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Somebody to Love (Jefferson Airplane song)

"Somebody to Love" (originally titled "Someone to Love") is a rock song that was written by Darby Slick. It was originally recorded by the Great Society, and later by Jefferson Airplane. Rolling Stone magazine ranked Jefferson Airplane's version No. 274 on their list of the 500 Greatest Songs of All Time.

Background
Written by the Great Society guitarist Darby Slick after realizing his girlfriend had left him, and first performed by that band, which included his then-sister-in-law Grace Slick on vocals, the song made little impact outside of the club circuit in the Bay Area. The song was recorded on December 4, 1965, and released in February 1966 as a single with the B-side another Darby Slick composition titled "Free Advice" on the Northbeach label (Northbeach 1001) and received minimal circulation outside of San Francisco. San Francisco in the mid-1960s was the center of free love, but Darby Slick saw a downside to this ethos, as it could lead to jealousy and disconnect. The song champions loyalty and monogamy, as the singer implores the listener to find that one true love that will nurture them and get them through the tough times. However, the lyrics do not treat love as something that randomly happens to a person, but rather as an action that a person may choose to take. This subtle but profound difference in philosophy places this song in opposition to songs that speak of "falling in love" as if love is something that happens to a person outside of their conscious intention.

Re-recording
When Grace Slick departed to join Jefferson Airplane, she took this song with her, bringing it to the Surrealistic Pillow sessions, along with her own composition "White Rabbit". Subsequently, the Airplane's more ferocious rock-and-roll version became the band's first and biggest success, reaching No. 5 on the Billboard Hot 100. The group's first hit song, "Somebody To Love" was also one of the first big hits from the San Francisco Bay area and West Coast counterculture scene, to which numerous artists and musicians would be drawn in following years.

Slick's original performance of the song with the Great Society is more subdued, with the Jefferson Airplane version sounding far more accusatory and menacing on lines such as "Your mind is so full of bread" and "Your friends, baby, they treat you like a guest." The lyrics are in the second person, with each two-line verse setting a scene of alienation and despair, and the chorus repeating the title of the song, with slight variations such as: "... / Don't you need somebody to love? / Wouldn't you love somebody to love? / ..." Like the album on which it appeared, this song was instrumental in publicizing the existence of the Haight-Ashbury counterculture to the rest of the United States.

Reception
Billboard described the song as a "wild dance number loaded with vocal excitement," calling it a "hard driver, featuring powerful female vocal in the lead [which] never stops from start to finish." Cash Box called the single a "bright, pulsating, rhythmic, sometimes-frenetic, funky rock outing." Brett Milano of udiscovermusic.com rated Jorma Kaukonen's psychedelic guitar solo at the end of the song as one of the 100 all-time greatest, stating that it opens "with those three sustained wailing notes and [closes] with those sign-off chords that leave the song forever unresolved."

Boogie Pimps version
A remix of "Somebody to Love" was the debut single of German electronic music duo Boogie Pimps. It was first released in Germany in April 2003 and became a worldwide hit the following year, reaching No. 3 on the UK Singles Chart and No. 7 on the Irish Singles Chart. The song also became a top-twenty hit in Australia, Denmark, Finland, Germany, and the Netherlands. In most of these territories, this was their only hit single, as the follow-up single "Sunny" failed to chart.

Background and release
In December 2001, Mark J. Klak and Mirko Jacob of Boogie Pimps decided to cover the song after watching the 1998 film Fear and Loathing in Las Vegas, in which "Somebody to Love" is featured. The band's result initially failed to attract attention from German record labels, but the song soon became popular via underground white label releases. It was then picked up by German label Superstar Recordings and released as an official single on April 7, 2003. In the United Kingdom, it was released on January 5, 2004, while in Australia, it was issued as a CD single on January 26, 2004.

Track listings
German maxi-CD single
 * 1) "Somebody to Love" (radio edit) – 3:30
 * 2) "Somebody to Love" (radio mix (clear)) – 3:46
 * 3) "Somebody to Love" (main club mix) – 5:10
 * 4) "Somebody to Love" (Moonbootica mix) – 6:54
 * 5) "Somebody to Love" (ClubReise (Mirko Jacob mix)) – 5:24
 * 6) "Somebody to Love" (CaterpillarClassich (Mark J Klak mix)) – 7:10

UK CD single
 * 1) "Somebody to Love" (radio edit)
 * 2) "Somebody to Love" (DJ Flex executive edit)
 * 3) "Somebody to Love" (Pimps club mix)
 * 4) "Somebody to Love" (DJ Flex executive remix)
 * 5) "Somebody to Love" (Ian Knowles remix)
 * 6) "Somebody to Love" (CD-ROM video)

Australian CD single
 * 1) "Somebody to Love" (radio edit) – 2:59
 * 2) "Somebody to Love" (club mix) – 6:02
 * 3) "Somebody to Love" (DJ Flex & Sandy Wilhelm executive remix) – 7:38
 * 4) "Somebody to Love" (Santos Somebody to Rock remix) – 6:47
 * 5) "Somebody to Love" (Santos Another Planet remix) – 7:48
 * 6) "Somebody to Love" (Raymond Barry remix) – 5:33

Usage in media
Jefferson Aiplane's studio release was used at the beginning of the Coen brothers' A Serious Man, just after the opening short story about the dybbuk and the title graphic. The Coens invited their longtime musical scorer, Carter Burwell, to compose a musical bridge for the title graphic to help transition from a pre-WWII Ashkenazi shtetl to St. Louis Park, Minnesota in 1967, where Danny Gopnik is listening to the song on an earpiece during his Hebrew language class at school. Burwell responded by adding a dark, brooding introduction to Somebody To Love using the same model electric guitar and bass used in the original studio recording, and played through similar amps by selected musicians. Referring to the sound fidelity, Burwell commented, "it was difficult to reduce our overall sound quality to that of the original recording. We did our best."


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Another One Bites the Dust

"Another One Bites the Dust" is a song by the British rock band Queen. Written by bassist John Deacon, the song was featured on the group's eighth studio album The Game (1980). It was a worldwide hit, charting at number one on the US Billboard Hot 100 for three weeks, from 4 October to 18 October (being their second and final number-one single in the country). The song spent 15 weeks in the Billboard top 10 (the longest running top ten song of 1980), including 13 weeks in the top five, and 31 weeks total on the chart (more than any other song in 1980). It reached number two on the Hot Soul Singles chart and the Disco Top 100 chart, and number seven on the UK Singles Chart. The song is credited as Queen's best-selling single, with sales of over 7 million copies. This version was ranked at number 34 on Billboard's All-Time Top Songs.

The song won an American Music Award for Favorite Rock Single and also garnered a Grammy Award nomination for Best Rock Performance by a Duo or Group with Vocal. "Another One Bites the Dust" has been covered, remixed and sampled by many artists since its release, and has also appeared in TV shows, commercials, films and other media. The song has also featured at sports events.

History
It is purported that John Deacon's bass line was inspired by "Good Times" by the disco group Chic. In an interview with NME, Chic co-founder Bernard Edwards stated, "That Queen record came about because that Queen bass player... spent some time hanging out with us at our studio."

Recording sessions – produced by Reinhold Mack at Musicland Studios in Munich (West Germany) – consisted of Deacon playing almost all instruments: bass guitar, piano, electric guitar, and handclaps. Roger Taylor added a drum loop and Brian May contributed noises with his guitar and an Eventide Harmonizer. There are no synthesisers in the song: all effects are created by piano, electric guitars and drums, with subsequent tape playback performed in reverse at various speeds. Finally, sound effects were run through the harmonizer for further processing. The effect of the harmonizer can be heard clearly in the "swirling" nature of the sound immediately before the first lyric. In early live performances, Taylor sang lead on the chorus, as opposed to the studio version sung entirely by Mercury. As the song became more well-known, the band could rely on audiences to sing the chorus by themselves. After attending a Queen concert in Los Angeles, Michael Jackson suggested to Freddie Mercury backstage that "Another One Bites the Dust" be released as a single.

At the 1981 American Music Awards on 30 January, "Another One Bites the Dust" won the award for Favorite Pop/Rock Single. The song also garnered Queen a Grammy nomination for Best Rock Performance by a Duo or Group with Vocal. It lost to Bob Seger's "Against the Wind". The music video for "Another One Bites the Dust" was filmed at Reunion Arena in Dallas, Texas on 9 August 1980. The song also appears in Queen's  Greatest Hits album in 1981.

To "bite the dust" means to die or to lose in a contest or game. The beginning lyrics set up a scene similar to a mobster movie, with "machine guns ready to go". Later lyrics refer to a failed relationship as "another one bites the dust". The singer is not going to let it get him down, "standing on my own two feet". The song was used in a preliminary cut of Rocky III, before being replaced by Survivor's "Eye of the Tiger". "When one of my idols, Brian May, attended one of our shows in Los Angeles in 1984, he brought up that subject", recalled Survivor guitarist Frankie Sullivan, to whom Sylvester Stallone had supplied a copy of the movie. "I offered to send him a copy of the tape, which I still own."

Critical reception
Billboard called it a "snarling track" with a "spare, lean sound." Record World said that "a brutal bass conspires with the sing-along hook on this thoroughly contagious [song]." Classic Rock History critic Millie Zeiler rated it John Deacon's 2nd best Queen song.

Alleged backward masking
In the early 1980s, "Another One Bites the Dust" was one of many popular rock songs that some Christian evangelists alleged contained subliminal messages through a technique called backmasking. It was claimed that the chorus, when played in reverse, can be heard as "Decide to smoke marijuana", "It's fun to smoke marijuana", or "Start to smoke marijuana". A spokeswoman for Hollywood Records (Queen's current US label) has denied that the song contains such a message. The song does, however, contain a backmasked piano, which can be heard clearly when it is played backward.

