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Talk:René Lalique

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RENE LALIQUE (1860-1945) A Brief History

Rene Lalique's life and artistic career bestrode arguably the three most important movements in the field of the Decorative Arts Belle Epoque, Art Nouveau and Art Deco.

The same period witnessed the evolution of decorative glass generally, with several defunct manufacturing techniques originally invented in Ancient Roman times being re-discovered and employed by the 20th Century's new generation of artists.

Rene Lalique's contemporaries, Emile Galle and the American Louis Comfort Tiffany, worked predominantly in Art Glass, distinctive for its rich combination of colour, botanic motifs and iridescence. These facets, although of great beauty, tended somewhat to disguise the medium of glass itself. Rene Lalique, however, stood out from his contemporaries by being the purist', who applied his talent to the inherent merits of glass, and thereby elevated it to new heights of technical and artistic interpretation.

Lalique was born on 6th April 1860 in the small French town of Ay in the Marne region. While still an adolescent, he won several awards for his illustrations, and by 1890 had achieved an enviable degree of success as a silversmith, goldsmith, enameller, sculptor, designer and of course as a jeweller. It was in this latter field that he first gained worldwide renown.

Working initially in the long tradition of 'Grande Joallerie', his genius eventually found expression through his rather avant-garde 'bijouterie', and his reputation as the world's leading 'newh-œhwave' jeweller was firmly established with his success at the Exposition Universelle, held in Paris in 1900. His exhibits were exceptional for their disciplined yet fantastic designs, and the bold combination of semi- precious stones, metals and even glass.

Glass held the greatest fascination for Lalique, evolving into commercial success after 1907 through his relationship with Francois Coty, principal of the eponymous perfume house for whom Lalique created a number of exquisite scent bottles. Building on this success, Lalique went on to design and manufacture a wide range of sumptuous glass ware, for which he is today most renowned. Accolade after accolade came to Lalique in the 1920's. 1925 saw his highly successful presence at the Exposition Internationale des Arts Decoratifs, and the following year the creation of the famous pair of fountains 'Fontaines de la Galerie des Champs Elysees' exhibited at the Salon des Artistes Decorateur and subsequently installed at the Galerie du Lido   His reputation, then was assured  that of an 'artiste verrier who saw glass with the eye of a jeweller but treated glass with the hands of a sculptor.

The advent of the 1930's witnessed the period of his greatest commercial success. Many truly astonishing items of glassware were produced, including a range of 30 glass car mascots mainly of female nude or animalier form. Lalique had shrewdly recognised the vogue for 'automobiles de luxe' and offered its devotees his sensual mascots as the ultimate automotive adornment. Some of these mascots are today extremely rare and are amongst the most valuable of Lalique's work from this period h-œh the 'Renard' (Fox) mascot, for example, has in 1992 achieved a price of over £200,000, and certain unique coloured mascots have also approached this figure.

His range of vases and tableware have also become highly coveted collectable items achieving spectacular prices. The vase 'Cluny' recently sold for around £150,000, and the exceptional 'Cicada' vase, of which only one perfect example is known, was sold for almost £550,000 in late 1992.

Lalique's factory, employing over 500 artisans, flourished through the 1930's. He was paid an enormous compliment in 1938 when the French Government commissioned Lalique to produce a spectacular 'surtout de table' entitled 'Caravelle' which was presented to Their Royal Highnesses King George and Queen Elizabeth of Great Britain on the occasion of their State visit to France in 1938.

Many other important commissions had been placed with Lalique during the 1930's the world's wealthiest and most discerning connoisseurs sought out Lalique to add his indefinable genius to their interiors, and his patrons included Indian maharajahs, American billionaire industrialists, the great Hollywood stars and European nobility, as well as almost all of the surviving crowned heads of Europe's Royal Houses.

Although Lalique himself just survived the Second World War, his factory sustained severe damage in the fighting, and many priceless designs and moulds were lost. His son, Marc, restarted the business in the late 1940's, which continues in its present form to this day.

Of all the eulogies and posthumous praise heaped on Lalique after his death, one is most worthy of recounting here. One of Lalique's greatest friends and lifelong patrons, the American oil billionaire Calouste Gulbenkianœ wrote: He ranks among the greatest figures in the history of art of all time... from Gulbenkian, whose art collection included works by Rubens, Rembrandt, Rodin and Gainsborough as well as some of the finest works by Lalique this was praise indeed. By Mark Waller Mwlalique@aol.com

No discussion of Lalique's work should neglect mention of the Plique-a-jour enameling so central to his jewelry designs ex:. One site discussing current work in plique-a-jour is: If a more authoritative source on this difficult and breath-taking work is available, please do qoute it.

 * Don't copy and paste from other websites into talk pages. That, too, is a copyright violation. --Alvestrand (talk) 18:42, 7 December 2007 (UTC)

British version
Jewellery is a British spelling (Webster's dictionary) of jewelry. Superslum 07:35, 26 June 2006 (UTC) Lalique was French, so it makes sense to go with the European / British spelling Owen214 (talk) 13:24, 30 July 2010 (UTC)

death and burial on the same day?
it seems unlikely that rene lalique died AND was buried on 5 may 1945. badmachine (talk) 23:53, 1 November 2008 (UTC)
 * he might've been buried alive Owen214 (talk) 13:19, 30 July 2010 (UTC)
 * If it’s any help?  The Britannica entry on Lalique gives his date of death as 5th May, 1945.   What’s happening there, I don’t know.Cuddy2977 (talk) 08:15, 6 May 2021 (UTC)

Rene Lalique Biography Reference at RLalique.com - Proposed Link Addition
We want to add a link on this Rene Lalique Bio page to our extensive Biography of Rene Lalique at RLalique.com, and we are submitting it here for discussion. Any comments would be appreciated. Here is the link to take a look at. Rene Lalique Biography at RLalique.com Kidcobra (talk) 12:47, 21 February 2009 (UTC)

 * Great biographical information, well worth the link, I'm adding it as an external link. —Preceding unsigned comment added by 12.183.89.2 (talk) 17:35, 10 March 2009 (UTC)

Intro
I think it's not really a nice intro how it introduces him by saying when he was born and when he died. The first sentence should really say why he was famous. I would've said he was a glass designer, then say when he lived, then go into the specifics of his glass design. Owen214 (talk) 13:22, 30 July 2010 (UTC)

Museums
According to, the list of museums is also spam. The issue seems to be in particular the first item, the museum in Duisburg. I have referenced the Lisbon Gulbenkian museum using one of the external links the article already had, and the Schmuckmuseum Pforzheim seems worthy of its red link: nl:Schmuckmuseum Pforzheim is quite nice, and there's also a German article. Maybe we should just delete the first item; I am not sure after looking at its site how far it's for profit, but am inclined to give it the benefit of the doubt; it has exhibitions and regular opening hours. Patagoniaddd, can you expand on why you are against this particular museum being listed and whether you'd still like to see the entire list of museums removed? Yngvadottir (talk) 15:50, 27 September 2014 (UTC)

There has been another round of add-and-revert and still no discussion here. I think the list of museums holding his work was a good addition to the text, but it didn't have links on them, and the Pforzheim jewellery museum and the V & A were omitted. I have added those and linked all - two are red links. , please explain which links you think are particularly bad and why. , why do you think we need a list of museums separate from the text? Does anyone else have any views on what we should include about places that have Lalique collections, and whether we should list their websites? Yngvadottir (talk) 16:41, 8 March 2015 (UTC)

Salve; The metadata from cultural instititutions (GLAM!) are represented in these lists; owners or keepers of (art)historical objects are important for it's history and (scientifical) research. As a dataprofessional and arthistorian I think this information is usefull. Regards, E.Doornbusch (talk) 16:11, 9 March 2015 (UTC)
 * Thanks for responding. Can you unpack that comment about "metadata", please? I have unpleasant associations with its unexplained use to argue for infoboxes, and I don't understand your point. Isn't just linking to an article on the museum or gallery enough if we have an adequate article on it, with a link there to its site? (I believe we need an article on the Pforzheim Jewellery Museum.) Of course if any of these museums have an informational page on Lalique, I think such would be good to fill out the references. Yngvadottir (talk) 16:27, 9 March 2015 (UTC)

 * Hi, jumping in to share some sources from the Corning Museum of Glass website: René Lalique, Designing for a New Century: Works on Paper by René Lalique and His Contemporaries, and René Lalique’s Automobile Mascots are probably the most useful. extabulis (talk) 19:15, 9 March 2015 (UTC)

 * Also, my two cents on the linking question: I agree with that wikilinks plus using informational pages to strengthen the article and its references is the way to go. It looks like most of the links led to "Lalique" searches on museum websites - I've often encountered the same sort of links on other artists' Wikipedia pages, and they're usually broken because the museum has changed their website, search function, etc. extabulis (talk) 19:30, 9 March 2015 (UTC)

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title: Talk:René Lalique


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Climbing route

A climbing route (Kletterrouten) is a path by which a climber reaches the top of a mountain, or rock/ice-covered obstacle. The details of a climbing route are recorded in a climbing guidebook and/or in an online climbing route database, and will include elements such as the type of climbing route (e.g. bouldering route, sport climbing route, traditional climbing route, ice climbing route, and alpine climbing route, etc.), the difficulty grade of the route–and beta on its crux(es)–and any risk or commitment grade, the length and number of pitches of the route, and the climbing equipment (e.g. climbing protection gear) needed to complete the route.

