horizontals Extending. A "spatial opera", The Grand Universal Circus (Libretto: Patricia Gorman Brant) was premiered in 1956. Brant won the Pulitzer Prize for Music in 2002 for his composition Ice Field. In addition to composing, he played the violin, flute, tin whistle, percussion, piano, and organ and frequently included soloistic parts in his large works for himself to play.

Later premieres included Wind, Water, Clouds & Fire, for 4 choirs and instrumentalists, commissioned by Present Music and premiered on November 19, 2004, at The Cathedral of St. John the Evangelist, Milwaukee, Wisconsin. Tremors, for 4 singers and 16 instrumentalists, commissioned by the Getty Research Institute, premiered on June 4, 2004, at the Getty Center in Los Angeles. Tremors was repeated in a Green Umbrella concert at LA's Walt Disney Concert Hall on November 1, 2004. Ghosts & Gargoyles, a concerto for flute solo with flute orchestra, for New Music Concerts, Toronto had its premiere on May 26, 2002. Ice Field, for large orchestral groups and organ, was commissioned by Other Minds for a December 2001 premiere by the San Francisco Symphony.

Brant's handbook for orchestration, Textures and Timbres, was published posthumously.

Orchestra/chamber orchestra

 * An Adventure
 * Ballad (The Half Songs)
 * Decision
 * Dedication in Memory of a Great Man
 * Downtown Suite
 * Symphony in B-flat (The Nineteen-Thirties)
 * Symphony No. 2 (Promised Land)
 * Variations on a Canadian Theme
 * Whoopee in D (1972)
 * Whoopee in D major: (Overture for a Fine Orchestra)

Solo instrument with orchestra/chamber orchestra

 * Concerto for Clarinet and Orchestra
 * Concerto for Saxophone and Orchestra
 * Fantasy and Caprice, for violin and orchestra
 * Concerto for Alto Sax and Orchestra (1941)
 * Concerto for Alto Saxophone Solo Or Trumpet Solo (1996)

String orchestra

 * Saraband
 * Two Choral Preludes
 * Two Lyric Interludes

Band/wind ensemble

 * Millennium I
 * Signs and Alarms
 * Street Music (Three Places in Montreal)
 * Whoopee in D major

Solo instrument with band/wind ensemble

 * Concerto for Alto Sax or Trumpet with Nine Instruments
 * Concerto for Clarinet and Dance (Jazz) Orchestra
 * Statesmen in Jazz: Three Portraits

Solo instrument with chamber ensemble

 * Violin Concerto with Lights

Vocal quartet with chamber ensemble

 * Four Skeleton Pieces
 * The Scientific Creation of the World

With soloist

 * Divinity, with solo harpsichord
 * Feuerwerk, with solo female speaker
 * Newsflash, with narrator
 * Piri

Two instruments

 * Ballad, for violin and piano
 * Duo, for cello and piano
 * Partita, for flute and piano
 * Two Rush Hours in Manhattan, for violin and piano

Three instruments

 * Ice Age, for clarinet, glockenspiel, and piano (1954)
 * Imaginary Ballet, for piccolo, cello, and piano
 * Music for a Five and Dime
 * Strength through Joy in Dresden: Introduction and Coda to a Theater Piece

Four instruments

 * Conversations in an Unknown Tongue
 * Four Mountains in the Amstel
 * Fourscore
 * From Bach's Menagerie
 * Funeral Music for the Mass Dead
 * Galaxy I
 * Handorgan Music (1933 Version)
 * Handorgan Music (1984 Version)
 * A Requiem in Summer
 * Variations on a Theme by Robert Schumann

Five to nine instruments

 * All Souls Carnival
 * American Commencement
 * Aria with Thirty Variations
 * Galaxy II
 * Hieroglyphics II
 * Kitchen Music
 * The Marx Brothers
 * A Requiem in Summer
 * Stresses

Percussion ensemble

 * Origins (Symphony for Percussion)

A cappella chorus

 * December Madrigal
 * Peace Music for U.N. Day
 * The Three-Way Canon Blues

Two pianos

 * Four Choral Preludes
 * Toccata on "Wachet Auf"

Solo instrument

 * The Big Haul, for cello
 * Confusion in the Salon, for piano
 * Country Tunes in Jazz, for piano
 * Four Traumatics, for piano
 * Mobiles 1, for flute
 * Oases, for cello
 * Two Conclusions, for piano
 * Two Sarabandes, for keyboard instrument

Spatial works

 * Orbits: A Spatial Symphonic Ritual (for 80 trombones, organ and sopranino voice) (1979)
 * Autumn Hurricanes, A Spatial Cantata for Widely Separated Vocal and Instrumental Groups (1986)

Orchestra/chamber orchestra

 * Antiphony I
 * Antiphony I (chamber version)
 * Antiphony One
 * Curriculum ll: Spatial Tone Poem
 * Desert Forests (2000)
 * Ice Field
 * On the Nature of Things (1956)
 * Plowshares and Swords
 * Prisons of the Mind
 * Trinity of Spheres

Awards
A member of the American Academy of Arts and Letters, Brant was awarded the 2002 Pulitzer Prize in Music for Ice Field (2001), commissioned by Other Minds and premiered by the San Francisco Symphony under the direction of Michael Tilson Thomas. He received two Guggenheim Fellowships, in 1946 and 1955, and was the first American composer to win the Prix Italia. Among other honors were Ford Foundation, Fromm Foundation, National Endowment for the Arts and Koussevitzky awards and the American Music Center's Letter of Distinction. In conjunction with Brant's 85th birthday concert, Wesleyan University conferred upon him the honorary degree of Doctor of Fine Arts (1998). The Paul Sacher Foundation in Basel acquired Brant's complete archive of original manuscripts, including over 300 works, in 1998.

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

title: Henry Brant


text:
Talk:Lianjiang County

-- Lianjiang and Lienchiang are just different romanizations for the same county, which is divided between two governments. I think it would be less confusing if the articles were merged, preferably to Lianjiang since there is already a Matsu Islands article, and Kinmen and Quemoy are not separate articles. --Jiang 22:00 1 Jul 2003 (UTC)

 * This is what went thru my mind when I made the new article for Lianjiang not under the existing Lienchiang:

 * Lienchiang is Matsu and Lianjiang is not Matsu completely, so Lianjiang is not Lienchiang completely

 * The division of the county between 2 government leads to 2 articles is like China's division between 2 government leads to 2 articles (note that officially, they both call themselves China, it's just they have different official names).

 * ... (Rest moved to Talk:Matsu Islands)

Why is Lienchiang merged here? I thought we agreed to merge it into Matsu Islands. (As you suggested me to do in the above moved disc, after I said I would on your Talk.) --Menchi 01:02 4 Jul 2003 (UTC)

 * I tried to merge whatever is relevant into both--some political information needed to be incorporated into Lianjiang to demonstrate that it is a divided county. Treating Lienchiang and Lianjiang as if they were counties with different names is misleading. I thought it would be better to slightly overlap... --Jiang 01:16 4 Jul 2003 (UTC)

 * True, overlap of information is sometimes helpful, especially a reminder in a summary. But you just copy-&-pasted entire stuff here that is just repetition. They can be easily viewed on Matsu Islands. For example, some of them aren't even appropriate here:

 * Township list works only in ROC Lienchiang County. PRC Lianjiang County officially only recognizes Mazu Xiang, the Mazu Townships, not the four townships in the ROC Lienchiang.
 * Placing the ROC Lienchiang Official site here is like putting up the ROC website in the PRC article. Maybe it's for comparison, but you could've just go to the ROC article.
 * Traditional character isn't found on the PRC current political page, nor should it here. Those characters are in the ROC Lienchiang article (now Matsu).