Use in medical training
"Another One Bites the Dust" was used in a study to train medical professionals to provide the correct number of chest compressions per minute while performing CPR. The bassline has close to 110 beats per minute, and 100–120 chest compressions per minute are recommended by the British Heart Foundation, and endorsed by the Resuscitation Council (UK).

Personnel

 * Freddie Mercury – lead and backing vocals
 * Brian May – electric guitar
 * Roger Taylor – drums
 * John Deacon – bass guitar, electric guitar, piano, percussion

Hollywood Records remixes
The first official remix of "Another One Bites The Dust" was Phase 5's Long Dusted B-Boy version, which was released on the Hollywood BASIC compilation BASIC Beats Sampler in early 1992. The remix featured a new rap verse by Money-B of Raw Fusion and contained many samples from other records including, but not limited to, "Flash" by Queen themselves, "The Breaks" by Kurtis Blow, "I Know You Got Soul" by Eric B. & Rakim, "Good Times" by Chic and "It's Too Funky in Here" by James Brown.

Dave Ogilvie edited the Phase 5 remix for inclusion on the April 1992 compilation BASIC Queen Bootlegs removing profanity from the rap verse and problematic samples due to copyright clearance. A separate remix by Onyx producer ChySkillz was due to appear featuring rap verses by Ice Cube, Hi-C and Manson. Ogilvie also recorded his own remix in sessions for the album, but did this not feature on the final track listing. All four versions have since leaked.

Wyclef Jean remix
In 1998, Haitian rapper Wyclef Jean covered and remixed the song alongside Queen for the film Small Soldiers (1998). His version also features rap verses from Pras Michel and Free. The track also appears on Queen's compilation Greatest Hits III, released in 1999, and on Pras' debut album, Ghetto Supastar, released in 1998.

Background
The song enjoyed its greatest success in Queen's native United Kingdom, where it entered and peaked at number five on the UK Singles Chart, two places higher than the original, going on to spend six weeks on the chart. It also peaked within the top ten of the charts in Finland. It charted number 18, number 23, number 50 and number 62 in New Zealand, Austria, Sweden and France, respectively. The music video for this version was directed by Michel Gondry.

The song became Pras' third top ten hit in the United Kingdom from his debut solo album Ghetto Supastar, following the title track and follow-up single Blue Angels. However, Pras was not available for the filming of the video, and rapper Canibus recorded a new verse to take his place. This version was used only for the promotional video.

Track listing

 * American CD single
 * 1) "Another One Bites the Dust" (Radio Edit) – 4:00
 * 2) "Another One Bites the Dust" (LP Version) – 4:20
 * 3) "Another One Bites the Dust" (Instrumental) – 4:17
 * 4) "Another One Bites the Dust" (Acappella) – 4:45

 * UK CD single
 * 1) "Another One Bites the Dust" (New LP Version) – 4:20
 * 2) "Another One Bites the Dust" (Team 1 Black Rock Star Main Pass Mix) – 4:46
 * 3) "Another One Bites the Dust" (Team 1 Black Rock Star Radio Edit) – 4:17

 * German CD single
 * 1) "Another One Bites the Dust" (Small Soldiers Remix) – 4:20
 * 2) "Rock and Roll (Part 2) (Dutch Remix)" (instrumental) (performed by Gary Glitter) – 3:51
 * 3) "Another One Bites the Dust" (Instrumental) – 4:17

 * German CD single
 * 1) "Another One Bites the Dust" (Radio Edit) – 4:00
 * 2) "Another One Bites the Dust" (Instrumental) – 4:17

Queen vs. The Miami Project
The song was remixed again in 2006. The single reached the UK Top 40, peaking at number 31, credited to Queen vs The Miami Project. The lead remix was by Cedric Gervais & Second Sun for which a new video was filmed.

Track listing

 * 7" picture disc vinyl
 * 1) "Another One Bites the Dust" (Cedric Gervais & Second Sun Radio Edit)
 * 2) "Another One Bites the Dust" (Original Version)

 * CD single
 * 1) "Another One Bites the Dust" (Cedric Gervais & Second Sun Radio Edit)
 * 2) "Another One Bites the Dust" (Cedric Gervais & Second Sun Vocal Mix)
 * 3) "Another One Bites the Dust" (Oliver Koletski Remix)
 * 4) "Another One Bites the Dust" (A Skillz Remix)
 * 5) "Another One Bites the Dust" (Soul Avengerz Remix)
 * 6) "Another One Bites the Dust" (DJ Pedro & Oliver Berger)
 * 7) "Another One Bites the Dust" (Cedric Gervais & Second Sun Radio Edit) (video)

 * Digital download EP
 * 1) "Another One Bites the Dust" (Cedric Gervais & Second Sun Radio Edit)
 * 2) "Another One Bites the Dust" (Cedric Gervais & Second Sun Vocal Mix)
 * 3) "Another One Bites the Dust" (Oliver Koletski Remix)
 * 4) "Another One Bites the Dust" (A Skillz Remix)
 * 5) "Another One Bites the Dust" (Soul Avengerz Remix)
 * 6) "Another One Bites the Dust" (DJ Pedro & Oliver Berger)

Captain Jack version
In 1996, Queen Dance Traxx and German Eurodance group Captain Jack covered the song for the album Queen Dance Traxx 1 and released it as a single. The song reached number 5 in Finland and peaked at number 12 in the Netherlands. It also reached number 33 in Austria, number 41 in Belgium and number 61 in Germany. The music video for this version was directed by Rudi Dolezal and was filmed in Berlin, Germany.

Track listing
Remixed by Hal & Dj Ufuk a.k.a. Helmut Apel & Ufuk Yildirim
 * 1) "Another One Bites the Dust" (Radio Mix) – 3:48
 * 2) "Another One Bites the Dust" (Club Mix) – 5:29

 * 1) "Another One Bites the Dust" (DJs Extended Mix) – 6:23

Other versions
In 1980, "Weird Al" Yankovic recorded a parody of "Another One Bites the Dust" entitled "Another One Rides the Bus"; the narrator laments about a crowded public city bus. "Another One Rides the Bus" was performed by Yankovic on his first television appearance on The Tomorrow Show (21 April 1981) with Tom Snyder.

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

title: Another One Bites the Dust


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Crazy Little Thing Called Love

"Crazy Little Thing Called Love" is a song by the British rock band Queen. Written by Freddie Mercury in 1979, the track is included on their 1980 album The Game, and also appears on the band's compilation album Greatest Hits in 1981. The song peaked at number two in the UK Singles Chart in 1979 and became the group's first number-one single on the Billboard Hot 100 in the US in 1980, remaining there for four consecutive weeks. It topped the Australian ARIA Charts for seven weeks. It was the band's final single release of the 1970s.

Having composed "Crazy Little Thing Called Love" on guitar, Mercury played rhythm guitar while performing the song live, which was the first time he played guitar in concert with Queen. Queen played the song live between 1979 and 1986, and a live performance of the song is recorded in the albums Queen Rock Montreal, Queen on Fire – Live at the Bowl, Live at Wembley '86 and Hungarian Rhapsody: Queen Live in Budapest. Since its release, the song has been covered by a number of artists. The song was played live on 20 April 1992 during The Freddie Mercury Tribute Concert, performed by Robert Plant with Queen. The style of the song was described by author Karl Coryat as rockabilly in his 1999 book titled The Bass Player Book.

Composition
As reported by Freddie Mercury in Melody Maker, 2 May 1981, he composed "Crazy Little Thing Called Love" on the guitar in just five to ten minutes.

"'Crazy Little Thing Called Love' took me five or ten minutes. I did that on the guitar, which I can't play for nuts, and in one way it was quite a good thing because I was restricted, knowing only a few chords. It's a good discipline because I simply had to write within a small framework. I couldn't work through too many chords and because of that restriction I wrote a good song, I think."

- Freddie Mercury

The song was written by Mercury as a tribute to his musical heroes Elvis Presley and Cliff Richard. Roger Taylor added in an interview that Mercury wrote it in just 10 minutes while lounging in a bath in the Bayerischer Hof Hotel in Munich during one of their extensive Munich recording sessions, which was later confirmed by Mercury himself. Mercury took it to the studio shortly after writing it and presented it to Taylor and John Deacon. The three of them, with their then new producer Reinhold Mack, recorded it at Musicland Studios in Munich. The entire song was reportedly recorded in less than half an hour (although Mack says it was six hours).

Having written "Crazy Little Thing Called Love" on guitar and played an acoustic rhythm guitar on the record, for the first time ever Mercury played guitar in concerts, for example at Live Aid at Wembley Stadium, London in 1985. Billboard described Brian May's guitar playing as being "stunning in its simplicity". Cash Box called it a "hip shakin' rockabilly romp" and an "upbeat tune". Record World said that the band "does a superb job of capturing the spirit and sound of the late '50s be-bop rock'n'roll".

May wanted to emulate Rick Nelson's and Presley's longtime guitarist James Burton, and at Macks's suggestion used a Fender Esquire rather than his regular Red Special for the recording session.

Music video
The music video for the song was filmed at Trillion Studios on 21 September 1979 and directed by Dennis De Vallance involving four dancers and a floor of hands. An alternate version was included on the Days of Our Lives DVD and Blu-ray releases.

Live performances
In the immediate aftermath of the single the band embarked on a mini UK tour entitled the Crazy Tour.

Whenever the song was played live, the band added a solid rock ending that extended the under-three-minute track to over five minutes, with May and Mercury providing additional guitars. An example of this is on the CD/DVD Set Live at Wembley '86, where the song continues for five minutes.

On 13 July 1985, Queen performed the song for the Live Aid dual-venue benefit concert.