There are definitions as to what is a valid ascent of a route (e.g. the redpoint in rock climbing), and the class of ascent (e.g. onsighted, flashed). The first ascent, first free ascent, and first female free ascent, are often recorded for important routes. After a route is established, variations can be created (e.g. directessimas, sit starts, or enchainments), and climbers will try to improve the "style" in which the route is climbed (e.g. minimizing aid climbing or other supports such as oxygen or fixed ropes). Some climbers limit the in-situ protection (e.g. greenpointing), or even free solo the route. Others set speed climbing records on routes.

The ascent of ever-harder routes is an integral key part of the history of climbing, and each type of climbing has notable routes that set major new milestones. There are ongoing debates amongst climbers about routes including the naming of routes, the creation of new routes by artificially altering the surface (e.g. chipping in rock climbing), the role of completely artificial indoor routes (e.g. The Project), the level and maintenance of in-situ protection on routes (e.g. providing permanent bolted protection anchors) and the ethical issue of retro-bolting (e.g. turning traditional climbing routes into safer sport climbing bolted routes).

Details
Climbing routes are usually chronicled in a climbing guidebook, a climbing journal (e.g. the American Alpine Journal or the Himalayan Journal), and/or in an online route database (e.g. theCrag.com or MountainProject.com), where the key details of the route are listed, which generally include the following:

 * Climbing area (or crag). Routes are often clustered together in a general "climbing area", which is also known as a "crag". Notable climbing areas include: El Capitan (for big wall climbing in the US), Clogwyn Du'r Arddu (for traditional climbing in the UK), Buoux, Verdon Gorge and Ceuse (for sport climbing in France).
 * Route name. While rock and modern ice climbing routes can have any name, offensive names are removed from databases and guidebooks. In countries such as France the person who created the route names it, whereas in others such as the US and UK, the first person to ascend the route names it (e.g. the  Realization/Biographie controversy). Alpine routes tend to have names based on the peak or the first ascender and the geological feature, such as the Bonatti Pillar or the Walker Spur.
 * Type and condition of the surface. Different types of rock, such as limestone, granite, or sandstone, present different challenges in terms of friction and types of holds.  The typical condition of the rock (e.g. solid or crumbling, or dry and damp) might be noted. Ice climbers will differentiate between the type of ice (e.g. water ice, permanent alpine ice), and the stability of the ice surface (e.g. sheet ice, thick ice).
 * Type of climb and equipment requirements. A key detail is whether climbing protection is already in-situ (i.e. sport climbing), or must be inserted while climbing (i.e. traditional climbing). The protection equipment needed on traditional climbing routes will vary depending on the type of challenge presented (e.g. crack climbing, slab climbing, etc.). Some routes may require aid climbing and/or abseiling equipment.
 * Length and number of pitches. A key detail is the length of the route, which can vary from a few metres for a bouldering route, to several thousand metres for a big wall climbing or alpine climbing route. Longer routes are broken up into "pitches", which are less than a rope length; climbers will lead each pitch one at a time.  For example, The Nose is over 880-metres long, and breaks up into 31-pitches.
 * Graphical topo of the route. Most guidebooks will include a photograph or drawing showing the line of the route. For more complicated routes (and for longer multi-pitch routes), a more detailed "topo" (short for topographic) illustration will include symbols for key obstacles (e.g. roofs, overhangs, aretes) and key features (e.g. corners, cracks) encountered on the route; and information on the crux(es).
 * Grade of technical difficulty and risk. Routes are graded for their technical difficulty – particularly for the crux(es) – and the availability of adequate protection. Each route type will use the appropriate grading system such as: boulder grades, sport grades, traditional grades, aid grades, or ice grades. Big wall grade and alpine grade systems have additional grades for the level of commitment and seriousness of the route.
 * Estimated timings (for longer routes). Multi-pitch climbs and the even-longer big wall and alpine climbs will include details of the estimated timetable for the route, which might go from hours to several days and weeks. These timings may include additional information on key milestones that need to be reached in a given time to achieve the overall route timetable and to complete the route safely with sufficient provisions.
 * History of first ascent (FA), first free ascent (FFA), and first female free ascent (FFFA). Guidebooks record the first person(s) to do the FA, FFA, and FFFA of the route. Information may be recorded regarding the "style" of the ascent and whether it was practiced beforehand by top roping. The level of aid used for the FA might be recorded, as well as near-FFAs that used minor aid.  On alpine routes, the first winter ascent is recorded.
 * Popularity and other feedback. Modern guidebooks will also include some manner of popularity rating for individual routes in a climbing area (e.g. awarding 3-stars to the most popular/best-regarded routes, which are often called "classics").  They may also include additional climber feedback (or beta) on the route such as whether it requires muscle power, balance/footwork, or strong fingers to be successful.

Ascent of routes
The definition of what is classed as a valid ascent of a rock climbing route is called a redpoint. Many routes may not be climbed on the first attempt, and will require days (and in some cases, years) of attempts; when a climber undertakes such a task, it is sometimes called projecting a route (i.e. the route becomes a "project"). When a climber does climb the route on their first attempt without any falls and without any prior knowledge of how to climb the route (which is called beta), it is known as an onsight; where the climber had prior beta on the route, it is known as a flash. Alpine climbers distinguish whether the ascent was made in summer or in the more difficult winter season (e.g. it was not until 2021 that K2 was climbed in winter).

Style of route ascents
Climbers will also seek to improve the "style" in which a route is climbed. A route that uses a lot of aid climbing will be reclimbed with less and less aid until it is eventually "free climbed" (i.e. using no aid, either as a sport or a traditional climb). Greenpointing refers to the process of even removing any existing in-situ sport climbing protection bolts to ascend the route as a cleaner traditional climb. Alpine climbers seek to complete established high-altitude "expedition style" routes in alpine style with no supplemental oxygen or any fixed ropes, and even alone. Free solo climbers seek to ascend a route with no protection equipment whatsoever (e.g. as in the 2018 film, Free Solo). Some big wall climbers set speed records on routes (e.g. The Nose).

Variations of routes
When a climbing route has been established, variations may be added, a typical one being a more "direct" line (e.g. a direct start or direct finish) of the original route, also called a direttissima in alpine climbing, and thus not avoiding the difficult obstacles that the original route went around (e.g. a roof or an overhang, or a section with minimal holds). Boulder climbers might add a harder sit start "SS" (or sit-down-start, "SDS") variation to a boulder route (e.g. the SDS of Dreamtime is graded well above the standing start version). Alpine and big wall climbers often seek to link established routes together in a larger enchainment (or "link-up") route (e.g. the notable Moonwalk Traverse of the entire Cerro Chaltén Group in Patagonia).

The straightforward and frequently used (and usually easiest and often the original) route up a mountain peak is often called the normal route (voie normale; Normalweg) in mountaineering.

Naming of routes
Traditionally, in many countries, the person who made the first ascent of a route was allowed to name it (in France, the naming rights go to whoever first bolted the route); this concept of "naming ownership" by the first ascensionist led to inertia with regard to the changing of problematic names including route names that were vulgar or had racial, sexual, colonial, discriminatory or other, slurs, tropes or stereotyping.

In 2020, the climbing community more directly confronted the issue of problematic names. In June 2020, climbing author Andrew Bisharat wrote in Rock & Ice that "routes belong to us all. That should include their names" in regard to changing problematic names. At the same time, Duane Raleigh, the editor of Rock & Ice, stepped down from his post recognizing some problematic names that he had given his own routes in the past. The debate intensified, reaching national media attention in countries around the world, and was described as climbing's "#MeToo" moment.