 * --Menchi 01:21 4 Jul 2003 (UTC)

 * My point is that Lienchiang and Lianjiang are the exact same name and this should be made clear. (The ROC and PRC have different names, and thus different acronyms and distinctions.) What counts is that the Chinese is same--the English romanization is non-official and depends on the person translating it. Although we can treat these two as separate counties because they function as such, saying that mainland=Lianjiang and Matsu=Lienchiang is misleading. It tells the reader that these two counties don't have the same name, which is not the case in Chinese--where it counts! I tried to incorporate some of ROC-side Lienchiang into the Lianjiang article to make it clear that it is a divided county (or two counties with the same name), not two counties with different names. This needs to be clear! --Jiang 01:38 4 Jul 2003 (UTC)

 * Yes, the romanization is merely a coat that the characters wear. In PY, LJ = Matsu AND LJ = Mainland, in Wade, LC = Matsu AND LC = Mainland. But people don't use them like that. Whether the characters are the same or not is not of most English speakers' concerns. Whether they should be or not is another matter.

 * The very 1st sentence in the intro in both Lienchiang and Lianjiang state explicitly that LC is Wade and LJ is PY.
 * I think you missed the fact that ROC's English placenames are officially spelled in Wade-Giles. It's like a person calling Kaohsiung "Gaoxiong". That's why for Kaohsiung, it's Kaohsiung, not Gaoxiong.

 * In any case, now Lienchiang is merged both with Matsu and Lianjiang! It's like telling your teen to dress warm ten times a day and don't expect them to get annoyed.

 * --Menchi 01:50 4 Jul 2003 (UTC)

Actually, the ROC made Tongyong Pinyin the official romanization system so the official romanization would be the same as Hanyu Pinyin: Lianjiang. It is only spelled Lienchiang because this new system hasn't caught on yet. Will it ever? If the government website finally decided to switch over, we would send ourselves scrambling...

My point is that we need to emphasize that the two names are the same with just different romanizations and that it is a historic county divided into two. Since they are administered separately, they can be treated as separate counties (but there needs to be a note on both articles with a link to the other). In any case, treating Lienchiang and Lianjiang as different names is too confusing and misleading. I don't see any problem with noteing both sides on the Lianjiang article and devoting the Matsu article to just Matsu (and its governing county with overlap). Why leave things out? --Jiang 02:06 4 Jul 2003 (UTC)

 * I guess having an entire township listed isn't common, but parallels do exist as the Canadian provinces listed both on Canada and on Canadian provinces and territories. I mean, in those places, it's actually different, one having more details than the other. My concern is overdo something by repeating it. But I suppose just a list of four item won't hurt. :-) --Menchi 02:15 4 Jul 2003 (UTC)

 * Ok, so is Lienchiang going to redirect to Matsu Islands? --Jiang 08:45 4 Jul 2003 (UTC)

 * That was what we agreed in the moved dicussion. --Menchi 13:30 4 Jul 2003 (UTC)

-

Native terms & Romanizations
Made the Romanizations accurate and used the latest -- several month-old, however -- Korean format (e.g., Gang Hong-rip) because the original format became this:

 * Lianjiang (Traditional: 連江; Simplified: 连江; Pinyin: Liánjiāng; Wade-Giles: Lien²-chiang¹) is a county...

As opposed to the Korean format, which makes this case more concise:

 * Lianjiang (連江; 连江; Liánjiāng; Lien²-chiang¹) is a county...

Other articles on China needn't be converted so in my opinion, since they actually already look quite concise the way they are now. (For Naming conventions (Korean) see more on the Korean system.)

--Menchi 23:47 4 Jul 2003 (UTC)

 * Let's bring the issue at Wikipedia talk:Naming conventions (Chinese). there may be some confusion in the people don't necessarily put their mouse over the hyperlinked characters and won't know that one is traditional and the other is simplified. --Jiang 23:52 4 Jul 2003 (UTC)

 * Sure, I was thinking we could collaborate with the Koreans and amature/professioanl Koreanologists on reaching, but currently, there's really not many of them at all. So I guess we are on our own... Me, you, kt2 (currently gone), and.. and... and?!?

 * Going to that Talk page and leave a note now.

 * --Menchi 00:01 5 Jul 2003 (UTC)

Call to rename:
So there are 2 Lianjiang counties: one under the PRC and the other under the ROC control: y dont we rename both?

Lianjiang County, People's Republic of China and Lianjiang County, Republic of China

Hanyu Pinyin is now the legal standard in the ROC, the same as in the PRC...

Mazu is not an official name, its just the common name...

We have Taiwan Province (ROC) and Taiwan Province PRC

Just now i watched: wiki this: "Taoyuan County": it shows 2 taoyuan counties: both reflect a geographical differentiator in their name (Taiwan and Hunan, shouldnt we follow that?

Gumuhua (talk) 18:16, 6 January 2009 (UTC)

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title: Talk:Lianjiang County


text:
Ivor Gurney

Ivor Bertie Gurney (28 August 1890 – 26 December 1937) was an English poet and composer, particularly of songs. He was born and raised in Gloucester. He suffered from bipolar disorder through much of his life and spent his last 15 years in psychiatric hospitals. Critical evaluation of Gurney has been complicated by this, and also by the need to assess both his poetry and his music. Gurney himself thought of music as his true vocation: "The brighter visions brought music; the fainter verse".

Life
Ivor Gurney was born at 3 Queen Street, Gloucester, in 1890, as the second of four surviving children of David Gurney, a tailor, and his wife Florence, a seamstress.

He showed musical ability at an early age. He sang as a chorister at Gloucester Cathedral from 1900 to 1906, when he became an articled pupil of Herbert Brewer at the cathedral. There he met a fellow composer, Herbert Howells, who became a lifelong friend. Alongside Gurney and Howells, Brewer's third pupil at this time was Ivor Novello, then known as Ivor Davies. He also enjoyed an enduring friendship with the poet F. W. Harvey, whom he met in 1908.

The adults of most significance in Gurney's early life were the Rev. Alfred H. Cheesman, and two sisters, Emily and Margaret Hunt, who nurtured Gurney's interests in music and literature. Gurney began composing music at the age of 14, and won a scholarship to the Royal College of Music in 1911. He studied there with Charles Villiers Stanford, who also taught Ralph Vaughan Williams, John Ireland, Marion Scott, Rebecca Clarke, Frank Bridge, Arthur Bliss, Herbert Howells and many others. Stanford told Howells that Gurney was potentially "the biggest of them all", but he was "unteachable".

Gurney possessed a dynamic personality, but he had been troubled by mood swings that became apparent during his teenage years. He had a difficult time focusing on his work at college and suffered his first breakdown in 1913. After taking a rest, he seemed to recover and returned to college.

Gurney's studies were interrupted by World War I, when he enlisted as a private soldier in the Gloucestershire Regiment in February 1915. At the front, he began writing poetry seriously, sending his efforts to his friend, the musicologist and critic Marion Scott, who worked with Gurney as his editor and business manager. He was in the midst of writing the poems for what would become his first book, Severn and Somme, when he was wounded in the shoulder in April 1917. He recovered and returned to battle, still working on his book and composing music, including the songs "In Flanders" and "By A Bierside". Sidgwick & Jackson accepted Severn and Somme in July, with publication set for the autumn. In the meantime, Gurney was gassed in September the same year and sent to the Edinburgh War Hospital, where he met and fell in love with a VAD nurse, Annie Nelson Drummond, but the relationship later broke down.

There remains some controversy about the possible effects of the gas on his mental health, even though Gurney had clearly shown signs and symptoms of a bipolar disorder since his teens. "Being gassed (mildly) [his parenthesis] with the new gas is no worse than catarrh or a bad cold," Gurney wrote in a letter to Marion Scott on 17 September 1917. After his release from hospital, he was posted to Seaton Delaval, a mining village in Northumberland, where he wrote poems, including "Lying Awake in the Ward". His volume Severn and Somme was published in November 1917.