Single release
The "Crazy Little Thing Called Love" single hit number two in the UK Singles Chart in 1979, and became the first US number-one hit for the band, topping the Billboard Hot 100 for four weeks. It was knocked out of the top spot on this chart by Pink Floyd's "Another Brick in the Wall, Part II". The song also topped the Australian ARIA charts for seven consecutive weeks from 1 March to 12 April 1980. The UK release had "We Will Rock You (live)" as the b-side and America, Australia, Canada had "Spread Your Wings (live)".

Personnel
Although Mercury played an acoustic-electric twelve-string Ovation Pacemaker 1615 guitar and later on an electric six-string Fender Telecaster (both owned by May) live, he recorded the studio version of the song using a six-string acoustic with external mics. Mercury also played the original guitar solo on a version which has been lost.
 * Freddie Mercury – lead and backing vocals, acoustic rhythm guitar, hand claps
 * Brian May – electric lead guitar, backing vocals, hand claps
 * Roger Taylor – drums, backing vocals, hand claps
 * John Deacon – bass guitar, hand claps

Dwight Yoakam version
American country music singer Dwight Yoakam included a cover of the song on his 1999 album Last Chance for a Thousand Years: Dwight Yoakam's Greatest Hits from the 90's. Yoakam's version was released as a single. It debuted at number 65 on the US Billboard "Hot Country Singles & Tracks" chart for the week of 1 May 1999, and peaked at number 12 on the US country singles charts that year. It was also used in a television commercial for clothing retailer Gap at the time of the album's release. The music video was directed by Yoakam. This version appears in the movie The Break-Up (2006), starring Vince Vaughn and Jennifer Aniston.

title: Crazy Little Thing Called Love


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The Manxman (1929 film)

The Manxman is a 1929 British silent romance film directed by Alfred Hitchcock and starring Anny Ondra, Carl Brisson and Malcolm Keen. The film is based on a popular 1894 romantic novel The Manxman by Hall Caine, which had previously been made into a film 13 years earlier. It was the last fully silent production that Hitchcock directed before he made the transition to sound film with his next film Blackmail (1929).

Cast

 * Carl Brisson as Pete Quilliam
 * Malcolm Keen as Philip Christian
 * Anny Ondra as Kate Cregeen
 * Randle Ayrton as Caesar Cregeen
 * Clare Greet as Mother (as Claire Greet)
 * Harry Terry as Man (uncredited)
 * Kim Peacock as Ross Christian (uncredited)
 * Wilfred Shine as Doctor (uncredited)
 * Nellie Richards as Wardress (uncredited)

Plot
The film tells the story of two close childhood friends, a handsome but poor fisherman, Pete Quilliam (Carl Brisson), and a well-educated middle-class lawyer, Philip Christian (Malcolm Keen); Both the young men are smitten with beautiful and lively Kate (Anny Ondra), the pub owner's daughter. In Pete's case, Kate is also interested in him, or at least she enjoys having him as a suitor.

Pete proposes, asking Philip to make the case to Kate's dour father, Caesar Cregeen (Randle Ayrton). Cregeen refuses to consent to the marriage, because Pete is penniless. Pete decides to go to Africa to make his fortune, so he will be considered eligible to marry her, and he asks Kate if she will wait for him to return. At first she jokes around, but finally she says yes. Pete then asks Philip to take care of Kate until he returns.

In his absence, Philip starts calling on Kate almost every day. Kate and Philip become strongly attracted to one another, and start an affair while visiting an old mill.

News reaches the village that Pete has been killed in Africa. Philip and Kate are shocked but Kate is relieved to realize that they can now plan their lives together. Philip's career has been going well, and he is preparing to assume the powerful position of Deemster, the island's chief magistrate.

However, it then turns out that a dead man was misidentified as Pete, who is still alive and prospering in Africa. He lets Philip know via telegram that he is returning. Philip urges Kate not to break her promise to marry Pete, allowing him to continue with his career. Pete arrives shortly after the telegram and is extremely happy to be back to his village and see his old sweetheart. Old Caesar is now delighted to agree to Kate marrying Pete. The wedding reception is celebrated in the old mill, where Old Caesar sternly warns the newlyweds to remember that God will punish anyone who violates the vows of marriage.

Kate is still in love with Philip, and can hardly bear to be married to Pete.

As the weeks pass, Pete is thrilled to find out that Kate is pregnant, and he naturally assumes he is the father. When Kate's daughter is born, Kate is desperate and decides to leave Pete. She walks out, leaving her baby behind, and a note saying that she had loved another man, and still loves him. Pete is deeply hurt by this, but puts on a brave face and tells the villagers that Kate has gone to London for a short rest. During the weeks she is gone, Pete proves himself to be a wonderful father, taking care of the baby very well, and comforting himself by believing that although Kate has gone, he still has their baby to love.

Kate persuades Philip to hide her at his law offices, hoping she can still somehow have a life with him. However, Philip is about to become the Deemster, and he is unwilling to ruin his career by running off with her. Frustrated and distraught, Kate returns to the house to take the baby. She tells Pete he is not the baby's father. Pete is stunned and refuses to believe her. He also refuses to give up the child. In desperation, Kate leaves the house and tries to commit suicide by throwing herself off the quay, but is rescued by a policeman. Attempted suicide is classified as a crime, and Kate is brought to trial on the first day that Philip serves as Deemster. Now Philip is stunned and hardly knows what to do. When Pete appears in the courtroom to plead for his wife, Philip agrees to hand Kate over to him. But Kate refuses to go. Kate's father, Old Caesar, who is watching carefully, finally understands that Kate and Philip had an affair. Philip publicly admits his extreme moral failings. He removes his wig and surrenders his official position, and then leaves the court.

In the final scene, Philip and Kate arrive at Pete's house to take away the baby. Kate picks up the child, while Philip and Pete stand at opposite ends of the room. She brings the child over to Pete to say one last goodbye, and he breaks down. Philip and Kate leave the cottage to the jeers and condemnation of the villagers, who have been watching the scene through the windows.

Having lost everything, Pete sets sail again.

Production
The Manxman began filming on the Isle of Man, but Hitchcock eventually relocated production to Polperro, Cornwall due to frequent creative interference from author Hall Caine, who lived on the Isle of Man. Other scenes were shot at British International Pictures' Elstree Studios, to which Caine was invited to observe. The director began work on the film just two weeks after the birth of his daughter Patricia Hitchcock.

Preservation and home media
A restoration of The Manxman was completed in 2012 as part of the BFI's £2 million "Save the Hitchcock 9" project to restore all of the director's surviving silent films.

The Manxman has been heavily bootlegged on home video. Various licensed, restored releases have appeared on DVD, Blu-ray and video on demand services from Optimum in the UK, Lionsgate and Kino Lorber in the US, and many others.

At the end of 2024, The Manxman will enter the public domain in the United States.

title: The Manxman (1929 film)


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Performance rights organisation

A performance rights organisation (PRO), also known as a performing rights society, provides intermediary functions, particularly collection of royalties, between copyright holders and parties who wish to use copyrighted works publicly in locations such as shopping and dining venues. Legal consumer purchase of works, such as buying CDs from a music store, confer private performance rights. PROs usually only collect royalties when use of a work is incidental to an organisation's purpose. Royalties for works essential to an organisation's purpose, such as theaters and radio, are usually negotiated directly with the rights holder. The interest of the organisations varies: many have the sole focus of musical works, while others may also encompass works and authors for audiovisual, drama, literature, or the visual arts.

In some countries PROs are called copyright collectives or copyright collecting agencies. A copyright collective is more general than a PRO as it is not limited to performances and includes reproduction rights organisations (RROs). RROs represent works distributed via mediums such as CD, audiocassette, or computer file rather than use of works in public settings.

The global governing body for PROs is CISAC headquartered in France, with 228 member societies in 119 countries.

History
The first performing rights society was established in France in 1851. In the United Kingdom, the Copyright Act 1842 was the first to protect musical compositions with the Performing Right Society, founded in 1914 encompassing live performances. The rights for recorded or broadcast performance are administered by the Mechanical Copyright Protection Society, founded in 1924. Italy introduced a performing rights society in 1882 and Germany in 1915. In the United States, The American Society of Composers, Authors and Publishers (ASCAP) was founded in 1914; Society of European Stage Authors & Composers (SESAC) in 1930 and Broadcast Music, Inc. (BMI) in 1939. Sociedad Puertorriqueña de Autores y Compositores de Musica (SPACEM) was founded in San Juan, Puerto Rico in 1953. SPACEM's name was changed to ACEMLA, or Asociacion de Compositoes y Editores de Musica and remains today PRO No. 76 in the CISAC's roster of performing rights societies.

Activities
Other than their primary purpose as an intermediary between rights holders and customers, PROs are highly active in legal arenas. PROs take alleged rights violators to court, or in the U.S., to the Copyright Royalty Board, of the Library of Congress. PROs lobby on behalf of rights holders, especially in discussions of legal royalty rates.

As a side benefit of tracking public performance of works for royalty collection, PROs publish statistics of publicly performed works.

The licensing services provided by a PRO arguably provide advantage to customers, who can simultaneously license all works the PRO represents.

Criticisms
PROs have been criticised for charging non-profit organisations for their use of copyrighted music in situations where the non-profit organisation was not earning money from the use. ASCAP, for example, was eventually forced in the face of public opinion to abandon its attempts to charge the Girl Scouts of the USA for singing campfire songs. ASCAP's and SESAC's policy of charging non-commercial educational (NCE) radio stations for playing copyrighted music has also been criticised, especially by college radio stations across the U.S., which rely entirely on student and listener support for funding and have difficulty affording the extra fees. Community Orchestras, which mostly play classical works in the public domain, may occasionally play a work within copyright, but are forced to pay licenses to rights societies on all concert revenues including concerts where all music is in the public domain, which is then distributed to songwriters of pop songs.