In 2021, the American Alpine Club created the "Climb United" initiative to bring magazine editors, guidebook publishers and database managers, and other climbing community leaders together to create principles for naming routes that would "Build the best publishing practices to avoid harm caused by discriminatory or oppressive route names". Many climbing guidebook publishers and route databases introduced policies to redact inappropriate route names, including the largest online databases, theCrag.com, and MountainProject.com (who had redacted 6,000 names in the first year).

Manufactured or artificial routes
Some climbers have physically altered the natural rock surface to "construct" a route (or make a route more climbable), by cutting or expanding handholds, which is also known as chipping. Such acts have at times caused controversy (e.g. Fred Rouhling's Akira and Hugh), but at other times has not (e.g. Antoine Le Menestrel's famous Buoux route, La Rose et la Vampire). A 2022 survey by Climbing showed climbers were largely against manufacturing routes on natural outdoor rock on public lands, but were less negative on private lands (or on routes in quarries); they were willing to allow "cleaning" of routes (which some consider manufacturing), and also the repairing of routes (e.g. gluing back broken holds).

In contrast, indoor climbing is done on completely artificially manufactured sport climbing routes on climbing walls, as is competition climbing where a route setter manufactures a completely new route for each stage of the competition. In 2017, Black Diamond Equipment launched "The Project" on an indoor climbing wall in Sweden, with the aim of creating the world's hardest sport climbing route at circa. ; it was later deconstructed having never been fully ascended, despite attempts by some of the world's best climbers, including Adam Ondra, Stefano Ghisolfi, and Alex Megos. Since then, other "Project-type" routes have been created on other climbing walls, with the goal of being the world's hardest route.

Permanent-protection and retro-bolting of routes

There has been a long-term debate in the climbing world on the use of permanently fixed in-situ climbing protection (e.g. such as bolts or pitons) on climbing routes. Such protection is not to provide aid (i.e. it is not aid-climbing per se), but to increase the safety of the route. Climbers call routes that have such protection, "sport climbing routes" (i.e. there is no risk, so it is purely a sport). In the 1980s and 1990s in the US, this debate became so heated that it was known as the "bolt wars", with climbers bolt chopping (i.e. removing in-situ protection) on routes they considered to be traditional-only routes (i.e. no in-situ protection).

While all indoor climbing routes are bolted sport routes, the use of bolts in the outdoor natural environment raised environmental considerations, which led to the development of the clean climbing movement.

Other objections to pre-bolted protection highlighted the effect that such protection had on the very nature and challenge of a climbing route. In 1971, Italian mountaineer Reinhold Messner wrote a famous essay called The Murder of the Impossible (which was believed to have been inspired by the 400-bolt Compressor Route), challenging that the use of such protection was diminishing the nature of mountaineering, saying of such climbers: "he carries his courage in his rucksack, in the form of bolts and equipment". Such concerns also relate to the debate on retro-bolting of traditional climbing routes, which is the conversion into safer sport climbing routes, but that also fundamentally alters the nature of the route challenge.

Rock climbing

 * Bouldering. Two of the most famous bouldering routes in history are Midnight Lightning in California, and Dreamtime  in Switzerland. Other notable bouldering routes include  in Italy, the world's first-ever  graded route, and Burden of Dreams in Finland, the world's first-ever  graded route.
 * Sport climbing. Two of the most famous sport climbing routes in history are Action Directe in Germany, the world's first-ever  route, and Realization/Biographie in France, the world's first consensus  route. Other notable sport climbing routes include Jumbo Love in Nevada,  the world's first-ever  sport route, and Silence in Norway, the world's first-ever  sport route.
 * Traditional climbing. Traditional climbing was at the origin of free climbing, and many countries have their own notable traditional routes (e.g. Indian Face in Britain).  Routes that set important milestones include Grand Illusion in Lake Tahoe, first, The Phoenix in Yosemite, first  and the first-ever use of "friends", and Super Crack in the Shawangunks, early consensus .  Notable contemporary traditional climbing routes include Cobra Crack in Canada, Rhapsody in Britain, Blackbeard’s Tears and Meltdown in the US, and Tribe in Italy.
 * Big wall climbing and aid climbing. Many of the most famous aid climbing routes were on big wall routes, which eventually became free climbing routes.  The most famous route is The Nose whose aid ascent at 5.9 A2 was a major milestone in climbing, as was its eventual freeing at 5.14a.  El Capitan has several other famous aid/big wall routes such as Salathé Wall (5.9 A2 aid, or 5.13b free) and the Salathé variant, Freerider, the most famous big wall free solo in history, and Dawn Wall, the first-ever 9a big wall route in history. Notable European routes are the various north faces of the Tre Cime di Lavaredo in the Dolomites (e.g. ), and on the southwest face of the Aiguille du Dru in France (e.g. Bonatti Pillar).

Ice climbing

 * Ice climbing. Notable ice routes include the first to get near/above the WI6 grade milestone (i.e. sheer vertical sustained ice) such as Gimme Shelter, Riptide, and Sea of Vapours in the Canadian Rockies, and Repentance Super in the Val di Cogne in Italy.  Since 2010, Helmcken Falls in Canada has produced overhanging ice climbs above the WI10 grade, including Mission to Mars the world's first-ever WI13 graded ice route.
 * Mixed climbing. The most famous route is Jeff Lowe's Octopussy WI6 M8 R, which started the mixed climbing revolution; this was followed by early consensus M10-12 routes in Europe and North America such as Reptile in Vail, Colorado, X-files and Empire Strikes Back in Val di Cogne, and Musashi in Canada. Iron Man in Switzerland became the world's first consensus M14, and also the world's first-ever FFFA of an M14.
 * Dry tooling. Notable routes include Bichette Light in France, the world's first-ever D14 (and with no mixed/ice component). The Tomorrow's World Cave in the Dolomites in Italy produced the world's first-ever consensus D15 (A Line Above the Sky), and consensus D16 (Parallel World) routes.

Mountaineering

 * Alpine climbing. One of the most famous alpine climbing routes is the 1938 Heckmair Route (ED2 V− A0 60 degrees), on the north face of the Eiger. The route is also one of the famous six alpine routes that first ascended the great north faces of the Alps. As alpine climbing spread outside of the Alps, famous alpine style routes were established on Himalayan peaks such as Latok I, The Ogre, Changabang, and Jannu.
 * Expedition climbing. The most famous expedition climbing routes involve the eight-thousanders, which are the 14 mountains in the Himalayas and the Karakoram that are above 8000 m in height above sea level. While reaching the summits of eight-thousanders by any route was once considered a major milestone, the development of even harder climbs on their faces and pillars has created several famous routes amongst climbers including the "Rupal Face" on Nanga Parbat and the "Magic Line" on K2's southwest pillar; both of which have been tried by alpine climbers.

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Equal consideration of interests

The principle of equal consideration of interests is a moral principle that states that one should both include all affected interests when calculating the rightness of an action and weigh those interests equally. The term "equal consideration of interests" first appeared in Australian moral philosopher Peter Singer's 1975 book Animal Liberation. Singer asserts that if all beings, not just humans, are included as having interests that must be considered, then the principle of equal consideration of interests opposes not only racism and sexism, but also speciesism. Jeremy Bentham argued that a being's capacity to suffer is what is morally relevant when considering their interests, not their capacity for reason.

The principle is related to broader philosophical concepts of impartiality, though impartiality can refer to many other senses of equality, particularly in justice.

title: Equal consideration of interests


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Mad Max (film)

Mad Max is a 1979 Australian dystopian action film directed by George Miller, who co-wrote the screenplay with James McCausland, based on a story by Miller and Byron Kennedy. Mel Gibson stars as "Mad" Max Rockatansky, a police officer turned vigilante in a dystopian near-future Australia in the midst of societal collapse. Joanne Samuel, Hugh Keays-Byrne, Steve Bisley, Tim Burns and Roger Ward also appear in supporting roles.

Principal photography for Mad Max took place in and around Melbourne and lasted for six weeks. The film initially received a polarized reception upon its release in April 1979, although it won four AACTA Awards. Filmed on a budget of A$400,000, it earned more than US$100 million worldwide in gross revenue and set a Guinness record for most profitable film. The success of Mad Max has been credited for further opening the global market to Australian New Wave films.