Mental illness
In March 1918, Gurney suffered a serious mental breakdown, triggered at least in part by the sudden ending of his relationship with Drummond. He was hospitalised in the Gallery Ward at Brancepeth Castle, County Durham, where he wrote several songs, despite the piano sounding, he said, like "a boiler factory in full swing because of the stone walls". In June he threatened suicide, but he did not attempt it.

Gurney slowly regained some of his emotional stability and in October was honourably discharged from the army. Gurney received an unconventional diagnosis of nervous breakdown from "deferred" shell shock. The notion that Gurney's instability should primarily be attributed to "shell shock" was perpetuated by Marion Scott, who used this term in the initial press releases after Gurney's death, as well as in his entry for Grove's Dictionary of Music and Musicians.

Gurney seemed to thrive after the war and was regarded as one of the most promising men of his generation, but his mental distress continued to worsen. He studied for a brief time with Ralph Vaughan Williams upon returning to the Royal College of Music, but he withdrew from the college before completing his studies. His second volume of poetry, War's Embers, appeared in May 1919 to mixed reviews. He continued to compose, producing a large number of songs, instrumental pieces, chamber music, and two works for orchestra: War Elegy (1920) and A Gloucestershire Rhapsody (1919–1921). His music was being performed and published. However, by 1922, his condition had deteriorated to the point where his family had him declared insane.

It has been speculated that Gurney's mental problems may have resulted from syphilis, contracted either while he was a music student before the war, or perhaps while serving as a soldier in France. Blevins, Gurney's biographer, however, concludes that he did not suffer from syphilis. The issue has also been discussed, more recently, by Cambridge academic and broadcaster Kate Kennedy.

Gurney spent the last 15 years of his life in psychiatric hospitals, first for a short period at Barnwood House in Gloucester, and then at the City of London Mental Hospital, Dartford, where he was diagnosed as suffering from "delusional insanity (systematised)". Gurney wrote prolifically during the asylum years, producing some eight collections of verse. His output included two plays in Shakespearean style – Gloucester Play (1926) and The Tewkesbury Trial (1926). During this time he appeared to believe himself to be William Shakespeare in person. He continued also to compose music but to a far lesser degree. An examination of his archive suggests that up to two-thirds of his musical output remains unpublished and unrecorded.

By the 1930s Gurney wrote little of anything, although he was described by Scott as being "so sane in his insanity".

Death and legacy
Gurney died of tuberculosis while still a patient at the City of London Mental Hospital, shortly before dawn on 26 December 1937, aged 47. He was buried in Twigworth, near Gloucester. The service was conducted by his godfather, Rev. Alfred Cheesman. Gurney was "a lover and maker of beauty", it was stated on his gravestone. (The stone was replaced after it was damaged – the original is now stored inside Twigworth church.) Marion Scott preserved Gurney's manuscripts and letters and worked with composer Gerald Finzi to ensure that his legacy should not be forgotten.

On 11 November 1985, Gurney was among 16 Great War Poets commemorated on a slate stone unveiled in Westminster Abbey's Poet's Corner. The inscription on the stone was taken from Wilfred Owen's "Preface" to his poems and reads: "My subject is War, and the pity of War. The Poetry is in the pity."

In 2000, a stained-glass window was installed in St Mary de Lode Church, Gloucester and dedicated to the memory of Ivor Gurney. A memorial to Gurney was erected in 2009 Sint-Juliaan, near Ypres, close to the spot where he was the victim of a mustard gas attack in 1917.

A sculpture by Wolfgang Buttress entitled The Candle was unveiled in 2011 in Victoria Dock, Gloucester Docks; it is inscribed with lines from Gurney's poem "Requiem" around the base. There is also a blue plaque memorial to Gurney in Eastgate Street, Gloucester.

In April 2014, BBC Four broadcast a documentary about Gurney, entitled The Poet Who Loved the War, presented by Tim Kendall, which focused on how the First World War had in some ways helped Gurney through the periods of depression he suffered and helped him become one of the war's foremost poets.

In June and July 2014 Gurney was the subject of BBC Radio 3's Composer of the Week, with contributions by Kate Kennedy and featuring a number of first recordings made by the BBC especially for the programme. In 2021 Kennedy published Ivor Gurney: Dweller in Shadows, claimed to be "the first comprehensive biography" of Gurney.

Compositions
Gurney wrote hundreds of poems and more than 300 songs but only set a handful of his own poems to music, the best-known of those being "Severn Meadows". The Five Elizabethan Songs (or 'The Elizas' as he called them) were written in 1913-14 while he was still a student at the Royal College of Music, and published in 1920 by Winthrop Rogers. The song cycles Ludlow and Teme (published 1923) and The Western Playland, (published 1926), both settings of poetry by A. E. Housman, were prepared for publication with the help of admirers and friends, including Gerald Finzi and his wife Joy, Howard Ferguson and Marion Scott. Oxford University Press issued two sets of ten songs in 1938, a year after his death, selected and edited by Finzi and Ferguson. Three further sets of ten songs came out in 1952, 1959 and 1979.

Gurney set to music many of the poems of his contemporaries, including at least nineteen poems written by Edward Thomas (six of them collected in the orchestral song cycle Lights Out published in 1926), at least seven by W. H. Davies and five by Rupert Brooke. All of Gurney's settings from the Canadian poet Bliss Carman's Sappho: One Hundred Lyrics (1904) were gathered in Seven Sappho Songs by Richard Carder in 1998.

It has been suggested that there is something of Schubert and Schumann, but considerably less of the prevailing folk idiom of the time, in the intensity of Gurney's musical language. He had a preference for setting dark ballads, as Schubert, Loewe and Brahms had before him, and "knew his Brahms and Schumann backwards, as his piano pieces testify". But where he does lean towards folksong, as in his setting of Belloc's "Ha’nacker Mill", it is often hard to tell whether the melody is original or traditional.

Gurney's instrumental and chamber music is only now coming to light. An exception are the Five Preludes for piano, which were written in 1919-20 and published the following year. But he also wrote four piano sonatas and as many as 20 string quartets, most of which have been lost. Three of the piano sonatas (No. 2 incomplete) have been recorded by George Rowley. The String Quartet in D minor, composed in 1924, received its premiere recording in 2020. There are also two violin sonatas, in E-flat major and in D major, both dating from 1918/19 and both now recorded.

War poet/local poet
Edmund Blunden, at the urging of Gerald Finzi, assembled the first collection of Gurney's poetry which was published in 1954. This was followed by P. J. Kavanagh's Collected Poems, first published in 1982 and reissued in 2004. It remains the most comprehensive edition of Gurney's poetry. Gurney is regarded as one of the great World War I poets, and like others of them, such as Edward Thomas, whom he admired, he often contrasted the horrors of the front line with the beauty and tranquillity of his native English landscape – these themes were explored in the 2012 musical play A Soldier and a Maker.

Deliberately unrhetorical in his poetic tone, and writing as a ranker, not an officer, Gurney offered a complex, wry, unheroic view of the soldierly world of the Western Front: presenting not a large statement (for or against war), but an individual experience. Without diminishing the horrors of the front line, Gurney's poems often emphasise the moments of relief. "On Rest" was above all what he called "the relief of knowing mere being". By detailing the "small trifles" of trench life – moments of comradeship, letters from home, singsongs, bread and Fray Bentos corned beef, wine, chocolate and café-au-lait Gurney was able (in Blunden's words) to "express part of the Western Front secret... with distinctive, intimate and imaginative quickness." In so far as he had a "manifesto", it was to present "the protest of the physical against the exalted spiritual; of the cumulative weight of small facts against the one large".