PROs are often criticised for stretching the definition of "public performance." Until relatively recently in the U.S., playing copyrighted music in restaurants did not involve legal issues if the media was legally purchased. PROs now demand royalties for such use.

"'One exception to the rule allows businesses of a certain size (stores under 2,000 square feet, restaurants or bars under 3,750 square feet) to play music from a radio, television, or similar household device without a license, provided there are fewer than six speakers (with limits on the placement of speakers), and customers aren't charged to listen. Other exceptions include educational and charitable functions... If your business falls into one of the categories listed above (size of business, number and placement of speakers, etc.) radio/TV] you may want to check out section 110(5) of the Copyright Act. As you likely won't need a license. But, before making a decision, check with a lawyer.'"

By discouraging performances in limited public arenas, again using the restaurant example, critics say PROs eliminate the free publicity such performances provide for a work thereby depressing media sales. Incidentally, lower media sales conflict with PROs, but disputes between the two parties are not known to occur since each type of organisation represents the interests of the same parties - rights owners - and are forced to work in common interest.

Rights owners – especially independents and newcomers not represented by large publishing companies – criticise the PROs for what they deem to be "mystical" formulas for deciding who gets what share of the total licensing revenue received. They also criticise PROs for slow or non-existent payments and excessive membership dues or service fees.

United States

 * AllTrack (U.S.)
 * ASCAP (U.S.)
 * BMI (U.S.)
 * Global Music Rights (U.S.)
 * SESAC (U.S.)
 * Pro Music Rights (U.S.)

Canada

 * SOCAN (Canada)
 * Re:Sound Music Licensing Company
 * CMRRA (Canada)

Others
Most countries (that observe copyright) have the equivalent:

State regulation and income taxes
Although the Copyright Clause of the United States Constitution delegates the power to establish Copyright law in the United States, in recent years, a number of States have enacted transparency laws in respect to Performing Rights Societies. These generally force Performing Rights Societies to discloses the musical works they license. Because many establishments pay blanket license fees to Performing Rights Societies but have little or no idea if the fees they pay actually secure the rights to perform musical works. This can result in unfair business practices called tolling. Many performing rights societies send representatives into businesses who attempt to disrupt or shut down a concert, claiming an insufficient or performing right license, and some states have banned this practice.

Moreover, states with income taxes hope to withhold royalty income for "performances" inside those states rather than in the state where a composer/songwriter lives or the Performing Rights Society is located. In practice, state income tax accounting is very difficult to regulate. Notable is Colorado's law, which requires each Performing Rights Society to disclose its entire catalog.

title: Performance rights organisation


text:
Earl of Bristol

Earl of Bristol is a title that has been created twice in British history, and was attested once before. Antiquaries Carew and Williams refer to Reginald de Dunstanville (c. 1110–1175, the illegitimate son of King Henry I) as Earl of Bristol. However, the first confirmed creation came in the Peerage of England in 1622 in favour of the politician and diplomat John Digby who served for many years as Ambassador to Spain, and had already been created Baron Digby of Sherborne, in the County of Dorset, in 1618, also in the Peerage of England. Digby was the brother of Sir Robert Digby of Coleshill, Warwickshire, whose son Robert Digby became 1st Baron Digby of Geashill in the Peerage of Ireland in 1620. (See the article Baron Digby for more information on this other branch of the family).

He was succeeded by his son, the second Earl. He was a prominent statesman and served as Secretary of State for King Charles I. In 1641 he was summoned to the House of Lords through a writ of acceleration in his father's junior title of Baron Digby of Sherborne. When he died the titles passed to his son, the third Earl. He sat as Member of Parliament for Dorset and served as Lord-Lieutenant of Dorset. He was childless and the titles became extinct on his death in 1698.

The second creation of the earldom came in the Peerage of Great Britain in 1714 for John Hervey. For more information on this creation, see Marquess of Bristol.

Earl of Bristol

 * Reginald de Dunstanville (c. 1110–1175)

Earls of Bristol, first creation (1622)

 * John Digby, 1st Earl of Bristol (1586–1653)
 * George Digby, 2nd Earl of Bristol (1612–1677)
 * John Digby, 3rd Earl of Bristol (c. 1635–1698)

Earls of Bristol, second creation (1714)

 * see the Marquess of Bristol

title: Earl of Bristol


text:
T. E. B. Clarke

Thomas Ernest Bennett "Tibby" Clarke, OBE (7 June 1907 – 11 February 1989) was a film screenwriter who wrote several of the Ealing Studios comedies.

Early life
Clarke was born in Watford on 7 June 1907. His father, Ernest Clarke, had been raised in Hull, moving to South Africa in the late 19th century. He was enlisted to carry dispatches for the Jameson Raid though, avoiding imprisonment, managed to obtain a job working for a gold mining company. Ernest then married Madeline Gardiner, with whom he raised three children. Their eldest child was Dudley Clarke, who would later become a pioneer of military deception operations during the Second World War. A girl, Dollie, followed.

The gold mining company Ernest had been working for then offered him an opportunity to move to their London office, enabling him to return to England with his young family. They sailed from South Africa, the first ship to leave the country following the end of the Boer War. Upon arriving in England, Ernest purchased a house in Watford, where Madeline gave birth to their third and final child, Thomas Ernest Bennett Clarke.

Always known as "Tibby", Clarke attended Charterhouse School and Clare College, Cambridge, where he studied law for a year before departing after impersonating a proctor and booking students for being out after dark without a cap and gown. He then visited Australia, New Zealand, San Francisco, and Canada, returning to England to work as a journalist for, in succession, the Hardware Trade Journal, the weekly magazine Answers, and The Daily Sketch tabloid newspaper. After gaining temporary employment as a publicity officer for the W. S. Crawford Advertising Agency in the late 1920s, he came into contact with the film industry for the first time.

Film career
Clarke's first screen credit was for heavily modifying the script of For Those in Peril in 1944, followed by proper contributions to The Halfway House (1944) and Johnny Frenchman (1945). His scripts always featured careful logical development from a slightly absurd premise to a farcical conclusion. In 1952, he was awarded a Best Original Screenplay Oscar for his script for The Lavender Hill Mob, making him one of just a handful of Britons to receive this award. He continued to work as a scriptwriter after Ealing ceased production, his later contributions including Sons and Lovers and the Disney film The Horse Without a Head.

Clarke was also a novelist and writer of non-fiction, but presented at least one fictional work as fact. His book Murder at Buckingham Palace (1981) purports to tell the story of a hushed-up murder at the Royal residence in 1935. Despite its including 'documentary' photographs, there is no external evidence that the book is anything but pure fiction. For The Blue Lamp (1950) he drew on his experience as a war reserve constable with the Metropolitan Police during the Second World War.

He was awarded the OBE in 1952. He was the subject of This Is Your Life in 1960 when he was surprised by Eamonn Andrews at the BBC Television Theatre.

Screenplays

 * Johnny Frenchman (1945)
 * Hue and Cry (1947)
 * Against the Wind (1948)
 * Passport to Pimlico (1949)
 * The Blue Lamp (1950)
 * The Magnet (1950)
 * The Lavender Hill Mob (1951)
 * The Titfield Thunderbolt (1953)
 * The Rainbow Jacket (1954)
 * Barnacle Bill (US: All at Sea, 1957)
 * Gideon's Day (US: Gideon of Scotland Yard, 1958)
 * Sons and Lovers (1960)
 * The Horse Without a Head

Non-fiction

 * Go South - Go West
 * What's Yours?
 * Intimate Relations
 * This is Where I Came In

Novels

 * Jeremy's England
 * Cartwright Was a Cad
 * Two and Two Make Five
 * Mr Spirket Reforms
 * The World Was Mine
 * The Wide Open Door
 * The Trail of the Serpent
 * The Wrong Turning
 * The Man Who Seduced a Bank
 * Murder at Buckingham Palace
 * Intimate Relations (ISBN 9780718109271)

title: T. E. B. Clarke


text:
We Will Rock You

"We Will Rock You" is a song by the British rock band Queen for their 1977 album News of the World, written by guitarist Brian May. Rolling Stone ranked it number 330 of "The 500 Greatest Songs of All Time" in 2004, and it placed at number 146 on the Songs of the Century list in 2001. In 2009, "We Will Rock You" was inducted into the Grammy Hall of Fame.

Other than the last 30 seconds, which contains a guitar solo by May, the song is generally set in a cappella form, using only stomping and clapping as a rhythmic body percussion beat. In 1977, "We Will Rock You" and "We Are the Champions" were issued together as a worldwide top 10 single. Soon after the album was released, many radio stations played the songs consecutively, without interruption.

Since its release, "We Will Rock You" has been covered, remixed, sampled, parodied, referred to, and used by multiple recording artists, TV shows, films and other media worldwide. It has also become a popular stadium anthem at sports events around the world, due mostly to its simple rhythm. On 7 October 2017, Queen released a Raw Sessions version of the track to celebrate the 40th anniversary of the release of News of the World. It features a radically different approach to the guitar solo and includes May's count-in immediately prior to the recording.

Music
"We Will Rock You" and "We Are the Champions" were written in response to an event that occurred during the A Day at the Races Tour. The band played at Stafford's Bingley Hall, and, according to Brian May: "We did an encore and then went off, and instead of just keeping clapping, they sang 'You'll Never Walk Alone' to us, and we were just completely knocked out and taken aback – it was quite an emotional experience really, and I think these chant things are in some way connected with that."