Mad Max became the first in the series, giving rise to three sequels: Mad Max 2 (1981), Mad Max Beyond Thunderdome (1985) and Mad Max: Fury Road (2015). A spin-off film titled Furiosa: A Mad Max Saga was released in 2024.

Plot
A dystopian near-future Australia is facing a breakdown of civil order primarily owing to widespread oil shortages and ecocide. The berserk motorbike gang member Crawford "Nightrider" Montazano kills a rookie officer of the poorly funded Main Force Patrol (MFP)—one of the last remaining law enforcement agencies—and escapes with his girlfriend in the dead officer's Pursuit Special. Nightrider is able to elude the MFP until the organisation's top pursuit man Max Rockatansky manages to steer him into a roadblock, resulting in a fiery crash that kills both Nightrider and his girlfriend.

At the MFP garage, Max is shown his new police car: a specially built V8-powered and supercharged black Pursuit Special. A conversation between Max's superior Captain Fred "Fifi" Macaffee and Police commissioner Labatouche reveals the Pursuit Special was authorised to bribe Max, who is becoming weary of police work, into staying on the force. Nightrider's motorbike gang, which is led by Toecutter and Bubba Zanetti, run riot in a town, vandalising property, stealing fuel and terrorising the populace. A young couple attempts to escape, but the gang destroys their car and assaults them. Max and fellow officer Jim "Goose" Rains arrest Toecutter's young protégé Johnny the Boy at the scene. No witnesses appear in court and Johnny is deemed mentally unfit to stand trial. Against Goose's furious objections, Johnny is released into Bubba's custody.

While Goose visits a nightclub in the city that night, Johnny sabotages his police motorbike, causing it to lock up at high speed the next day and launch Goose off the road. Dazed but uninjured, Goose borrows a ute to haul his bike back to MFP headquarters. On the way, Johnny throws a brake drum through his windshield and Goose crashes again. Toecutter urges and forces a reluctant Johnny to throw a match into the wreck of the ute, burning Goose alive. After seeing Goose's charred body in the hospital ICU, Max informs Fifi that he is resigning from the MFP to save what is left of his sanity. Fifi convinces him to take some time off before committing to his decision, so Max goes on a trip in his panel van with his wife Jessie and infant son "Sprog" (Australian slang for a child). When they stop to fix the spare tyre, Jessie takes Sprog to get ice cream and is accosted by Toecutter and his gang. She escapes and the family hides on a remote farm owned by an elderly friend, May Swaisey.

The gang continues pursuing Jessie through the woods, capturing Sprog while Max is out looking for them. May helps Jessie free the boy and the trio escapes in the station wagon, which then breaks down. Jessie grabs Sprog and runs down the road until the gang simply runs them over. Sprog is killed instantly, while a comatose Jessie is held in the ICU, in critical condition. Driven into a rage by the attack on his family, Max dons his police uniform and takes the black Pursuit Special, without authorisation, to pursue and eliminate the gang members. He kills several of them before being caught in a trap set by Toecutter, Bubba and Johnny; Bubba shoots Max in the leg and drives over his arm. Max is then able to shoot Bubba, in return, with a sawn-off shotgun. Toecutter and Johnny ride-off; Max staggers to his car and chases Toecutter, whom he forces into the path of an approaching semi-truck.

Finally, Max finds Johnny at the scene of a car wreck, stealing the boots of the deceased driver. He argues he is not to blame in the deaths of Max's family, but Max handcuffs Johnny's foot to the overturned vehicle and creates a crude time-delay fuse using leaking petroleum and Johnny's own cigarette lighter. He gives Johnny a hacksaw, saying Johnny can either try to saw through the handcuffs (which will take ten minutes) or his ankle (which will take five minutes), if he wants to survive. As Max is driving away the vehicle detonates behind him.

Cast

 * Mel Gibson as Max Rockatansky, an officer of the Main Force Patrol (MFP)
 * Joanne Samuel as Jessie Rockatansky, Max's wife
 * Hugh Keays-Byrne as Toecutter, the leader of a motorcycle gang
 * Steve Bisley as Jim "Goose" Rains, a member of the MFP's motorcycle unit
 * Tim Burns as Johnny the Boy, a young member of Toecutter's gang
 * Roger Ward as Fred "Fifi" Macaffee, Max's MFP captain
 * David Bracks as Mudguts, a member of Toecutter's gang
 * David Cameron as Underground Mechanic, who builds the V-8 Pursuit Special
 * Robina Chaffey as Singer, who performs at the Sugartown Cabaret
 * Stephen Clark as Sarse, an MFP officer (Scuttle's partner)
 * Reg Evans as Station Master
 * Max Fairchild as Benno, May's large adult son, who has an intellectual disability
 * Sheila Florence as May Swaisey, an old friend of Max
 * Hunter Gibb as Lair, a man with a Chevvy who is attacked by Toecutter's gang
 * Vincent Gil as Crawford "The Nightrider" Montazano, a member of Toecutter's gang
 * Jonathan Hardy as Labatouche, an English-born police commissioner who oversees the MFP
 * Brendan Heath as "Sprog" Rockatansky, Max and Jessie's infant son
 * Paul Johnstone as Cundalini, a member of Toecutter's gang who loses a hand
 * Nick Lathouris as Grease Rat, a mechanic near a beach
 * John Ley as Charlie, a religious MFP officer (Roop's partner)
 * Steve Millichamp as Roop, an MFP officer (Charlie's partner)
 * George Novak as Scuttle, an MFP officer (Sarse's partner)
 * Geoff Parry as Bubba Zanetti, Toecutter's second in command
 * Lulu Pinkus as Nightrider's Girl
 * Kim Sullivan as Girl in Chevvy, who, along with Lair, is attacked by Toecutter's gang
 * Amanda Muggleton as Biker's Moll
 * Karen Moregold as Radio Dispatcher (uncredited)

Development
George Miller was a medical doctor in Sydney, working in a hospital emergency room where he saw many injuries and deaths of the types depicted in the film. He also witnessed many car accidents growing up in rural Queensland and lost at least three friends to accidents as a teenager.

While in residency at a Sydney hospital, Miller met amateur filmmaker Byron Kennedy at a summer film school in 1971. The two men produced a short film, Violence in the Cinema, Part 1, which was screened at a number of film festivals and won several awards. Eight years later, they produced Mad Max, working with first-time screenwriter James McCausland (who appears early in the film as the bearded man in an apron in front of the diner).

According to Miller, his interest while writing Mad Max was "a silent movie with sound", employing highly kinetic images reminiscent of Buster Keaton and Harold Lloyd while the narrative itself was basic and simple. Miller believed that audiences would find his violent story more believable if set in a bleak dystopian future. He knew little about writing a script, but he had read Pauline Kael's essay "Raising Kane" and concluded that most major American scriptwriters, like Herman Mankiewicz and Ben Hecht, were former journalists, so he hired McCausland, the Melbourne finance editor of The Australian, with whom he had previously bonded at a party as a fellow film buff. McCausland was paid roughly $3,500 for about a year's worth of writing.

The basic concept for the film was already established when McCausland was brought on to the project. He worked from a one-page outline prepared by Miller, writing each evening from about 7pm to midnight. Miller would then arrive at 6am to confer on the pages. McCausland had never written a script before and did no formal or informal study in preparation, other than going repeatedly to the cinema with Miller and discussing the dramatic structure of westerns, road movies, and action films. McCausland described taking the lead in writing the dialogue, while Miller was concerned with giving his thoughts on the narrative context of each part and thinking through the visual beats of how things would unfold on screen. The ornate and hyper-verbal speech of Mad Max's villains, like the manic Nightrider in the opening sequence, which would recur through the subsequent films in the franchise, in this sense stems from McCausland's work, albeit under Miller's instruction. McCausland drew heavily from his observations of the effects of the 1973 oil crisis on Australian motorists:

"Yet there were further signs of the desperate measures individuals would take to ensure mobility. A couple of oil strikes that hit many pumps revealed the ferocity with which Australians would defend their right to fill a tank. Long queues formed at the stations with petrol—and anyone who tried to sneak ahead in the queue met raw violence. ... George and I wrote the [Mad Max] script based on the thesis that people would do almost anything to keep vehicles moving and the assumption that nations would not consider the huge costs of providing infrastructure for alternative energy until it was too late."