At the same time, Gurney was something of a local poet, rooted in Gloucester and its surroundings, which remained a touchstone of reality for him, in the front line and later in the asylum. In the preface to his first book, he wrote of "my county, Gloucester, that whether I live or die stays always with me." His tribute poem "Crickley Hill" was described by Edna Longley as "perhaps Gurney's most rapturous expression of local patriotism".

Collections of poetry and letters

 * Severn & Somme, 1917
 * War's Embers, 1919
 * Poems by Ivor Gurney, 78 poems selected by Edmund Blunden, 1954
 * Poems of Ivor Gurney, 1890-1937, 140 poems selected by Leonard Clark, 1973
 * Collected Poems, ed. P. J. Kavanagh, 292 poems, 1982
 * War Letters, ed. R.K.R. Thornton. Carcanet Press, 1983
 * Collected Letters, ed. R.K.R. Thornton. Carcanet Press 1991
 * Best Poems and The Book of Five Makings, ed. R.K.R. Thornton. Carcanet Press, 1995
 * Severn & Somme and War's Embers, ed. R. K. R. Thornton. Carcanet Press, 1997
 * 80 Poems or So, ed. George Walter and R. K. R. Thornton. Carcanet Press, 1997
 * Rewards of Wonder: Poems of London, Cotswold and France, ed. George Walter. Carcanet Press, 2000
 * Collected Poems (new edition, substantially revised and reordered) ed. P.J. Kavanagh. Fyfield Books (Carcanet Press), 2004
 * Stars in a Dark Night: The Letters from Ivor Gurney to the Chapman Family. Anthony Boden (ed.), The History Press, 2004 (2nd edition)
 * The Complete Poetical Works, Vol 1 ed. Philip Lancaster and Tim Kendall, Oxford University Press, 2020 (first of a projected five volume set).

Selected poems
The following poems provide an introduction to his work:
 * "Strange Hells" – The effect of war on soldiers' psyches
 * "The Ballad of Three Spectres" – A soldier's vision
 * "Maisemore" – A soldier thinks of home
 * "The Estaminet" – Comradeship
 * "Purple and Black" – The politics of death
 * "To the Poet before Battle" – A soldier poet prepares for the fight
 * "To His Love" – A soldier writes to a dead comrade's lover of his death
 * "The Silent One" – An account of a moment of terror during a battle

Five Elizabethan songs

 * "Orpheus" (John Fletcher)
 * "Sleep" (John Fletcher)
 * "Spring" (Thomas Nashe)
 * "Tears" (John Fletcher)
 * "Under the Greenwood Tree" (William Shakespeare)

Other songs
Collections: Ludlow and Teme (1923) LT; Lights Out (1926) LO; The Western Playland (1926) WP; A First Volume of Ten Songs (1938) T1; A Second Volume of Ten Songs (1938) T2; A Third Volume of Ten Songs (1952) T3; A Fourth Volume of Ten Songs (1959) T4; A Fifth Volume of Ten Songs (1979) T5; Seven Sappho Songs (1998) SS

• "A Bird's Anger" (W H Davies)

• "A Cradle Song" (W B Yeats) T4

• "A Piper" (Seumas O'Sullivan) T4

• "All Night Under The Moon" (Wilfred Gibson) T1

• "All Suddenly the Wind" (Rupert Brooke)

• "An Epitaph" (Walter de la Mare) T2

• "A Sword" (Robin Flower) T2

• "Black Stitchel" (Wilfred Gibson) T1

• "Blaweary" (Wilfred Gibson) T2

• "Bread and Cherries" (Walter de la Mare) T2

• "Bright Clouds" (Edward Thomas) LO

• "Brown Is My Love" (anon.) T4

• "By a Bierside" (John Masefield) T5

• "Cathleen ni Houlihan" (W B Yeats) T1

• "Clouds" (Rupert Brooke)

• "Desire in Spring" (Francis Ledwidge) T5

• "Down by The Salley Gardens" (W B Yeats) T1

• "Dreams of the Sea" (W H Davies)

• "Early Morn" (W H Davies)

• "Edward, Edward" (anon.)

• "Epitaph in Old Mode" (J C Squire) T2

• "Even Such Is Time" (Sir Walter Raleigh) T4

• "Far in a Western Brookland" (A E Housman) LT

• "Goodnight to the Meadow" (Robert Graves) T3

• "Ha'nacker Mill" (Hilaire Belloc) T1

• "Hawk and Buckle" (Robert Graves) T2

• "Hesperus" (Bliss Carman) SS

• "I Praise the Tender Flower" (Robert Bridges) T3

• "In Flanders" (F W Harvey) T4

• "I Shall Ever be Maiden" (Bliss Carman) SS, T3

• "Is My Team Ploughing?" (Housman) WP

• "Lament" (Ivor Gurney)

• "Last Hours" (John Freeman) T2

• "Lights Out" (Edward Thomas) LO

• "Lonely Night" (Bliss Carman) SS

• "Loveliest of Trees" (Housman) WP

• "Love Shakes my Soul" (Bliss Carman) SS, T4

• "Ludlow Fair" (Housman) LT

• "Most Holy Night" (Hilaire Belloc) T4

• "Nine of the Clock" (Robert Graves) T1

• "Oh Happy Wind" (W H Davies)

• "One Day" (Rupert Brooke)

• "On the Downs" (John Masefield) T4

• "On the Idle Hill of Summer" (Housman) LT

• "Ploughman Singing" (John Clare) T3

• "The Quiet Mist" (Bliss Carman) SS

• "Reveille" (Housman) WP

• "Scents" (Edward Thomas) LO

• "Severn Meadows" (Ivor Gurney) T5

• "Shepherd's Song" (Ben Jonson) T3

• "Snow" (Edward Thomas) T3

• "Soft Was the Wind" (Bliss Carman) SS

• "Song of Caibhan" (Ethna Carbery) T5

• "Song of Silence" (Ivor Gurney)

• "Snow" (Edward Thomas)

• "The Aspens" (Housman) WP

• "The Apple Orchard" (Bliss Carman) SS, T5

• "The Boat Is Chafing" (Walter de la Mare) T2

• "The Cherry Trees" (Edward Thomas) T3

• "The Cloths of Heaven" (W B Yeats) T5

• "The Far Country" (Housman) WP

• "The Fiddler of Dooney" (W B Yeats) T4

• "The Fields Are Full" (Edward Shanks) T5

• "The Folly of Being Comforted" (W B Yeats) T2

• "The Happy Tree" (Gerald Gould) T3

• "The Latmian Shepherd" (Edward Shanks) T1

• "The Lent Lily" (Housman) LT

• "The Moon" (W H Davies)

• "The Night of Trafalgar" (Thomas Hardy) T5

• "The Penny Whistle" (Edward Thomas) LO

• "There's Wisdom in Women" (Rupert Brooke)

• "The Scribe" (Walter de la Mare) T2

• "The Ship" (J C Squire) T3

• "The Singer" (Edward Shanks) T1

• "The Sun at Noon to Higher Air" (Housman) WP

• "The Treasure" (Rupert Brooke)

• "The Trumpet" (Edward Thomas) LO

• "The Twa Corbies" (border ballad) T5

• "Thou Didst Delight My Eyes" (Robert Bridges) T3

• "'Tis Time, I Think, by Wenlock Town" (Housman) LT

• "To Violets" (Robert Herrick) T4

• "Twice a Week" (Housman) WP

• "Walking Song" (F W Harvey) T5

• "When Death to Either Shall Come" (Bridges) T1

• "When I Was One-and-twenty" (Housman) LT

• "When on a Summer's Morning (W H Davies)

• "When Smoke Stood up from Ludlow" (Housman) LT

• "The White Cascade" (W H Davies)

• "With rue my heart is laden" (Housman) WP

• "Will You Come?" (Edward Thomas) LO

• "You Are My Sky" (J C Squire) T1

title: Ivor Gurney


text:
1990 Oregon Ballot Measure 5

Ballot Measure 5 was a landmark piece of direct legislation in the U.S. state of Oregon in 1990. Measure 5, an amendment to the Oregon Constitution (Article XI, Section 11), established limits on Oregon's property taxes on real estate. Its primary champion and spokesman was Don McIntire, a politically-active Gresham health club owner who would go on to lead the Taxpayers Association of Oregon.