One version was used as the opening track on 1977's News of the World. This consists of a stomp-stomp-clap-pause beat, and a power chorus, being somewhat of an anthem. The stamping effects were created by the band overdubbing the sounds of themselves stomping on the Wessex drum riser and clapping many times and adding delay effects to make it sound like many people were participating. The durations of the delays were in the ratios of prime numbers, a technique now known as non-harmonic reverberation. A tape loop is used to repeat the last phrase of the guitar solo three times as opposed to Brian May playing it three separate times on the recording. The "stomp, stomp, clap" sounds were later used in the Queen + Paul Rodgers song "Still Burnin'".

When performed live, the song is usually followed by "We Are the Champions", as they were designed to run together. The songs are often paired on the radio and at sporting events, where they are frequently played. They were the last two songs Queen performed at Live Aid in 1985.

We Will Rock You - fast version
Queen also performed an alternative version of "We Will Rock You" known as the "fast version", featuring a faster-feeling tempo and a full band arrangement. The band would frequently use this version to open their live sets in the late 1970s and early 1980s, as heard on the albums Live Killers (1979), Queen on Fire - Live at the Bowl (2004), Queen Rock Montreal (2007), and the expanded edition of News of the World (2011).

A studio version was made for John Peel's BBC Radio 1 show at the Maida Vale Studios on 28 October 1977 and first broadcast soon after on 14 November. It includes a separate section that begins with an abridged session version of the original comprising the first verse, chorus and guitar outro - this part has become known as We Will Rock You (slow). Between the two parts there is a brief reading of Hermann Hesse's novel Siddhartha, used in a BBC Radio documentary. This audio was found on the BBC tapes being reused to record the session and was retained by the band.

This full BBC session version of We Will Rock You was broadcast on Alan Freeman's Final Saturday Rock Show on Radio 1 on 26 August 1978, has also been played on Radio 1's The Friday Rock Show and more recently on Johnie Walker's Sounds Of The Seventies and Vernon Kay's weekday morning show, both on BBC Radio 2.

The fast version is also used as the curtain call music for the musical of the same title, after the finale, which is a pairing of the original "We Will Rock You" and "We Are the Champions". In 2002, the fast version was officially released on a promo single distributed by the tabloid The Sun, and can also be found on The Best of King Biscuit Live Volume 4, and In The Mirror - The Lost BBC Sessions.

Music video
The music video for "We Will Rock You" was filmed in 1977 at the back garden of Roger Taylor's mansion. It sees the band lip synching the song, hand clapping with gloves and foot stomping on a frozen ground. In an interview with Billboard, Taylor spoke on filming the video:

"We shot it on the grounds of a country house I'd just bought in Surrey and we hadn't completed the sale, so we weren't allowed in the house. We figured, 'we might as well shoot it here.' It was absolutely freezing cold and we did three takes."

Personnel
Information is based on the album's Liner Notes

 * Freddie Mercury – lead and backing vocals, hand claps, foot stamping
 * Brian May – electric guitar, backing vocals, hand claps, foot stamping
 * Roger Taylor – backing vocals, hand claps, foot stamping
 * John Deacon – hand claps, foot stamping
 * Elizabeth Edwards - backing vocals, hand claps, foot stomping
 * Andrew Turner - backing vocals, hand claps, foot stomping

Five + Queen version
British boy band Five released a cover of "We Will Rock You" on 17 July 2000. It was the fourth single released from their second studio album, Invincible (1999). The song contains rap verses from Five's members Jason "J" Brown and Richard "Abs" Breen, and features two members of Queen: Brian May on guitar and Roger Taylor on drums (only on the single version); however, they do not sing any vocals on the track. Freddie Mercury had died in November 1991, nearly a decade before this version's release, and John Deacon had retired from public life three years before the release of the Five cover.

The song charted at number one on the UK Singles Chart, making it Five's second number-one single, and their ninth consecutive top-ten hit.

Track listings
"Megamix" consists of four songs by Five: "Don't Wanna Let You Go", "If Ya Gettin' Down", "Keep On Movin'", and "We Will Rock You".

UK CD1
 * 1) "We Will Rock You" (radio edit) – 3:08
 * 2) "Keep On Movin'" (The Five-A-Side Mix) – 3:32
 * 3) "We Will Rock You" (video—enhanced track)

UK CD2
 * 1) "We Will Rock You" (radio edit) – 3:08
 * 2) "Megamix" – 4:19
 * 3) "Megamix" video (enhanced track)

UK cassette single
 * 1) "We Will Rock You" (radio edit) – 3:08
 * 2) "Keep On Movin'" (The Five-A-Side Mix) – 3:32
 * 3) "Megamix" – 4:19

European CD single
 * 1) "We Will Rock You" (radio edit) – 3:08
 * 2) "Megamix" – 4:19

Australian CD single
 * 1) "We Will Rock You" (radio edit) – 3:08
 * 2) "Megamix" – 4:19
 * 3) "Keep On Movin'" (The Five-A-Side Mix) – 3:32
 * 4) "We Will Rock You" (video—enhanced track)

KCPK version
A remix by KCPK, sung by a chorus of children under the name Forever Young, was released in a series of animated Evian adverts which aired in France, Germany and Belgium. The remix was later released as a single and entered the local charts.

Other versions

 * 1992: American glam metal band Warrant covered the song for the film Gladiator. The song charted at number 83 on the Billboard Hot 100.
 * 2004: American pop singers Britney Spears, Beyoncé and Pink used this song in an international commercial Pepsi campaign along with Spanish singer-songwriter Enrique Iglesias, and the song was released on the Pepsi Music 2004: (Dare for More) CD.

Sampling

 * 1992: American rapper Ice Cube sampled the beat in his song "When Will They Shoot?", from his album The Predator.
 * 2002: American rapper Eminem interpolated the "stomp-stomp-clap" beat in his song "'Till I Collapse" from his album The Eminem Show and also used a similar pattern in the songs "Puke" from his album Encore and "Cinderella Man" from his album Recovery.
 * 2003: The J-Kwon song "Tipsy" directly samples the "We Will Rock You" beat, but reworked into a different beat.
 * 2011: American pop singer Katy Perry interpolated the "stomp-stomp-clap" beat in her song "E.T".
 * 2011: Beyoncé interpolated the "stomp-stomp-clap" beat in her song "Dreaming", featured on the Japanese edition of her 4th album 4.
 * 2011: Lady Gaga sampled the "stomp-stomp-clap" in her song "You and I", which also features the band's guitarist Brian May, from Gaga's album Born This Way.
 * 2012: One Direction interpolated the "stomp-stomp-clap" and references "Rock" in their song "Rock Me" featured on their second album Take Me Home.
 * 2012: Kesha interpolated the "stomp-stomp-clap" in her song "Gold Trans Am", featured on the deluxe edition of her second album, Warrior.

Live cover performances
1990s
 * 1992: Guns N' Roses lead singer Axl Rose performed the song with Queen at the Freddie Mercury Tribute Concert.
 * 1992: U2 used the song as a set list opener before they performed on stage during the Zoo TV Tour.
 * 1993: Nirvana performed it in São Paulo, Brazil, changing the lyrics to "we will fuck you".
 * 1996: Alanis Morissette and her band ended the first encore of her "Can't Not" Tour (following the song, "You Learn") with a cover of the song, with Alanis playing the "stomp-stomp-clap" rhythm on drums.

2000s
 * 2003: English singer and songwriter Robbie Williams performed the song live at Knebworth.
 * 2007, 2010: Japanese pop singer Kumi Koda covered this in her a-nation '07 performance, and three years later in a medley at her 10th anniversary concert at the Tokyo Dome.
 * 2008: Canadian singer Celine Dion performed a Queen medley with "We Will Rock You" and "The Show Must Go On" in her Taking Chances World Tour.
 * 2009: American guitarist Joe Perry from Aerosmith and singer Katy Perry covered the song at the MTV's Video Music Awards 2009.

2010s
 * 2011: American rock band My Chemical Romance performed the song with Queen guitarist Brian May at the Reading Festival.
 * 2011: Christina Aguilera, CeeLo Green, Adam Levine and Blake Shelton covered the song on The Voice (U.S.).
 * 2012: English pop singer Jessie J performed the song live with Brian May and Roger Taylor at the closing ceremony of the 2012 Summer Olympics in London on 12 August.
 * 2012: English rapper Dappy covered the song live alongside Brian May for BBC Radio 1 Live Lounge. The song later appeared on UK chart-topping album BBC Radio 1's Live Lounge 2012.

2020s
 * In a pre-recorded comedy segment at the opening of the Platinum Party at the Palace on 4 June 2022, Queen Elizabeth II and Paddington Bear tapped their tea cups to the beat of "We Will Rock You" before Queen + Adam Lambert performed the song live outside Buckingham Palace.

Remixes

 * 1991: Rick Rubin produced remixes of "We Will Rock You", for an EP released by Hollywood Records. The "Ruined Remix" also contains contributions by Flea and Chad Smith of the Red Hot Chili Peppers.
 * 1991: Emergency Broadcast Network achieved an underground hit with their remix of the song with a speech by U.S. president George H. W. Bush.
 * 2004: Scum Of The Earth made a remix of "We Will Rock You" titled as "Pornstar Champion" for their debut album, Blah...Blah...Blah...Love Songs for the New Millennium
 * 2011: Geddy (a.k.a. Armageddon), former member from hip hop group Terror Squad, mashed up "I Want It All" and "We Will Rock You" for the soundtrack to the 2011 film Sucker Punch.
 * 2012 : Helmut VonLichten (formerly of E.S. Posthumus) mixed this song with an orchestral version of "Posthumus Zone" for CBS's Super Bowl 50 coverage. This mashup was later used for the 2015 film Pixels.
 * 2014 : Canadian dubstep producer Excision and downlink remixed this song in the track Rock You.