Kennedy and Miller first took the film to Graham Burke of Roadshow, who was enthusiastic. The producers felt they would be unable to raise money from the government bodies "because Australian producers were making art films, and the corporations and commissions seemed to endorse them whole-heartedly", according to Kennedy. They designed a 40-page presentation, circulated it widely, and eventually raised the money. Kennedy and Miller also contributed funds themselves by doing three months of emergency medical calls, with Kennedy driving the car while Miller did the doctoring. Miller claimed the final budget was between $350,000 and $400,000. His brother Bill Miller was an associate producer on the film.

Casting
George Miller considered casting an American actor to "get the film seen as widely as possible" and even travelled to Los Angeles, but eventually opted to not do so as "the whole budget would be taken up by a so-called American name." Instead, the cast deliberately featured lesser-known actors, so they did not carry past associations with them. Miller's first choice for the role of Max was the Irish-born James Healey, who at the time worked at a Melbourne abattoir and was seeking a new acting job. Upon reading the script, Healey declined, finding the meager, terse dialogue unappealing.

Casting director Mitch Mathews invited a class of recent National Institute of Dramatic Art graduates to audition for Mad Max, specifically asking a NIDA teacher for "spunky young guys". Among these actors was American-born Mel Gibson, whose audition impressed Miller and Matthews and earned him the role of Max. An apocryphal tale stated that Gibson went to auditions with a beat-up face following a fight, but this has been denied by both Matthews and Miller. Gibson's friend and classmate Steve Bisley, who had worked with him in his only previous screen role, 1976's Summer City, was cast as Max's partner Jim Goose. A classmate of both, Judy Davis, has been said to have auditioned and been passed over, but Miller has declared she was only in Matthews' studio to accompany Gibson and Bisley.

Most of the biker gang extras were members of actual Australian motorcycle clubs and rode their own motorcycles in the film. They were even forced to ride the motorcycles from their residence in Sydney to the shooting locations in Melbourne because the budget did not allow for aerial transport. Three of the main cast members (Hugh Keays-Byrne, Roger Ward and Vincent Gil) had previously appeared in Stone, a 1974 film about biker gangs that is said to have inspired Miller.

Vehicles
Max's yellow Interceptor was a 1974 Ford Falcon XB sedan (previously a Victoria police car) with a 351 c.i.d. Cleveland V8 engine.

The Big Bopper, driven by Roop and Charlie, was also a 1974 Ford Falcon XB sedan and a former Victoria police car, but was powered by a 302 c.i.d. V8. The March Hare, driven by Sarse and Scuttle, was an in-line-six-powered 1972 Ford Falcon XA sedan (this car was formerly a Melbourne taxi cab).

Max's black Pursuit Special was a 1973 Ford XB Falcon GT351, a limited edition hardtop (sold in Australia from December 1973 to August 1976), which was primarily modified by Murray Smith, Peter Arcadipane, and Ray Beckerley. The main modifications were the Concorde front end, and the supercharger protruding through the bonnet (a nonfunctional cosmetic feature). The Concorde front was a fairly new accessory at the time, designed by Peter Arcadipane at Ford Australia as a showpiece, and later became available to the general public because of its popularity. After filming for Mad Max was completed, the car went up for sale, but no buyer was found, so it was given to Smith. He kept it until Miller wanted to use it for Mad Max 2, after which it again found no buyers and was left at a wrecking yard in Adelaide. It was bought and restored by Bob Forsenko, who later sold it to the Cars of the Stars Motor Museum in Cumbria, England. When that museum closed, the car then went to a collection in the Dezer Museum in Miami, Florida.

The Nightrider's vehicle, another Pursuit Special, was a 1972 Holden HQ Monaro coupe. It was also tuned, but was deliberately damaged to make it look like it had been involved in crashes.

The car driven by the young couple that is vandalised and then finally destroyed by the bikers is a 1959 Chevrolet Bel Air Sedan modified to look like a hot rod, with fake fuel injection stacks, fat tires, and a flame-red paint job.

Of the motorcycles that appear in the film, 14 were Kawasaki Kz1000 donated by a local Kawasaki dealer. All were modified in appearance by Melbourne business La Parisienne: one as the MFP bike ridden by Goose, and the balance for members of Toecutter's gang, many of which were portrayed by members of a local Victorian motorcycle club, the Vigilantes.

The small blue van destroyed after being hit by The Big Bopper is a 1966 Mazda Bongo. It was the director's personal vehicle but contrary to popular belief his van was not destroyed. For the stunt it is replaced by another Bongo, in poor condition and engineless, salvaged from a scrapyard and hastily repainted. Moreover, the paint cans on its roof are actually filled with milk, easier to clean after filming

By the end of filming, fourteen vehicles had been destroyed in the chase and crash scenes.

Filming
Originally, filming was scheduled to take ten weeks: six weeks of first unit, and four weeks on stunt and chase sequences. However, four days into shooting, Rosie Bailey, who was originally cast as Max's wife, was injured in a bike accident. Production was halted, and Bailey was replaced by Joanne Samuel, causing a two-week delay. In the end, the shoot lasted six weeks in November and December 1977, with a further six weeks of second-unit work. The unit reconvened in May 1978 and spent another two weeks doing second-unit shots and re-staging some stunts.

Miller described the whole experience as "guerrilla filmmaking", with the crew closing roads without filming permits and not using walkie-talkies because their frequency coincided with the police radio, and he and Kennedy would even sweep down the roads after filming was done. As filming progressed, however, the Victoria Police became interested in the production, and they began to help the crew by closing down roads and escorting vehicles. Because of the film's limited budget, all but one of the police uniforms in the film were made of vinyl leather, with only one genuine leather uniform made for stunt sequences involving Bisley and Gibson.

Filming took place in and around Melbourne. Many of the car chase scenes were filmed near the town of Little River, northeast of Geelong. The early town scenes with Toecutter's gang were filmed in the main street of Clunes, north of Ballarat; much of the streetscape remains unchanged. The bunker on which Roop was sitting, the site where Goose takes his ride, and the gate Big Bopper slides through are in Point Wilson.

At the beginning of production, the team faced a number of problems, and Miller was not sure that he would be able to finish the film. At one point, Miller quit and producing partner Byron Kennedy rang up Brian Trenchard-Smith and inquired if he would take over. Trenchard-Smith’s advice was to hire instead a quality first assistant director to support George. After a couple of days, Miller rallied and completed the film, but the crew had little respect for him during the shoot.

Safety control was supervised by Ian Goddard, an internationally known motorcycle racer. Goddard and his four assistants, aided by an extensive radio communications network, were so diligent in their work that not a single accident occurred during filming.

Mad Max was one of the first Australian films to be shot with a widescreen anamorphic lens, although Peter Weir's The Cars That Ate Paris (1974) was shot in anamorphic four years earlier. Miller's desire to shoot in anamorphic made him seek out a set of Todd-AO wide-angle lenses that Sam Peckinpah had discarded in Australia after they became damaged while filming The Getaway (1972). The only lens that worked properly was a 35mm lens, which Miller employed to shoot the whole of Mad Max.

Post-production
The film's post-production was done at a friend's apartment in North Melbourne, with Miller and Kennedy editing the film in the small lounge room on a home-built editing machine that Kennedy's father, an engineer, had designed for them. Miller and Kennedy also performed sound editing there. Tony Patterson spent four months editing the film, then had to leave because he was contracted to work on Dimboola (1979). George Miller took over editing with Cliff Hayes, and they worked for an additional three months. Kennedy and Miller did the final cut, in a process Miller described as "he would cut sound in the lounge room and I'd cut picture in the kitchen."

Professional sound engineer Roger Savage performed the sound mixing in a studio after finishing his work for Little River Band. He employed timecoding techniques that were previously unseen in Australian cinema.

Music
The musical score for Mad Max was composed and conducted by Australian composer Brian May (not to be confused with the guitarist of the English rock band Queen). Miller wanted a Gothic, Bernard Herrmann–type score and hired May after hearing his work for Patrick (1978). May said: "With the little budget that we had we went ahead and did it, and spent a lot of time on it. George was marvelous to work with; he had a lot of ideas about what he wanted although he wasn't a musician."

A soundtrack album was released in 1980 by Varèse Sarabande.

Release
Mad Max was first released in Australia through Roadshow Film Distributors (now Village Roadshow Pictures) in 1979. It was sold overseas for $1.8 million—American International Pictures (AIP) acquired the distribution rights for the United States (it would be one of the last films released by AIP before the company was folded into Filmways ), while Warner Bros. handled the rest of the world. The film was banned in New Zealand and Sweden, in the former because the scene in which Goose is burned alive inside his vehicle unintentionally mirrored an incident with a real gang shortly before the film's release. In 1983, after the success of the sequel, Mad Max was shown in New Zealand with an R18 certificate. The ban in Sweden was removed in 2005, and the film has since been shown on television and sold on home media there.