Property taxes dedicated for school funding were capped at $15 per $1,000 of real market value per year and gradually lowered to $5 per $1,000 per year. Property taxes for other purposes were capped at $10 per $1,000 per year. Thus, the total property tax rate would be 1.5% at the end of the five-year phase in period. The measure transferred the responsibility for school funding from local government to the state, to equalize funding.

The measure was passed in the November 6, 1990 general election with 574,833 votes in favor, 522,022 votes against. It was one of the most contentious measures in Oregon election history.

Results by county:

Historical significance
Although measure numbers are reused, the effect of this measure on the state was significant enough that when Oregonians speak of Measure 5, they are usually referring to the specific measure passed in 1990. Measure 5 is often seen as the beginning of the Oregon tax revolt. One effect of the measure was that funding for local schools was shifted from primarily local property tax funds to state funds. With this, it led to a general equalization of funding between districts as funds are now given to districts based on the number of students in each district. Schools with higher value property in their districts previously could fund local schools at a higher rate than more economically depressed areas.

Passage of the measure and the limits led to some discussion of eliminating county services in Multnomah County by combining them with Portland city services or Metro, as well as talks of combining Multnomah, Washington, and Clackamas counties into one large urban county for the Portland metro area.

Lasting effects and subsequent legislation
The measure has remained controversial since its passage. Oregon remains one of only five states without a sales tax, the others being Alaska, Delaware, Montana, and New Hampshire. Furthermore, the measure is blamed for cuts in school programs, the budget crises of 2002 and 2003 and cuts to statewide public safety programs, including deep cuts to the Oregon State Police which never fully recovered from 50% staffing reductions. Many critics say that then-Governor Barbara Roberts' warning that Measure 5's passage would lead to massive chaos has been borne out. Supporters defend the measure as necessary to curb government spending excesses.

Measure 5 was followed up with Measure 47 in 1996 and Measure 50 in 1997. Measure 47 limited the growth of a property's assessed value to 3% maximum per year to combat local governments' raising assessed values to make up the difference in the rate they could charge. Measure 50 clarified that measure.

title: 1990 Oregon Ballot Measure 5


text:
Achillea

Achillea is a genus of flowering plants in the family Asteraceae, known colloquially as yarrows. The plants typically have frilly leaves. The common name "yarrow" usually refers to A. millefolium. The genus was named after the Greek mythological character Achilles, whose soldiers were said to have used yarrow to treat their wounds; this is reflected by common names such as allheal and bloodwort. The genus is native primarily to Eurasia and North America.

Description
These plants typically have frilly, hairy, aromatic leaves. The plants show large, flat clusters of small flowers at the top of the stem. The flowers can be white, yellow, orange, pink or red and are generally visited by many insects, and are thus characterised by a generalised pollination system.

Taxonomy
Carl Linnaeus described the genus in 1753. The common name "yarrow" is usually applied to Achillea millefolium, but may also be used for other species within the genus.

Selected species
Nearly 1,000 names have been published within the genus Achillea, at or below the level of species. Sources differ widely as to which should be recognized as species, which merit subspecies or variety status, and which ones are merely synonyms of better-established names. For convenience, the Plant List maintained by the Kew Botanic Gardens is followed.

• Achillea abrotanoides

• Achillea absinthoides

• Achillea acuminata

• Achillea aegyptiaca – Egyptian yarrow

• Achillea ageratifolia – Balkan yarrow, Greek yarrow

• Achillea ageratum – sweet yarrow, sweet Nancy, English mace

• Achillea × albinea

• Achillea aleppica

• Achillea alexandri-regis

• Achillea alpina – Chinese yarrow, Siberian yarrow

• Achillea ambrosiaca

• Achillea apiculata

• Achillea arabica

• Achillea armenorum

• Achillea asiatica

• Achillea asplenifolia

• Achillea atrata – black yarrow

• Achillea aucheri

• Achillea auriculata

• Achillea baikalensis

• Achillea barbeyana

• Achillea barrelieri

• Achillea biserrata

• Achillea boissieri

• Achillea brachyphylla

• Achillea bucharica

• Achillea callichroa

• Achillea cappadocica

• Achillea carpatica

• Achillea chamaecyparissus

• Achillea chamaemelifolia

• Achillea cheilanthifolia

• Achillea chrysocoma

• Achillea clavennae – silvery yarrow

• Achillea clusiana

• Achillea clypeolata

• Achillea coarctata

• Achillea collina

• Achillea condensata

• Achillea conferta

• Achillea cretica

• Achillea crithmifolia

• Achillea cucullata

• Achillea cuneatiloba

• Achillea decolorans

• Achillea decumbens

• Achillea distans – Alps yarrow

• Achillea erba-rotta – musk milfoil

• Achillea eriophora

• Achillea euxina

• Achillea falcata

• Achillea filipendulina – fernleaf yarrow

• Achillea formosa

• Achillea fraasii – filigree yarrow

• Achillea fragantissima

• Achillea glaberrima

• Achillea goniocephala

• Achillea × graja

• Achillea grandifolia

• Achillea gypsicola

• Achillea haussknechtii

• Achillea heterophylla

• Achillea holosericea

• Achillea horanszkyi

• Achillea huber-morathii

• Achillea × illiczevski

• Achillea impatiens

• Achillea incognita

• Achillea inundata

• Achillea japonica

• Achillea karatavica

• Achillea kellalensis

• Achillea ketenoglui

• Achillea kotschyi

• Achillea laggeri

• Achillea latiloba

• Achillea ledebourii

• Achillea leptophylla

• Achillea leptophylloides

• Achillea lereschei

• Achillea ligustica – Ligurian yarrow

• Achillea lingulata

• Achillea lycaonica

• Achillea macrocephala

• Achillea macrophylla – broad-leaved yarrow

• Achillea magna

• Achillea magnifica

• Achillea maritima

• Achillea maura

• Achillea membranacea

• Achillea micrantha

• Achillea micranthoides

• Achillea millefolium – milfoil, yarrow, allheal, thousand-leaf, bloodwort, carpenter's grass, cammock, green arrow, sneezeweed, nosebleed, green adder's mouth, soldier's woundwort, dog daisy, old-man's-pepper