Parodies and references to the song

 * 1987: Henry Rollins did a parody of "We Will Rock You" titled "I Have Come to Kill You".
 * 1998: Friends episode "The One Where Ross Moves In" - [S05E07]: Ross moves into Joey and Chandler's apartment. As time goes by, Ross reveals he's quite annoying by imposing a lot of changes to the norm of the apartment. One being the changing of the answering machine message to the tune of "We Will Rock You" by Queen, to which Ross alters the lyrics to "We Will, We Will Call You Back!".
 * 2010: The cast of the Off-Broadway musical Avenue Q performed covers of "We Will Rock You" and "We Are the Champions" in a video spoof of the Muppets' "Bohemian Rhapsody".
 * 2012: In the 12 March edition of WWE Raw, The Rock performed his version during the Rock Concert segment by adding references to Team Bring It and fans chanting "Cena Sucks" in the chorus while taking aim at John Cena before they square off at WrestleMania XXVIII.
 * 2014: Indonesian singer Ahmad Dhani made a controversial political campaign video with a parody of the song to support presidential candidate Prabowo Subianto for the 2014 Indonesian presidential election. Dhani wore Heinrich Himmler's SS Uniform in the video.
 * 2015: In The Big Bang Theory episode "The Bachelor Party Corrosion" Raj, Howard and Leonard sing a modified version of the song called, "We Will Percussive Shock You" and Sheldon burst out singing the first verse of the original song, which he then credited to his eidetic memory, mentioned that in this instance it was a 'curse.'
 * 2023: The intro from "We Will Rock You" was the first music transmitted from lucid dreams into reality in real-time. The study was published in Dreaming, an American Psychological Association peer-reviewed journal.

title: We Will Rock You


text:
Maracanã Stadium

Maracanã Stadium (Estádio do Maracanã, ), officially named Jornalist Mário Filho Stadium (Portuguese: Estádio Jornalista Mario Filho; ), is an association football stadium in Rio de Janeiro, Brazil. The stadium is part of a complex that includes an arena known by the name of Maracanãzinho, which means "The Little Maracanã" in Portuguese. Owned by the Rio de Janeiro state government, the stadium is now managed by the clubs Fluminense and Flamengo. It is located in the Maracanã neighborhood, named after the Rio Maracanã, a now canalized river in Rio de Janeiro.

The stadium was opened in 1950 to host the FIFA World Cup, in which Brazil was beaten 2–1 by Uruguay in the deciding game, in front of a still standing record attendance of 173,850 spectators, on 16 July 1950. The venue has seen attendances of 150,000 or more at 26 occasions and has seen crowds of more than 100,000 as many as 284 times. But as terraced sections have been replaced with seats over time, and after the renovation for the 2014 FIFA World Cup, its original capacity has been reduced to the current 73,139, but it remains the largest stadium in Brazil and the third largest in South America after Estadio Monumental in Argentina and Estadio Monumental in Peru. Fluminense and Flamengo still own the all-time club record attendance, with 194,603 spectators supporting its clubs in the world famous Fla–Flu derby in 1963.

The stadium is mainly used for football matches between the major football clubs in Rio de Janeiro, including Fluminense, Flamengo, Botafogo, and Vasco da Gama. It has also hosted a number of concerts and other sporting events. It was the main venue for the 2007 Pan American Games, hosting the football tournament and the opening and closing ceremonies. The Maracanã was partially rebuilt in preparation for the 2013 FIFA Confederations Cup, and the 2014 World Cup, for which it hosted several matches, including the final. It also served as the venue for the opening and closing ceremonies of the 2016 Summer Olympics and Paralympics, with the main track and field events taking place at the Estádio Olímpico. The stadium was also chosen to host the 2020 and 2023 Copa Libertadores finals.

Name
The stadium was named in 1966 in honor of the recently deceased Mário Filho, a Pernambucan sports journalist, the brother of Nelson Rodrigues, who was a strong vocal supporter of the construction of the Maracanã.

The stadium's popular name is derived from the Maracanã River, whose point of origin is in the jungle-covered hills to the west, crossing various bairros (neighborhoods) of Rio's Zona Norte (North Zone), such as Tijuca and São Cristóvão, via a drainage canal which features sloping sides constructed of concrete. Upon flowing into the Canal do Mangue, it empties into Guanabara Bay. The name "Maracanã" derives from the indigenous Tupi–Guarani word for a type of parrot which inhabited the region. The stadium construction was prior to the formation of the later Maracanã neighborhood, that was once part of Tijuca.

The stadium of Red Star Belgrade, the Red Star Stadium, is popularly called Marakana in honor of the Brazilian stadium.

In March 2021, the Rio de Janeiro state legislature voted to change the venue's name to the Edson Arantes do Nascimento - Rei Pele stadium. Edson Arantes do Nascimento was the 82-year-old's full name, while Rei means king in Portuguese. The Rio de Janeiro's state governor must approve the name change before it becomes official.

Construction
After winning the right to host the 1950 FIFA World Cup, the Brazilian government sought to build a new stadium for the tournament. The construction of Maracanã was criticized by Carlos Lacerda, then Congressman and political enemy of the mayor of the city, general Ângelo Mendes de Morais, for the expense and for the chosen location of the stadium, arguing that it should be built in the West Zone neighborhood of Jacarepaguá. At the time, a tennis stadium stood in the chosen area. Still it was supported by journalist Mário Filho, and Mendes de Morais was able to move the project forward. The competition for the design and construction was opened by the municipality of Rio de Janeiro in 1947, with the construction contract awarded to engineer Humberto Menescal, and the architectural contract awarded to seven Brazilian architects, Michael Feldman, Waldir Ramos, Raphael Galvão, Oscar Valdetaro, Orlando Azevedo, Pedro Paulo Bernardes Bastos, and Antônio Dias Carneiro.

The first cornerstone was laid at the site of the stadium on 2 August 1948. With the first World Cup game scheduled to be played on 24 June 1950, this left a little under two years to finish construction. However, work quickly fell behind schedule, prompting FIFA to send Ottorino Barassi, the head of the Italian FA, who had organized the 1934 World Cup, to help in Rio de Janeiro. A workforce of 1,500 constructed the stadium, with an additional 2,000 working in the final months. Despite the stadium having come into use in 1950, the construction was only fully completed in 1965.

Opening and 1950 FIFA World Cup
The opening match of the stadium took place on 16 June 1950. Rio de Janeiro All-Stars beat São Paulo All-Stars 3–1; Didi became the player to score the first ever goal at the stadium. While the major part of the stadium was finished, it still looked like a construction site; it lacked toilet facilities and a press box. Brazilian officials claimed it could seat over 200,000 people, while the Guinness Book of World Records estimated it could seat 180,000 and other sources pegged capacity at 155,000. What is beyond dispute is that Maracanã overtook Hampden Park as the largest stadium in the world. Despite the stadium's unfinished state, FIFA allowed matches to be played at the venue, and on 24 June 1950, the first World Cup match took place, with 81,000 spectators in attendance.

In that first match for which Maracanã had been built, Brazil beat Mexico with a final score 4–0, with Ademir becoming the first scorer of a competitive goal at the stadium with his 30th-minute strike. Ademir had two goals in total, plus one each from Baltasar and Jair. The match was refereed by Englishman George Reader. Five of Brazil's six games at the tournament were played at Maracanã (the exception being their 2–2 draw with Switzerland in São Paulo). Eventually, Brazil progressed to the final round, facing Uruguay in the match (part of a round-robin final phase) that turned out to be the tournament-deciding match on 16 July 1950. Brazil only needed a draw to finish as champion, but Uruguay won the game 2–1, shocking and silencing the massive crowd. This defeat on home soil instantly became a significant event in Brazilian history, being known popularly as the Maracanazo (roughly translated as "The Maracanã Smash"). The official attendance of the final game was 199,854, with the actual attendance estimated to be about 210,000. In any case, it was the largest crowd ever to see a football game—a record that is highly unlikely to be threatened in an era when most international matches are played in all-seater stadiums. At the time of the World Cup, the stadium was mostly grandstands with no individual seats.

Stadium completion and post-World Cup years
Since the World Cup in 1950, Maracanã Stadium has mainly been used for club games involving four major football clubs in Rio — Vasco, Botafogo, Flamengo and Fluminense. The stadium has also hosted numerous domestic football cup finals, most notably the Copa do Brasil and the Campeonato Carioca. On 21 March 1954, a new official attendance record was set in the game between Brazil and Paraguay, after 183,513 spectators entered the stadium with a ticket and 194,603 (177,656 p.) in Fla-Flu (1963). In 1963, stadium authorities replaced the square goal posts with round ones, but it was still two years before the stadium would be fully completed. In 1965, 17 years after construction began, the stadium was finally finished. In September 1966, upon the death of Mário Rodrigues Filho, the Brazilian journalist, columnist, sports figure, and prominent campaigner who was largely responsible for the stadium originally being built, the administrators of the stadium renamed the stadium after him: Estádio Jornalista Mário Rodrigues Filho. However, the nickname of Maracanã has continued to be used as the common referent. In 1969, Pelé scored the 1,000th goal of his career at Maracanã, against CR Vasco da Gama in front of 65,157 spectators.

In 1989, the stadium hosted the games of the final round of the Copa America; in the same year, Zico scored his final goal for Flamengo at the Maracanã, taking his goal tally at the stadium to 333, a record that still stood as of 2021. An upper stand in the stadium collapsed on 19 July 1992, in the second game of the finals of 1992 Campeonato Brasileiro Série A, between Botafogo and Flamengo, leading to the death of three spectators and injuring 50 others. Following the disaster, the stadium's capacity was greatly reduced as it was converted to an all-seater stadium in the late 1990s. Meanwhile, the ground was classified as a national landmark in 1998, meaning that it could not be demolished. The stadium hosted the first ever FIFA Club World Cup final match between CR Vasco da Gama and Corinthians Paulista, which Corinthians won on penalties.