When Mad Max was released in the United States in 1980, the original Australian dialogue was redubbed by American voice actors, and much of the Australian slang and terminology was replaced (examples: "Oi!" became "Hey!", "See looks!" became "See what I see?", "windscreen" became "windshield", "very toey" became "super hot", and "proby"—probationary officer—became "rookie"). AIP also altered the operator's duty call on Jim Goose's bike in the beginning of the film (it ended with "Come on, Goose, where are you?"). The only exceptions to the dubbing were the singer in the Sugartown Cabaret (played by Robina Chaffey), Charlie (played by John Ley) when he speaks through the mechanical voice box, and Goose (Steve Bisley) when he sings while driving the truck before being ambushed. Since Mel Gibson was not well known to American audiences at the time, trailers and television spots in the United States emphasised the film's action content. The original Australian dialogue track was finally released in North America in 2000 in a limited theatrical reissue by MGM (the film's current rights holders), and the film has since been released in the U.S. on DVD with the American and Australian soundtracks included on separate audio tracks.

Home media
The film was released on DVD on 1 January 2002 and re-released on DVD on 15 September 2015. It was released on Blu-ray on 5 October 2010 and re-released on Blu-ray on 15 September 2015 by 20th Century Fox. Kino Lorber (on behalf of Warner Bros. Home Entertainment, under license to MGM Home Entertainment) released the film on 4K Blu-ray Disc on 24 November 2020. On 16 November 2021, it was reissued in 4K along with the three other films in the series as part of the Mad Max Anthology 4K set from Warner Bros. Home Entertainment.

Box office
Mad Max grossed A$5,355,490 at the box office in Australia and over US$100 million worldwide. Given its small production budget, it was the most profitable film ever made at the time and held the Guinness World Record for the highest box-office-to-budget ratio of any motion picture until the release of The Blair Witch Project (1999).

Critical response
Upon its release, the film polarized critics. In a 1979 review, the Australian social commentator and film producer Phillip Adams condemned Mad Max, saying that it had "all the emotional uplift of Mein Kampf and would be "a special favourite of rapists, sadists, child murderers and incipient Mansons". After its United States release, Tom Buckley of The New York Times called the film "ugly and incoherent", and Stephen King, writing in Danse Macabre, called it a "turkey". However, Variety magazine praised the directorial debut by Miller.

The film was awarded three Australian Film Institute Awards in 1979 (for editing, musical score, and sound), and was given a special award for stunt work; it was also nominated for Best Film, Best Director, Best Original Screenplay, and Best Supporting Actor (Hugh Keays-Byrne). At the Avoriaz Fantastic Film Festival, the film won the Special Jury Award.

On review aggregator website Rotten Tomatoes, the film holds a 90% approval rating based on 71 reviews, with an average score of 7.7/10; the site's "critics consensus" reads: "Staging the improbable car stunts and crashes to perfection, director George Miller succeeds completely in bringing the violent, post-apocalyptic world of Mad Max to visceral life." The film has been included in "best 1,000 films of all time" lists from The New York Times and The Guardian.

title: Mad Max (film)


text:
Herodias

Herodias (Ἡρῳδιάς, Hērōidiás; c. 15 BC – after AD 39) was a princess of the Herodian dynasty of Judaea during the time of the Roman Empire. Christian writings connect her with the execution of John the Baptist.

The daughter of Aristobulus IV and his wife Berenice, Herodias was a full sister to Herod V (king of Chalkis), Herod Agrippa (king of Judea), Aristobulus Minor, and Mariamne III (wife of Crown Prince Antipater). Following Antipater's execution by Herod the Great, she was possibly the first wife of Herod Archelaus, principal heir of Herod the Great and ethnarch of Judea.

Herod II
Herod the Great executed his sons Alexander and Aristobulus IV in 7 BC, and engaged Herodias to Herod II (born ca. 27 BC; died AD 33), her half-uncle. The marriage was opposed by Antipater II, Herod the Great's eldest son. Antipater's execution in 4 BC for plotting to poison his father left Herod II as first in line. However, when Herod the Great discovered that his wife Mariamne knew about the poison plot but did not try to stop it, he divorced her and dropped her son Herod II from the line of succession, just days before he died.

Both the Gospel of Matthew and Gospel of Mark state that Herodias was married to Philip, therefore some scholars have argued his name was "Herod Philip" (not to be confused with Philip the Tetrarch, whom some writers call Herod Philip II, Josephus account says Herodias married Herod, the grandson of Simon Boethus and that Salome married Phillip. This Herod was only named Herod in the text).

Many scholars dispute this, however, and believe it was an error, a theory supported by the fact that the Gospel of Luke drops the name Philip. Because he was the grandson of the high priest Simon Boethus he is sometimes described as Herod Boethus, but there is no evidence he was called by that name.

There was one daughter from this marriage, Salome. Herodias later divorced Herod II, although it is unclear when they were divorced. According to the historian Josephus:"Herodias took upon her to confound the laws of our country, and divorced herself from her husband while he was alive, and was married to Herod Antipas"

Herod Antipas
Herodias' second husband was Herod Antipas (born before 20 BC; died after 39 AD) half-brother of Herod II (her first husband). He is best known today for his role in events that led to the executions of John the Baptist and Jesus of Nazareth.

Antipas divorced his first wife Phasaelis, the daughter of King Aretas IV of Nabatea, in favor of Herodias. According to biblical scholars, the Gospel of Matthew and the Gospel of Luke, it was this proposed marriage which John the Baptist publicly criticized. Aside from provoking his conflict with the Baptist, the tetrarch's divorce added a personal grievance to previous disputes with Aretas over territory on the border of Perea and Nabatea. Aretas sent an army to punish Antipas, and was joined in this endeavor by auxiliary troops from the province of Syria. Josephus calls these troops 'fugitives', while Moses of Chorene says they were the army of King Abgarus V of Edessa, under the command of commander Khosran Ardzrouni.

The result of this war proved disastrous for Antipas; a Roman counter-offensive was ordered by Tiberius, but abandoned upon that emperor's death in 37 AD. In 39 AD Antipas was accused by his nephew/brother-in-law Agrippa I of conspiracy against the new Roman emperor Caligula, who sent him into exile in Gaul. Accompanied there by Herodias, he died at an unknown date. It is uncertain if Herodias had any children by her second husband, Herod Antipas.

In the Gospels
In the Gospels of Matthew and Mark, Herodias plays a major role in the execution of John the Baptist, using her daughter's dance before Antipas and his party guests to ask for the head of the Baptist as a reward. According to the Gospel of Mark, Antipas did not want to put John the Baptist to death, for Antipas liked to listen to John the Baptist preach (Mark 6:20). Furthermore, Antipas may have feared that if John the Baptist were to be put to death, his followers would riot. The Gospel of Luke amplifies the role of Herod by omitting these details.

Modern scholarship
Some biblical scholars have questioned whether the Gospels give historically accurate accounts of John the Baptist's execution. Some exegetes believe that Antipas' struggle with John the Baptist as told in the Gospels was some kind of a remembrance of the political and religious fight opposing the Israelite monarchs Ahab and Jezebel to the prophet Elijah.

In medieval Europe
In medieval Europe, Herodias, or just her name, became associated with beliefs about witches, in particular their supernatural leader they would join at night to ride with or visit in a "play" or other gathering. Thus she became synonymous with figures who performed the same function, such as Diana, Holda, and Abundia.

In art and fiction
Together with Salome, Herodias was a frequent subject in depictions of the Power of Women topos in the later Medieval and Renaissance periods. The most common moment shown including Herodias is the Feast of Herod, showing Salome presenting John's severed head on a platter as Herodias dines with her husband and others.

Stories, plays

 * Hérodias, story by Gustave Flaubert, one of the Three Tales (Trois contes), published in 1877.
 * Salomé, play by Oscar Wilde, French (1894), translated into English by Lord Alfred Douglas, 1895.
 * Salome: The Wandering Jewess. My First 2,000 Years of Love, by George Sylvester Viereck, 1930.