• Achillea milliana

• Achillea mollis

• Achillea monocephala

• Achillea multifida

• Achillea nana – dwarf alpine yarrow

• Achillea nigrescens

• Achillea nobilis – noble yarrow, creamy yarrow

• Achillea obscura

• Achillea occulta

• Achillea ochroleuca

• Achillea odorata

• Achillea oligocephala

• Achillea oxyloba

• Achillea oxyodonta

• Achillea pachycephala

• Achillea phrygia

• Achillea pindicola

• Achillea pratensis

• Achillea pseudoaleppica

• Achillea pseudopectinata

• Achillea ptarmica – sneezewort, sneezeweed, sneezewort yarrow

• Achillea ptarmicifolia

• Achillea ptarmicoides

• Achillea pyrenaica

• Achillea rhodoptarmica

• Achillea roseo-alba

• Achillea rupestris

• Achillea salicifolia

• Achillea santolinoides

• Achillea schischkinii

• Achillea schmakovii

• Achillea schneideri

• Achillea schugnanica

• Achillea sedelmeyeriana

• Achillea seidlii

• Achillea sergievskiana

• Achillea setacea

• Achillea sieheana

• Achillea sinensis

• Achillea sintenisii

• Achillea sipikorensis

• Achillea spinulifolia

• Achillea squarrosa

• Achillea stepposa

• Achillea styriaca

• Achillea × submicrantha

• Achillea × subtaurica

• Achillea talagonica

• Achillea taygetea

• Achillea tenuifolia

• Achillea teretifolia

• Achillea thracica

• Achillea tomentosa – woolly yarrow

• Achillea tuzsonii

• Achillea umbellata

• Achillea valesiaca

• Achillea vermicularis

• Achillea virescens

• Achillea wilsoniana – Wilson's yarrow

Cultivars
The following cultivars are recipients of the Royal Horticultural Society's Award of Garden Merit:
 * Achillea ageratifolia
 * Achillea 'Coronation Gold'
 * Achillea 'Credo'
 * Achillea filipendulina 'Cloth of Gold'
 * Achillea filipendulina 'Gold Plate'
 * Achillea 'Heidi'
 * Achillea 'Hella Glashoff'
 * Achillea 'Lachsschönheit' (Galaxy Series)
 * Achillea × lewisii 'King Edward'
 * Achillea 'Lucky Break'
 * Achillea 'Martina'
 * Achillea millefolium 'Lansdorferglut'
 * Achillea 'Mondpagode'
 * Achillea 'Moonshine'
 * Achillea 'Summerwine'

Etymology
The genus was named after the Greek mythological character Achilles. According to legend, Achilles' soldiers used yarrow to treat their wounds, hence some of its common names such as allheal and bloodwort.

Distribution and habitat
The genus is primarily native to Europe, temperate areas of Asia, and North America.

Ecology
Achillea species are used as food plants by the larvae of some Lepidoptera species.

Uses
Achillea species and cultivars are popular garden plants.

title: Achillea


text:
Talk:World War I in literature

Untitled
What has Sayers' The Unpleasantness at the Bellona Club to do with World War I? It's a long time since I read it, but I think it surely wasn't about the war. And wasn't it published in 1928, thus hardly making it "contemporary" with the war??

I'm removing all the non-fiction that has crept in to the non-contemporary list. This is literature of WWI, not histories or analysis, however well done. Sevenstones 21:01, 24 October 2006 (UTC)

Hello -- wondering if anyone can shed some light on AMERICAN contributions to this page? Having a hard time finding information about American lit published on the war after the war... — Preceding unsigned comment added by 96.78.226.251 (talk) 18:07, 31 December 2018 (UTC)

Where does this belong?
These two unsourced sentences were removed from the article:
 * "During the war many of the combatants published trench magazines, most of them for an audience in a particular division or unit. The most famous of these (and the only one still commercially available after the war) was the Wipers Times."

I'm not sure where or how this fits in? --Tenmei (talk) 00:18, 15 February 2009 (UTC)

More sources
A list here: http://www.gutenberg.org/wiki/World_War_I_%28Bookshelf%29

"War Books" by Cyril Falls, 1930, new edition by RJ Wyatt 1989. Lists and reviews WW1 books in various categories including reminiscenses. The later edition includes more enteries and an index. The Gutenberg list above contains works not listed in War Books, suggesting that there exist even more than are given in either list. 92.24.180.231 (talk) 16:51, 29 April 2011 (UTC)

War poets
I see this article is under construction, but I hope there are plans to include literature in languages other than English, which seems remarkably absent at the moment apart from All Quiet on the Western Front. There is some material in the separate article on war poets, and more on non-English poets in its history. It would be nice to get these articles into decent shape before July 2014. -- Theramin (talk) 22:17, 18 June 2012 (UTC)

External links modified
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Globalise template
Having added the template, I thought I should provide a short justification here. Current the article is mostly British and almost exclusively Anglophone. This does not reflect the generality of literature on or during World War I. Obvious suggestions for addition include The Good Soldier Švejk (1921-23) and The Last Days of Mankind (1918).—Brigade Piron (talk) 08:57, 19 April 2018 (UTC)
 * For inspiration, there are some good articles in the 1914-1918-online encyclopedia by country, as well as a general article.—Brigade Piron (talk) 09:35, 19 April 2018 (UTC)

title: Talk:World War I in literature


text:
User talk:Vesa Sihvonen

Hello, Vesa Sihvonen (ja terve). Welcome to Wikipedia.

A few tips for you to start going. (I'll send more if I see that I can help you :-)

 * Check out Welcome, newcomers + the links in there.
 * Sign your stuff on talk pages with ~ It will convert to your username + the time.
 * If puzzled, put a question on Village pump, or feel free to ask me on my talk page if it's a very general question.
 * Have fun.

-- Cimon Avaro on a pogo-stick 22:22 1 Jul 2003 (UTC)

title: User talk:Vesa Sihvonen


text:
Talk:Les Dawson

Editing problem
I have tried to edit the page about Les dawson as there are some inaccuracies and I wanted to add details. I did add them but when I went back to the original page the edits had not changed and all my extra information had disappeared. Can you tell what I did wrong? J2TMR@aol.com Thank you in anticipation

You mean the addition of "2-2-1933 to 10-6-1993" ? It's there. Perhaps it's a caching problem at your end - try reloading the page.

Anyway, that info should be integrated into the article instead of floating at the top. I'll do that, but first tell me what dating format you're using.

Is it 10th June 1993 or 6th October 1993? Evercat 22:27 1 Jul 2003 (UTC)

No I imagine you don't mean that, sice I see that edit happened months ago. :-) Did you preview the page but forget to save it, maybe? Evercat 22:29 1 Jul 2003 (UTC)

Date of birth
The IMDb has the year of Dawson's death as 1931, not '33 or '34. Would it be correct to use that? TonyW 00:16, 26 May 2004 (UTC)
 * I think you meant "year of Dawson's birth"? Martinevans123 (talk) 20:57, 29 July 2019 (UTC)

 * Date and place of birth is confirmed in the DNB as 2 February 1931 in Thornton Street, Collyhurst. His first wife was Margaret Rose Plant and they married 25 June 1960, she died in 1987 not 1986.  His second wife was Tracy Roper and they married in 1989.  He died at St Joseph's Hospital, Manchester.  Those are all from the DNB which has been known to be wrong occasionally!  I will leave someone to merge the details into the main text.  --jmb 23:46, 7 November 2006 (UTC)

 * IMDB would appear to be wrong - other contemporary references from newspapers (www.britishnewspaperarchive.co.uk) from 1993 say he was 59 at the time of death, as does the current obituary referenced in the article. Also Encyclopedia Britannica lists as 59 (https://www.britannica.com/biography/Les-Dawson) Seajay (talk) 12 January 2019  —Preceding undated comment added 00:53, 12 January 2019 (UTC)

The current main source for 2 February 1934 if this one in The Independent. FreeBMD here, however gives 1931. Should it be removed and replaced with another? Martinevans123 (talk) 20:57, 29 July 2019 (UTC) p.s. his age at death, of 62 years, can be seen on his gravestone here

Ethnicity
Old Les wasn't a Jew by any chance was he? -Dr Haggis - Talk 01:48, 31 January 2006 (UTC)

 * Not so far as I know. Maybe that's why he was so terrified by the ghost of Sid James?