21st century, renovations and 2014 FIFA World Cup
Following its 50th anniversary in 2000, the stadium underwent renovations which would increase its full capacity to around 103,000. After years of planning and nine months of closure between 2005 and 2006, the stadium was reopened in January 2007 with an all-seated capacity of 87,000.

For the 2014 World Cup and 2016 Olympics and Paralympics, a major reconstruction project was initiated in 2010. The original seating bowl, with a two-tier configuration, was demolished, giving way to a new one-tier seating bowl. The original stadium's roof in concrete was removed and replaced with a fiberglass tensioned membrane coated with polytetra-fluoroethylene. The new roof covers 95% of the seats inside the stadium, unlike the former design, where protection was only afforded to some seats in the upper ring and the bleachers above the gate access of each sector. The old boxes, which were installed at a level above the stands for the 2000 FIFA Club World Championship, were dismantled in the reconstruction process. The new seats are colored yellow, blue and white, which combined with the green of the match field, form the Brazilian national colors. In addition, the grayish tone has returned as the main façade color of the stadium.

On 30 May 2013, a friendly game between Brazil and England scheduled for 2 June was called off by a local judge because of safety concerns related to the stadium. The government of Rio de Janeiro appealed the decision and the game went ahead as originally planned, the final score being a 2–2 draw. This match marked the reopening of the new Maracanã.

On 12 June 2014, the 2014 FIFA World Cup opened with Brazil defeating Croatia, 3–1, but that match was held in São Paulo. The first game of the World Cup to be held in Maracanã was a 2–1 victory by Argentina over Bosnia-Herzegovina on Sunday, 15 June 2014. Host Brazil ended up never playing a match in the Maracanã during the tournament, as they failed to reach the final after being eliminated in the semi-finals 7–1 by Germany.

Disrepair after the 2016 Summer Olympics
The stadium lay dormant in the months after the 2016 Olympics and Paralympics, with photos surfacing in early 2017 of a dried-up playing field covered in brown spots and missing turf, ripped-out seats, and damage to windows and doors. A debt of R$3 million (US$939,937) to the local energy company led to power being shut off at Maracanã. At the heart of the issue was a legal wrangling between the stadium's owner, operator, and the organizing committee for the Rio Olympics over responsibility for maintaining the grounds. Maracanã SA, the operator, charges that the Olympic committee did not return the venue in an acceptable condition, while the committee says the things that they needed to fix should not keep Maracanã from operating.

Within six months of the Olympics, daily tours of the stadium were halted due to vandalism at the stadium and violent robberies in the area. Items of value were looted from the stadium including fire extinguishers, televisions, and a bronze bust of journalist Mário Filho, for whom the stadium was named.

New managers
On 5 April 2017, the French group Lagardère signed an agreement to administer the Maracanã. In total, Lagardère will invest more than R$500 million by the end of the concession, won by Odebrecht in 2013 and valid until 2048. The Folha de São Paulo newspaper informed that the group estimates that it will need to spend about R$15 million on emergency repairs to the stadium. In 2013, the former managers of Odebrecht together with AEG and IMX, a company owned by Brazilian billionaire Eike Batista, won the bid to manage the stadium for 35 years. The company was associated with Brazilian building company OAS and the Amsterdam Arena. At the time, Lagardère was in second place in the bidding.

2027 FIFA Women's World Cup
The stadium is set to host matches for the 2027 FIFA Women's World Cup, most likely to host the final. It will mark the first time that South America has ever hosted the FIFA Women's World Cup.

Non-football events
The famous vale tudo match between Japanese judoka Masahiko Kimura and Brazilian jiu-jitsu player Hélio Gracie was held at the Maracanã on 23 October 1951. At the time many in Brazil felt that Gracie was unbeatable in martial arts, and that Kimura would not be welcomed back to Japan if he lost the bout. Kimura won via technical submission after breaking Gracie's arm with a gyaku-ude-garami hold, which has since become known as a Kimura lock in BJJ and mixed martial arts.

International sports competitions

 * In 1980 and 1983, volleyball matches between Brazil and the USSR played at the ground. 95,000 people attended one of those volleyball matches, which became a world record.
 * The stadium hosted the opening and closing ceremonies of the XV Pan American Games.
 * The stadium was selected to host the opening ceremony and closing ceremony of the 2016 Summer Olympics and the 2016 Summer Paralympics; it was the only Summer Olympics ceremonies venue never to have held a single athletics (track and field) event during its existence.

Music

 * To celebrate the 30th anniversary of the stadium, on 16 January 1980, Frank Sinatra performed to a crowd of 175,000.
 * On 18 June 1983, KISS performed for 137,000 fans at the stadium, which marks the record attendance for the band. This and two other stadium shows in Brazil would be the last time KISS would perform in their signature makeup until the reunion of the original lineup at their Alive/Worldwide Tour in 1996. Kiss' concert was the first major performance by an international rock band at Maracanã.
 * Tina Turner and Paul McCartney made the Guinness Book of World Records with performances at the stadium. Both concerts, in January 1988 (Break Every Rule Tour) and April 1990 (The Paul McCartney World Tour), respectively, attracted crowds of over 180,000 people.
 * From 18 to 27 January 1991, the stadium hosted the second edition of Rock in Rio, with Prince, Guns N' Roses, George Michael, INXS, New Kids on the Block and a-ha as headliners.
 * American pop-singer Michael Jackson planned to perform here in October 1993 as part of his Dangerous World Tour, but the concert was cancelled due to tour restructuring.
 * Sting, Madonna, the Rolling Stones, the Foo Fighters and Paul McCartney are the only international pop stars to have played dates at Maracanã on different occasions. Sting opened his ...Nothing Like the Sun world tour at the stadium on 20 November 1987. Approximately 20 years later, on 8 December 2007, he performed there again with the Police. Madonna played the venue on 6 November 1993, with the Girlie Show in front of 120,000 people, and then again 15 years later on 14 and 15 December 2008, as part of the Sticky & Sweet Tour, selling over 107,000 tickets. The 1995 edition of the Hollywood Rock festival consisted of two concerts by the Rolling Stones at the stadium, in February. The band performed at Maracanã again on 20 February 2016. On 25 January 2015, Foo Fighters played a concert at Maracanã Stadium during their Sonic Highways World Tour in front of 45,000 people. It was the first music concert held at the stadium since it was rebuilt. The group performed at the stadium again on 25 February 2018, during their Concrete and Gold Tour. Paul McCartney played two shows on 20 and 21 April 1990, as part of The Paul McCartney World Tour. Thirty-three years later, McCartney returned to play a show on 16 December 2023, as part of the Got Back tour.
 * Rush, Backstreet Boys, Pearl Jam, Coldplay, Phil Collins and Roger Waters also played the venue. Rush's concert in 2002 is documented on their live album and DVD Rush in Rio. Mexican pop group RBD also played its live DVD, Live in Rio. Brazilian artists have also played at the stadium, such as Ivete Sangalo, Sandy & Junior, Diante do Trono, Roberto Carlos and Los Hermanos.

Miscellaneous

 * Pope John Paul II celebrated masses at the stadium in 1980, 1987 and 1997.
 * Billy Graham preached there in 1960 and in 1974 and in 1974 broke the record for attendance on a single day with 225,000.

2021 Copa América
On 10 July 2021, the stadium hosted the final of the 2021 Copa América, for the second consecutive time.

title: Maracanã Stadium


text:
Talk:General Grant (tree)

Vicki --- In the web page, notice the difference between Giant Forest and Grant Grove.. General Grant is the largest in Grant Grove, 3rd largest overall (in the Park, and in the World). May I revert the edit? -- hike395

Second tallest tree
How is this the second tallest tree? There are loads of trees over a 100 m. See Stratosphere Giant and the links from it. Piet 13:45, 31 August 2006 (UTC)
 * Ahh, largest in mass. You could clarify that. Piet 13:51, 31 August 2006 (UTC)

Statistics in article are suspect
The statistics quoted in the article are either uncited, or cite to a web article about the General Sherman tree. We need to verify the statistics for this tree with a reliable source. hike395 (talk) 03:52, 29 August 2008 (UTC)

 * lists the tree's height to be 81.7 meters as of 2002. Has the tree grown 3 meters in the last 6 years? If so, what is the source? Thanks! hike395 (talk) 03:55, 29 August 2008 (UTC)

 * Bradluke22 adds exaggerated numbers everywhere in Wikipedia, especially regarding Sequoiadendron and other large tree species of western North America.Krasanen (talk) 12:35, 1 September 2008 (UTC)

 * The cited source is out-of-print, and unavailable from books.google.com ... I've ordered it from interlibrary loan. Until I (or some other third Wikipedian) can verify the statistics, I've removed them from the article. hike395 (talk) 16:39, 1 September 2008 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20070328195728/http://www.sequoia.national-park.com:80/info.htm#bea to http://www.sequoia.national-park.com/info.htm

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External links modified
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Age of General Grant?
According to this article, this tree is 3000 years old, though this document mentions half of it. I won't change the article as the original information as a source, though I am not sure which one is more reliable.