Music

 * Hérodiade, opera by Jules Massenet, based on the story by Gustave Flaubert.
 * Salome, opera by Richard Strauss, based on a German translation (by Hedwig Lachmann, grandmother of Mike Nichols) of the play by Oscar Wilde.
 * Salomé, an opera by French composer Antoine Mariotte, set to a French libretto based on Oscar Wilde's play.
 * In Parsifal, the opera by Richard Wagner, the lead female character of Kundry is revealed to be Herodias, in the second act. In the opera she was said to have laughed at Christ when she saw him being crucified and was cursed with immortality. She eventually finds redemption through the actions of Parsifal.
 * "Salome", a song by Irish rock band U2.

Other

 * Hérodiade, ballet by Paul Hindemith.
 * Hérodiade, oil painting by Aimé Morot.

In film

 * In the American film, Salome (1953 film), Herodias was played by Judith Anderson.
 * In the American film The Greatest Story Ever Told, Herodias was played by Marian Seldes.
 * In Ken Russell's Salome's Last Dance, which takes place at a performance of Oscar Wilde's play, the role of Herodias is portrayed by Glenda Jackson.
 * In the Jesus of Nazareth (miniseries), Herodias was played by Valentina Cortese.

title: Herodias


text:
Reticulocyte

In hematology, reticulocytes are immature red blood cells (RBCs). In the process of erythropoiesis (red blood cell formation), reticulocytes develop and mature in the bone marrow and then circulate for about a day in the blood stream before developing into mature red blood cells. Like mature red blood cells, in mammals, reticulocytes do not have a cell nucleus. They are called reticulocytes because of a reticular (mesh-like) network of ribosomal RNA that becomes visible under a microscope with certain stains such as new methylene blue and Romanowsky stain.

Clinical significance
To accurately measure reticulocyte counts, automated counters use a combination of laser excitation, detectors and a fluorescent dye that marks RNA and DNA (such as titan yellow or polymethine).

Reticulocytes appear slightly bluer than other red cells when looked at with the normal Romanowsky stain. Reticulocytes are also relatively large, a characteristic that is described by the mean corpuscular volume. The normal fraction of reticulocytes in the blood depends on the clinical situation but is usually 0.5% to 2.5% in adults and 2% to 6% in infants. A reticulocyte percentage that is higher than "normal" can be a sign of anemia, but this depends on the health of a person's bone marrow. Calculating the reticulocyte production index is an important step in understanding whether or not the reticulocyte count is appropriate to the situation. This is often a more important question than whether the percentage is in the normal range; for instance, if someone is anemic but has a reticulocyte percentage of only 1%, the bone marrow is likely not producing new blood cells at a rate that will correct the anemia.

Immature reticulocyte fraction (IRF)
Reticulocytes at less mature levels can be detected by having higher intensity fluorescence regions. An increased immature reticulocyte fraction (IRF), specifically an IRF more than or equal to 0.23, together with an increased absolute reticulocyte count, generally indicates an adequate erythroid response to anemia. An IRF of more than 0.23 but a subnormal or normal absolute reticulocyte count (with a corresponding reticulocyte production index of less than or equal to 2) is seen in for example acute infection, iron deficiency anemia, human immunodeficiency virus infection, sickle disease with crisis, pregnancy, and myelodysplastic syndrome. An IRF of less than 0.23 is seen in diseases that lead to decreased erythropoietic activity, predominantly chronic renal insufficiency.

Development
The development begins with the expulsion of the normoblast nucleus, and is followed by loss of organelles and remodeling of the plasma membrane, giving rise to an erythrocyte.

Research
Reticulocytes are a valuable tool for biologists who study protein translation. Reticulocytes are unusual among cells in that they contain all of the machinery necessary to translate proteins but lack a nucleus. Since a cell's nucleus contains many components that make studying translation difficult, these cells are quite useful. Scientists can collect reticulocytes from animals such as rabbits and extract the mRNA and translation enzymes to study protein translation in a cell-free, in vitro system, allowing greater control over the environment in which proteins are being synthesized.

title: Reticulocyte


text:
Agares

Agares (also Agarus, Agarat) is a demon described in demonological grimoires.

Description
Agares is described in grimoires such as the Livre des Esperitz (as Agarat), the Pseudomonarchia Daemonum, the Lesser Key of Solomon, and the Dictionnaire Infernal as a duke "under the power of the east," an "old man, riding upon a crocodile, and carrying a hawk on his fist," who teaches languages, stops and retrieves runaway persons, causes earthquakes, and grants noble titles.

Legions and standing
Lemegeton Clavicula Salomonis and the Pseudomonarchia Daemonum both list him as the second spirit, and state that he commands 31 legions of demons, while the Livre des Esperitz (which describes him simply as an old man) gives him 36.

The Book of the Office of Spirits places him (as Agaros) second under Oriens and describes him as an old man riding a cockatrice, without the hawk. The Grimoire of Pope Honorius (which refers to him as Agarus) is more brief, omitting the crocodile and hawk, and omitting his functions beyond languages and titles. The Grand Grimoire features him as a subordinate of Lucifuge Rofocale. According to Thomas Rudd, Agares is opposed by the Shemhamphorasch angel Jelial. Sloane MS 3824 mentions Agares throughout in invocations to summon spirits that guard treasure, and in the "Experiment of Agares," meant to draw him into a crystal.

title: Agares


text:
Halphas

In demonology, Halphas (listed in Skinner & Rankine's edition as Malthas, and in the Crowley/Mathers edition as Halphas, Malthus, or Malphas) is the thirty-eighth demon in the Ars Goetia in the Lesser Key of Solomon (forty-third in Johann Weyer's Pseudomonarchia Daemonum), ranked as an earl.

Most manuscripts describe Halphas as a hoarse-voiced stock dove (though Weyer and Collin de Plancy's Dictionnaire Infernal describe him as a stork), who supplies weapons and ammunition for towers (Weyer and de Plancy have "towns" or "villes" instead), sends men to war, and commands 26 legions of spirits.

According to Skinner & Rankine, Halphas is opposed by the Shemhamphorasch angel Haamiah.

title: Halphas


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Amaymon

In demonology, Amaymon (also Amaimon, or Amoymon) is a prince of Hell, and, according to some grimoires, the only one who has power over Asmodai.

A curious characteristic of this spirit is alleged in almost all copies of the Ars Goetia in English, that during the evocation of Asmodai to visible appearance, the exorcist must stand upright with his cap or headdress removed in a show of respect, because if he does not do so, then Amaymon will deceive him and doom all of his work. According to Joseph H. Peterson, editor of "The Lesser Key of Solomon" (Weiser 2001) this is a "bizarre translation of 'si vero coopertus fuerit'" (Page 21 Footnote 57) by Scot in his "Discoverie of Witchcraft" which contains a translation by Scot of Pseudomonarchia Daemonum by Johannes Weyer. Peterson's edition includes as an appendix, a copy of Weyer's Pseudomonarchia Daemonum in the original Latin where we find (Page 242) "Cum hujus officia exercet exorcista, fit fortis, cautus & in pedibus stans: si vero coopertus fuerit, ut in omnibus detegatur, efficiet: Quod si non fecerit exorcista, ab Amaymone in cunctis decipietur" which translates to "When the exorcist performs his offices, he should be strong, cautious and standing on his feet: if he will be truly overwhelmed he will bring it about that in all things he is unprotected: But if the exorcist does not, by Amaymon he will be deceived in whole."

In the original text by Johannes Weyer, there is nothing about taking off caps or headdresses when evoking Asmodeus. The curious characteristic replicated in every known English text of the Ars Goetia seems to arise from laziness on the part of Scot and generations of scribes replicating the English text without checking the original Latin.

Amaymon is said to have a deadly poisonous breath. The Lesser Key of Solomon states that the exorcist or conjurer must be in possession of a silver ring, that is duly consecrated and worn on the middle finger, as a form of protection against this poisonous astral breath.

According to Pseudomonarchia Daemonum and The Lesser Key of Solomon, Amaymon is the king of the east, while in the Liber Officiorum Spirituum and the 18th century grimoire Clavis Inferni he is stated to be the king of the south.

In The Book of the Sacred Magic of Abramelin the Mage, translated by S.L. MacGregor Mathers, Amaymon (as Amaimon) is still the king of the south and also one of the eight sub-princes, described as an Egyptian devil, who Abramelin restrained from working evil from the third hour until noon and from the ninth hour until evening.

title: Amaymon


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Phantom Power (disambiguation)

Phantom power is a method of sending DC electrical voltage through microphone cables.