130.225.25.169 (talk) 12:54, 17 January 2008 (UTC)

Me-moing
me-moing. In the listing on Les Dawson its said that the characters Cissy and Ada - played by Les and Roy Barraclough - would 'whisper' to avoid using certain words. What is far more likely is that they were me-moing. A silent form of speech using exageratted mouth movements so that the other person could lip-read at a distance. This is a form of communication that was commonplace in parts of the North West of England in towns such as Bolton, Bury and Rochdale where many women of that age would have worked in cotton and paper mills. The noise of the industrial process in these mills made normal conversation impossible. Me-moing would often be accompanied by visual 'mimes' - drinking, smoking, walking etc.

Peter Kay has made much of me-moing in his act ie. 'fancy a brew'

Second wedding
where did les dawson get married the second time and name of church —Preceding unsigned comment added by 77.98.209.102 (talk) 16:13, 16 November 2009 (UTC)

should at least be some more info on second marriage - at the moment it's only implied by mention of his wife at the time of his death (assuming that's accurate, of course) Davidmcn1972 (talk) 21:24, 22 March 2013 (UTC)

Poorly Written
This article is not well written. What do you mean "would have had a heart attack" when have heart attacks become predictable?

Unfunny
Les Dawson's "act" was fairly feeble and much based on plagiarism of older classic English acts.

Les Dawson was a genius who was loved by the public for his straightforward mother-in-law jokes, and by other entertainers due to the quality and intelligence of his writing and wordplay. Taking inspiration from others is how the world progresses, and shoudl be encouraged. Pollythewasp (talk) 10:20, 7 February 2014 (UTC)

"Nona"
Does anyone have any info about Dawson's role in the 1991 TV film of Roberto Cossa's play "Nona", in which Dawson played the title character, an old Argentinian lady? I seem to remember he played it straight, rather than for laughs. IMDB's page and the BFI's page on the film are both pretty sparse. I feel Dawson's part in it warrants inclusion on this page, given that it was quite a departure from his usual comedy roles ~dom Kaos~ (talk) 13:03, 11 May 2010 (UTC)

Autobiography
According to the article his autobiography is "entertaining but factually unreliable" - surely a breach of WP:RS? Also, it's mainly cited to quote a joke. Autarch (talk) 19:19, 30 December 2011 (UTC)
 * Well according to IMDb she was born on 3 October 1992. So that is about right. Martinevans123 (talk) 20:32, 5 February 2019 (UTC)

"who was only eight months old when he died"
That would make him 61 when she was born, which I find really difficult to believe.-- Laun  chba  ller  17:20, 11 May 2014 (UTC)

title: Talk:Les Dawson


text:
Charlie's Angels: Full Throttle

Charlie's Angels: Full Throttle is a 2003 American action comedy film directed by McG and written by John August, and Cormac and Marianne Wibberley. It is the sequel to 2000's Charlie's Angels and the second installment in the Charlie's Angels film series, which is a continuation of the story that began with the television series of the same name by Ivan Goff and Ben Roberts.

In an ensemble cast, Cameron Diaz, Drew Barrymore and Lucy Liu reprise their roles as the three women working for the Townsend Agency. Crispin Glover, Matt LeBlanc and Luke Wilson also reprise their roles from the first film in addition to Bill Murray appearing through archival footage with Bernie Mac, Justin Theroux, Robert Patrick and Demi Moore joining the cast. Jaclyn Smith reprised her role as Kelly Garrett from the original series for a cameo appearance. It was John Forsythe's final film role before he retired from acting in 2006 and death in 2010 respectively.

It was released in the United States on June 27, 2003, by Sony Pictures Releasing under its Columbia Pictures label and was number one at the box office for that weekend, also making a worldwide total of $259.2million. Like its predecessor, the film received mixed reviews from critics, with praise for the performances of Diaz, Barrymore and Liu, but criticism aimed at the "bland plot and lack of sense".

Plot
After rescuing U.S. Marshal Ray Carter in Mongolia, the Angels (Natalie Cook, Dylan Sanders, and Alex Munday) and Jimmy Bosley (John Bosley's adoptive brother) are sent to recover titanium rings stolen from the United States Department of Justice that can display the people listed in the witness protection program. DOJ official William Rose Bailey and a protected witness, Alan Caulfield are among those killed. At Caulfield's house in San Bernardino, the Angels track his assassin Randy Emmers to a beach where they meet former Angel Madison Lee. During the Coal Bowl motorcycle race, Emmers targets another witness named Max Petroni, and the Angels try to intervene. Emmers is killed by the Thin Man (believed to be dead after the events of the first film) because he was protecting Max. Inside Emmers' pocket, the Angels discover the photos of Caulfield, Max, and, surprisingly, Dylan, under her birth name, Helen Zaas.

Dylan reveals that she is a protected witness after sending her former boyfriend, Irish mob leader Seamus O'Grady to prison. O'Grady has since targeted those who wronged him; including Dylan and Max, whose parents O'Grady killed. As Max previously testified against O'Grady, he is sent to the home of Bosley's mother for protection. At a monastery, the Angels learn about the Thin Man's past from the Mother Superior, who reveals his name, Anthony. Afterwards, the Angels track O'Grady's mob at San Pedro and manage to get the rings, but O'Grady threatens Dylan with the murder of everyone she loves. Natalie attends her boyfriend, Pete Kominsky's high school reunion at Hermosa Beach, where she overhears his friends implying he might propose, which she feels is too fast since they just moved in together. Alex returns home to her actor boyfriend, Jason while Dylan leaves the Angels and heads to Mexico. When Natalie, Bosley, and Alex notice the letter she left for them, they realize that Dylan fled to protect them. Natalie asks Charlie how O'Grady got out of jail, and Charlie reveals someone had him released on good behaviour. While hiding out in Mexico, Dylan is convinced to return after seeing an apparition of former Angel Kelly Garrett.

Natalie and Alex deduce that Carter is the one who let O'Grady out of prison after seeing him return Bosley's keys without any pain, despite claiming to have broken his ribs beforehand. Following him, the two witness him getting killed by Madison, the true mastermind. Though Dylan arrives to back the group, the Angels are shot by Madison, who takes the rings, though they survived via Kevlar vests. Back at the base, Charlie reprimands Madison for what she's done and confronts her for endangering her former teammates' lives. Madison is angry she never got the recognition she deserved from Charlie and shoots his speaker. The Angels realize that Madison is going to sell the rings to the O'Grady Crime Family, the Antonioni Mafia, the Tanaka Yakuza, and the Diablo Cartel at the Hollywood Walk of Fame, where Jason's film premiere is about to commence.

The Angels arrange for the buyers to be arrested by the FBI while they confront Madison and O'Grady. The O'Grady's enter the melee, having avoided arrest when Seamus realizes the Angels' plan. The Thin Man comes to the Angels' aid, helping Alex and rescuing Dylan when she is being attacked by O'Grady. He begins to fight O'Grady and kicks him off the roof. The Thin Man grabs Dylan and chokes her at first, but they end up sharing a kiss and he pulls some of Dylan's hair out. Just as he is about to say something, O'Grady stabs him and he falls off the roof. O'Grady nearly succeeds in killing Dylan as well, but she blinds him, causing him to lose his footing and fall to his death (in the unrated cut, O'Grady is still alive and attempts to get back up but is stopped by The Thin Man, who also survived; Dylan accidentally knocks over the "E" sign and it falls on O'Grady, possibly The Thin Man as well). The Angels fight Madison all the way to an abandoned theatre, where they kick her into a chamber filled with gas and she fires her gun, inadvertently blowing herself up.

The Angels attend the premiere, where they learn that Mama Bosley is adopting Max. Peter surprises Natalie by asking her to get a puppy (the big question he was planning on asking her) and Alex terminates her "time out" with Jason. The Angels celebrate their victory together with Bosley.