109.255.36.197 (talk) 09:35, 11 April 2021 (UTC)

Cats
Hello I don't think the cats Category:Individual giant sequoia trees Category:Individual trees in California are the same. Are all of them in California? If not then we need both cats.

title: Talk:General Grant (tree)


text:
Robert Spencer, 2nd Earl of Sunderland

Robert Spencer, 2nd Earl of Sunderland, (5 September 1641 – 28 September 1702) was an English nobleman and politician of the Spencer family. An able and gifted statesman, his caustic temper and belief in absolute monarchy nevertheless made him numerous enemies. He was forced to flee England in 1688, but later established himself with the new regime after the Glorious Revolution of that year. Subsequently, he took on a more disinterested role as an adviser to the Crown, seeking neither office nor favour. He evinced no party loyalty, but was devoted to his country's interests, as he saw them. By the notoriously lax standards of the Restoration Court, his private life was remarkably free from scandal, which won him favour in the more sober post-Revolution state.

Early life
Robert Spencer was born in Paris in 1641. His father was Henry Spencer, 1st Earl of Sunderland, who was killed at the First Battle of Newbury, and his mother was the Lady Dorothy Sidney, daughter of Robert Sidney, 2nd Earl of Leicester. At the age of three he inherited his father's dignities, becoming Baron of Wormleighton and Earl of Sunderland. Lady Sunderland had him educated after his father's death, first engaging a Calvinist tutor for him, Dr Thomas Pierce, and afterwards sending him to Christ Church, Oxford. After quitting school he joined the English Army, rising to the rank of captain in Prince Rupert's Regiment of Horse. On 10 June 1665 he was married to Lady Anne Digby. She was the daughter of the 2nd Earl of Bristol, and died in 1715. Sunderland then served successively as ambassador to Madrid (1671–1672), Paris (1672–1673), and the United Provinces (1673). He was Gentleman of the Bedchamber from 1673 to 1679, before being invested a Privy Councillor and appointed Secretary of State for the Northern Department in 1679. At the same time, he served as Ambassador Extraordinary to Paris.

His political skills and energetic character rapidly marked him as a rising man: even Bishop Burnet, who disliked him, praised his statesmanship and his "quick and ready apprehension, and swift decision of business". He was accused by some of seeking and clinging to office simply for the salary, to support his reportedly extravagant lifestyle. Despite his otherwise blameless life he had a weakness for gambling, which often involved him in debt, and a passion for art. He was a collector of paintings, and made extensive alterations to Althorp, but his private life was sober, and he was personally inexpensive.

Career under Charles II and James II
Sunderland's professed mission was to aggrandise England in the European community, and to strengthen her diplomatic ties with the other rivals of French power. He laboured from 1679 to 1681 to conjoin an alliance against France, but apart from a treaty with Spain in 1680, little came of it.

Sunderland's relations with Paul Barillon, whose long tenure as Ambassador from Louis XIV (from 1677 to 1688) produced many memorable exchanges between the two, were tenuous and strained. When Louis failed to give James any assistance against the Monmouth Rebellion of 1685, Sunderland told Barillon sharply "the King your master may have plans I cannot discern, but I hope he will put things right by making it clear that this has all been a misunderstanding". When Barillon protested that his master's aim was "the Peace of Europe" Sunderland said that it was impossible for everyone in Europe to want peace at the same time: "myself I think it will last until one side or the other has a good reason for breaking it". To prevent Barillon from gaining too much influence, Sunderland intercepted and leaked an unusually indiscreet dispatch where the Ambassador boasted of having blocked an Anglo-Dutch treaty. Charles II was predictably furious, and Barillon was for a time forbidden from the Court. Sunderland remarked that if Barillon would behave himself so, it was "but just that it come home to him".

Lord Sunderland also served as Lord Lieutenant of Staffordshire during the minority of Lord Shrewsbury until 1681. That year, he was dismissed by Charles II, due to his opposition to the Duke of York's succession. Presently Sunderland regained the King's confidence (through the principal royal mistress, the Duchess of Portsmouth). Intermittently, between 1682 and 1688, he served as Secretary of State for the Southern Department, Lord Lieutenant of Warwickshire, and Lord President of the Council; in 1687, he signed the King's grant of religious freedom for the Brenttown (Brenton) tract in Prince William County, Virginia, to encourage settlement of French Protestants. The same year he openly embraced the Roman Catholic faith, insincerely, it would seem, and merely to please the King. Later that year he was made a Knight of the Garter.

However, while he enjoyed the confidence of Queen Mary of Modena, it was clear that he was growing uncomfortable under the recently enthroned James: the violently hostile reception he got from the public when he gave evidence at the Trial of the Seven Bishops left him badly shaken. When he urged James to put away his mistress Catherine Sedley, Countess of Dorchester, James said that he had not realised Sunderland was his confessor, and told him to mind his own business for the future. Sunderland's unpopularity was now almost universal: Burnet wrote that it was "the wonder of all mankind" that James continued to employ him. He was summarily dismissed at last in October 1688, with the remark, "You have your pardon; much good doe it you. I hope you will be more faithful to your next master than you have been to me."

Career under William III
Sunderland escaped in disguise to Rotterdam in the Netherlands, where he lay low for some time, before being officially arrested, and immediately released, by the Dutch authorities. Offering his service to the Prince of Orange, he moved on to Utrecht, where he remained quietly for the duration of the upheavals in England, when William III and Mary II took the throne. Afterwards, he wrote to Sir John Churchill, a prominent English statesman, asking him to "make things easy for a man in my condition". Despite his notorious rudeness and bad temper, Sunderland had a surprising ability to make lasting friendships, and some of his friends, including John Evelyn and Thomas Tenison, had influence with the new régime. His sister Dorothy had married George Savile, 1st Marquess of Halifax, a key adviser to William III in the early years of his reign, and though he and Sunderland had never been close, Halifax felt obliged from family solidarity to make a plea on Sunderland's behalf. At first, William III excepted Sunderland from the Indemnity Act of 23 May 1690, but he was allowed to return to the country early the next year. At the same time, he had been excepted from James' 1692 Instrument of Pardon.

On his return, Sunderland formally reverted to Anglicanism, taking the oaths in April 1691 and quietly recommenced sitting in the House of Lords. In May William paid a visit to him at his home at Althorp, in Northamptonshire, to discuss public affairs. Over the next years, the King frequently visited him and gave him confidence, but Sunderland did not dare to fully enter public life until September 1693, when he took a house in the city. He repeatedly advised the King to select all of his ministers from one political party, and eventually effected a reconciliation between William and his sister-in-law, the later Queen Anne. He was an influential adviser, inducing William to accept only Whigs in his government. William, never vindictive, was untroubled by Sunderland's past services to James, who had made it very clear that Sunderland was the one man he would never forgive, though he had made tentative advances towards the fallen King. Most of William's servants had at sometime betrayed him, and he valued Sunderland for his frankness and ability to voice unwelcome truths. It has been suggested that Sunderland's notorious rudeness actually appealed to the King, who detested flattery and could himself be distinctly rude. Once when William said that, while the Whigs personally liked him better than the Tories, the Tories were better friends to Monarchy, Sunderland shrewdly replied: "but you must consider that you are not their Monarch". He even wrote a letter telling the King that if his Ministers were not fit for his service, it was his own fault for not choosing better men.

This notable lack of ordinary good manners made Sunderland countless enemies: Bishop Burnet wrote that "he had too much heat, both of imagination and of passion, was apt to speak freely both of persons and things, and raised himself many enemies from a contemptuous treatment of those who differed from him". His remarkable ability to adapt to the wishes of three different monarchs was considered a fault rather than a virtue: as Burnet observed "he came by this to lose so much that even those who esteemed his parts depended little on his probity".

While his own private life was blameless, Sunderland in the winter of 1697–98 became involved in a scandal when his daughter Elizabeth's husband, Lord Clancarty, a leading Jacobite, escaped from the Tower of London. The marriage had been arranged between Sunderland and Clancarty's uncle Justin McCarthy, Viscount Mountcashel, when the young bride was but thirteen and her husband only three years older; it had proved a disaster which greatly damaged Sunderland's reputation. Clancarty escaped and found Elizabeth, whom he had not seen since 1684, persuading her to consummate the marriage at long last. The servants alerted her brother Charles, who had Clancarty arrested. The resulting furore gravely embarrassed Sunderland, but seems to have merely amused the King, who dryly remarked that no one wanted to speak to him of anything but "that little spark Clancarty". He gave the couple permission to move to Germany, where they settled in Altona, Hamburg, and there they lived out their lives. Elizabeth never saw her parents or her brother again.

Sunderland became Lord Chamberlain of the Household in April 1697, and was a Lord Justice for a short period, but "the general suspicion with which he was regarded terrified him". At the same time he was approaching sixty, a respectable age in those days, and besides his health was failing. He eventually retired from public life in December 1697.

Sunderland died in 1702. He had led a secluded life at Althorp for some time, and his only surviving son, Charles, succeeded to his titles and honours.

Family
He married Anne Digby, daughter of George Digby, 2nd Earl of Bristol, on 9 June 1665. After an awkward start, when Sunderland broke off the engagement for no known reason, the marriage was a very happy one: Lady Sunderland was rumoured to have had numerous lovers, but there is little evidence to support this, and Sunderland, despite his questionable political principles, was a devoted husband and father. They had at least five children.

 * Robert Spencer (1666–1688).
 * Anne Spencer (1667–1690), married James Douglas, 4th Duke of Hamilton.
 * Isabella Spencer (1668–1684).
 * Elizabeth Spencer (1671–1704), married Donough MacCarthy, 4th Earl of Clancarty.
 * Charles Spencer (c. 1674–1722), succeeded as 3rd Earl of Sunderland.

They are believed to have had two or more other children who died young, as Lady Sunderland referred in a letter to "my two living of seven children".

Notes and references

 * Gilbert Burnet History of His Own Time Abridged edition by Thomas Stackhouse Everyman's Library 1906
 * Gilbert Burnet History of His Own Time Abridged edition by Thomas Stackhouse Everyman's Library 1906

title: Robert Spencer, 2nd Earl of Sunderland