Cast

 * Cameron Diaz as Natalie Cook
 * Drew Barrymore as Dylan Sanders / Helen Zaas
 * Lucy Liu as Alex Munday
 * Demi Moore as Madison Lee, a former Angel turned independent operative
 * Bernie Mac as Jimmy Bosley, successor and adoptive brother of John Bosley
 * Justin Theroux as Seamus O'Grady, Dylan's ex-boyfriend and head of the O'Grady Irish Mob
 * Crispin Glover as the Thin Man / Anthony, a mysterious assassin
 * Rodrigo Santoro as Randy Emmers, a surfer assassin hired by Madison
 * Robert Patrick as Ray Carter, a corrupt U.S. Marshal
 * John Forsythe as the voice of Charles 'Charlie' Townsend, the owner of the Townsend agency
 * Matt LeBlanc as Jason Gibbons, Alex's boyfriend
 * Luke Wilson as Pete Komisky, Natalie's boyfriend
 * John Cleese as Mr. Munday, Alex's father
 * Shia LaBeouf as Max Petroni, an orphaned teenager targeted by the mob after his testimony
 * Ja'net DuBois as Momma Bosley, Jimmy's biological mother and John Bosley's adoptive mother

 * Cameos
 * Jaclyn Smith as Kelly Garrett, one of the original Angels
 * Bruce Willis as William Rose Bailey, Justice Department official murdered by Emmers
 * Carrie Fisher as Mother Superior
 * Robert Forster as Roger Wixon, Director of the FBI
 * Pink as the Coal Bowl M.C.
 * Mary-Kate and Ashley Olsen and Eve as the future Angels from Dylan's imagination
 * Ed Robertson as the sheriff
 * Wayne Federman and Steve Hytner as high school reunion buddies in the bathroom
 * Melissa McCarthy as a woman at crime scene. McCarthy previously appeared in the first film as a different character, Doris.
 * Big Boy and Anthony Griffith as Jimmy Bosley's cousins
 * Eric Bogosian as Alan Caulfield, victim murdered by Emmers
 * Chris Pontius as the Irish dock worker
 * Tommy Flanagan, Chris Pontius, Jonas Barnes, and Luke Massy as Irish henchmen
 * Michael Guarnera as the boss of Antonioni Mafia
 * Andrew Wilson as crime scene police officer in charge
 * The Pussycat Dolls as Themselves, dancing to a vamped-up "The Pink Panther Theme"

Bill Murray, who played John Bosley in the first installment, also appears in archival footage.

Production
Charlie's Angels: Animated Adventures, an animated prequel series explains how the Angels got there and their mission, concluded by the very introduction of the film.

The Seamus O'Grady prison introduction scene is a direct reference to Robert De Niro's prison-set introduction in Cape Fear. Whenever O'Grady (Justin Theroux) appears, he is accompanied by Bernard Hermann's theme from Cape Fear.

Madison Lee was created with Demi Moore in mind.

The scene where the Angels go to investigate the body of Agent Caufield dressed as crime-scene professionals is a homage/parody of CSI: Crime Scene Investigation, complete with the theme "Who Are You" by The Who.

The song "Feel Good Time" is the film's main track, and is performed by Pink.

The Thin Man character perhaps pays homage to the Thin Man in the 1927 German expressionist film Metropolis, directed by Fritz Lang. In the film, Thin Man is ordered by Joh Frederson, master of Metropolis, to spy on his son Freder.

Box office
Charlie's Angels: Full Throttle collected $37.6 million during its opening weekend. The film had a production budget of $120million. It grossed $100,830,111 at the United States box office and had to depend on earnings from the international box office to make a profit. By the end of its run, the film had grossed $259,175,788 worldwide, underperforming its predecessor by $5 million.

Critical response
Charlie's Angels: Full Throttle received mixed reviews and earned a rating of 41% on Rotten Tomatoes based on 186 reviews, with an average rating of 5.10/10. The site's critical consensus reads: "Eye candy for those who don't require a movie to have a plot or for it to make sense". On Metacritic the film has weighted average score of 48 out of 100, based on reviews from 38 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

Roger Ebert gave the film $2 1/2$ stars out of 4, a higher score than the half star he gave to the first film. Ebert explained: "I realized I did not hate or despise the movie, and [...] I decided that I sort of liked it because of the high spirits of the women involved". Amy Dawes of Variety magazine wrote: "Bigger, sleeker and better than the first, sequel Charlie's Angels: Full Throttle is a joyride of a movie that takes the winning elements of the year 2000 hit to the next level".

The film received seven nominations at the 24th Golden Raspberry Awards including Worst Picture, Worst Actress for both Drew Barrymore and Cameron Diaz, Worst Screenplay, and Worst Excuse for an Actual Movie (All Concept/No Content), winning two trophies for Worst Remake or Sequel and Worst Supporting Actress for Demi Moore. The film also received seven nominations at the 2003 Stinkers Bad Movie Awards: Worst Director (McG), Worst Actress (Barrymore), Worst Screenplay for a Film Grossing More Than $100 Million Worldwide Using Hollywood Math, Most Intrusive Musical Score, Worst Sequel, Least "Special" Special Effects, and Worst On-Screen Group (the Angels). It won for Worst Director and Most Intrusive Musical Score.

Accolades
Demi Moore was nominated for the MTV Movie Award for Best Villain, but lost against co-star Lucy Liu for her role as O-Ren Ishii in Quentin Tarantino's Kill Bill: Volume 1.

Home media
Charlie's Angels: Full Throttle was released on both VHS and DVD in widescreen and full-screen formats on October 21, 2003.

Soundtrack
Charlie's Angels: Full Throttle is the soundtrack album to the 2003 film Charlie's Angels: Full Throttle. The album was released on June 24, 2003, by Columbia Records and Sony Music Soundtrax.

Certifications

 * Other songs are not included in the soundtrack
 * "Who Are You" by The Who
 * "Thunder Kiss '65" by White Zombie
 * "Firestarter" and "Breathe" by The Prodigy
 * "Block Rockin' Beats" by The Chemical Brothers
 * "Misirlou" by Dick Dale
 * "Wild Thing" by Tone Lōc
 * "Nuthin' but a 'G' Thang" by Dr. Dre featuring Snoop Dogg
 * "Flashdance... What a Feeling" by Irene Cara
 * "The Pink Panther Theme" by Henry Mancini
 * "The Lonely Goatherd" by Rodgers and Hammerstein
 * "Sleep Now in the Fire" by Rage Against the Machine
 * "Mickey" by Toni Basil
 * "Planet Claire" by The B-52s
 * "Sleep Walk" by Santo & Johnny
 * "Looks That Kill" by Mötley Crüe

Sequel
Following the release of Full Throttle, the franchise was confirmed for a third and fourth film, but in 2004 the idea was canceled. A fictional sequel titled Charlie's Angels III: The Legend of Charlie's Gold (2007) was presented in the 2001 Futurama episode "I Dated a Robot", with Lucy Liu reprising her role; the film follows the Angels dealing with an outbreak of vampires.

In 2015, Sony began developing the new Charlie's Angels installment. Elizabeth Banks directed and produced the film with her husband Max Handelman producing. Initially developed as a reboot of the franchise, the film is a continuation of the original TV series and the McG-directed 2000s films.

The third installment stars Kristen Stewart, Naomi Scott, and Ella Balinska as the new generation of Angels. Banks and Djimon Hounsou also star as Charlie's assistants, known as Bosleys, while Patrick Stewart replaced Bill Murray in the role of John Bosley and Jaclyn Smith reprised her role as Kelly Garrett for the second time for a cameo appearance. It is also the first installment to feature Robert Clotworthy as the voice of Charlie, replacing John Forsythe, following his death in 2010.

title: Charlie's Angels: Full Throttle