Phantom power may also refer to:
 * Standby power, power consumed by any device while it is switched off.
 * Phantom Power (Rick Wakeman album), a 1990 album
 * Phantom Power (The Tragically Hip album), a 1998 album
 * Phantom Power (Super Furry Animals album), a 2003 album

title: Phantom Power (disambiguation)


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Hereditary monarchy

A hereditary monarchy is a form of government and succession of power in which the throne passes from one member of a ruling family to another member of the same family. A series of rulers from the same family would constitute a dynasty. It is historically the most common type of monarchy and remains the dominant form in extant monarchies. It has the advantages of continuity of the concentration of power and wealth and predictability of who one can expect to control the means of governance and patronage. Provided that a monarch is competent, not oppressive, and maintains an appropriate dignity, it might also offer the stabilizing factors of popular affection for and loyalty to a ruling family. The adjudication of what constitutes oppressive, dignified and popular tends to remain in the purview of the monarch. A major disadvantage of hereditary monarchy arises when the heir apparent may be physically or temperamentally unfit to rule. Other disadvantages include the inability of a people to choose their head of state, the ossified distribution of wealth and power across a broad spectrum of society, and the continuation of outmoded religious and social-economic structures mainly for the benefit of monarchs, their families, and supporters.

In most extant hereditary monarchies, the typical order of succession uses some form of primogeniture, but there exist other methods such as seniority and tanistry (in which an heir-apparent is nominated from among qualified candidates). Research shows that hereditary regimes, in particular primogeniture, are more stable than forms of authoritarian rule with alternative succession arrangements.

Succession
Theoretically, when the monarch of a hereditary monarchy dies or abdicates, the crown typically passes to the next generation of the family. If no qualified child exists, the crown may pass to a brother, sister, nephew, niece, cousin, or other relative, in accordance with a predefined order of succession, often enshrined in legislation. Such a process establishes who will be the next monarch beforehand and avoids disputes among members of the royal family. Usurpers may resort to inventing semi-mythical genealogies to bolster their respectability.

Historically, there have been differences in systems of succession, mainly revolving around the question of whether succession is limited to males, or whether females are also eligible (historically, the crown often devolved on the eldest surviving male child, as ability to lead an army in battle was a requisite of kingship). Agnatic succession refers to systems where females are neither allowed to succeed nor to transmit succession rights to their male descendants (as according to the Salic law). An agnate is a kinsman with whom one has a common ancestor by descent in an unbroken male line. Cognatic primogeniture allows both male and female descendants to succeed, but males are usually given preference. In absolute primogeniture, the eldest child can succeed to the throne regardless of sex; this system was adopted in 2011 by the monarchies in the Commonwealth (though not retrospectively affecting the order of succession). Another factor which may be taken into account is the religious affiliation of the candidate or the candidate's spouse, specifically where the monarch also has a religious title or role; for example, the British monarch has the title of supreme governor of the Church of England and may not profess Roman Catholicism.

Elective hereditary monarchy
Elective monarchy can function as de facto hereditary monarchy. A specific type of elective monarchy known as tanistry limits eligibility to members of the ruling house. But hereditary succession can also occur in practice despite any such legal limitations. For example, if the majority of electors belong to the same house, then they may elect only family members. Or a reigning monarch might have sole power to elect a relative. Many late-medieval countries of Europe were officially elective monarchies, but in fact pseudo-elective; most transitioned into officially hereditary systems in the early modern age. Exceptions include the Holy Roman Empire and the Polish–Lithuanian Commonwealth.

title: Hereditary monarchy


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Gussie Fink-Nottle

Augustus "Gussie" Fink-Nottle is a recurring fictional character in the Jeeves novels of comic writer P. G. Wodehouse, being a lifelong friend of Jeeves's master Bertie Wooster and a country member of the Drones Club. He wears horn-rimmed spectacles and studies newts.

Life and character
A small young man, Gussie Fink-Nottle (called "Spink-Bottle" by Bertie Wooster's Aunt Dahlia) is one of Bertie's friends. He is described as fish-faced (which jokingly means that he has a small chin). Usually described as wearing horn-rimmed spectacles, he also wears tortoiseshell-rimmed spectacles. He went to private school with Bertie Wooster, where they were close enough friends that they shared Bertie's last bar of chocolate. He had not been in London for over five years before meeting Madeline Bassett. Generally a teetotaller, he drinks whisky once, and says that it tastes unpleasantly like medicine, burns the throat and leaves one thirsty. His preferred drink is orange juice. Gussie is very shy in his first appearance, though he becomes more confident and assertive over time.

Having first become interested in newts as a child, Gussie became more devoted to studying them through university and afterward, eventually studying newts in a pond at his home in Lincolnshire. Later, he carries newts around in glass tanks. Knowledgeable about newts, he once describes the courtship practices of newts to Bertie Wooster and on another occasion provides a great deal of information on the subject to Madeline Bassett.

It is likely that Gussie is a member of the Drones Club. While Gussie's membership is not stated directly, there are at least three pieces of evidence suggesting he is a member of the Drones: at least five known Drones Club members attend the dinner celebrating Gussie's engagement to Madeline that Bertie gives Gussie at the Drones, Bertie states that Gussie loves cold steak and kidney pie so much that Bertie has known him to order it "even on curry day at the Drones", and it is implied by Wodehouse in a 1937 letter he wrote to The Times that one can find Gussie at the Drones Club. Gussie is described as a Drone in two books about Wodehouse's characters, Who's Who in Wodehouse by Daniel H. Garrison and Wodehouse in Woostershire by Tony Ring and Geoffrey Jaggard.

In Right Ho, Jeeves, Gussie drinks whisky to gather the courage to propose to Madeline Bassett (and also unknowingly drinks orange juice spiked with gin), and while under the influence of the drinks, ends up giving an uninhibited and noteworthy speech at Market Snodsbury Grammar School. In that story, he becomes engaged to Madeline, despite a temporary engagement to Bertie's cousin Angela Travers. His engagement to Madeline is ended and renewed in The Code of the Woosters, in which he also comes into conflict with Roderick Spode.

He is still engaged to Madeline through The Mating Season, though he tried to send her a letter ending their engagement, and he temporarily falls for Catsmeat Potter-Pirbright's sister Corky. Also in The Mating Season, Catsmeat makes Gussie climb into the Trafalgar Square fountain while clothed, and Gussie uses a false name twice. When in court after being arrested for wading in the Trafalgar Square fountain, he uses the alias Alfred Duff Cooper (clearly taken from British politician Alfred Duff Cooper), and he uses Bertie Wooster's name when pretending to be Bertie at Deverill Hall. In Stiff Upper Lip, Jeeves, his engagement with Madeline is ended for good after she tries to make him be a vegetarian, and Gussie elopes with Emerald Stoker.

Appearances
Gussie appears in:

 * Right Ho, Jeeves (1934)
 * The Code of the Woosters (1938)
 * The Mating Season (1949)
 * Stiff Upper Lip, Jeeves (1963)

Gussie is mentioned in:
 * Jeeves in the Offing (1960)
 * Much Obliged, Jeeves (1971)
 * Aunts Aren't Gentlemen (1974)

Market Snodsbury Grammar School speech
The scene in Right Ho, Jeeves in which Gussie, thoroughly inebriated due to Jeeves and later Bertie Wooster lacing his orange juice with gin, as well as his massive drink of whisky, gives a speech at the Market Snodsbury Grammar School is often cited as among the finest vignettes in English literature.

Gussie goes to the boys' school to present prizes to the pupils (for spelling, drawing, etc.), with the boys' relatives and other members of the community in attendance. He is taking the place of Reverend William Plomer, who is out due to illness. After making some snide remarks to the previous speaker (a man with a beard who mistakenly calls Gussie "Fitz-Wattle"), Gussie, standing with his thumbs in the armholes of his waistcoat, begins to deliver his speech:

"'Boys,' said Gussie, 'I mean ladies and gentlemen and boys, I will not detain you long, but I propose on this occasion to feel compelled to say a few auspicious words. Ladies – boys and ladies and gentlemen – we have all listened with interest to the remarks of our friend here who forgot to shave this morning – I don't know his name, but then he didn't know mine – Fitz-Wattle, I mean, absolutely absurd – which squares things up a bit – and we are all sorry that the Reverend What-ever-he-was-called should be dying of adenoids, but after all, here today, gone tomorrow, and all flesh is as grass, and what not, but that wasn't what I wanted to say. What I wanted to say was this – and I say it confidently – without fear of contradiction – I say, in short, I am happy to be here on this auspicious occasion and I take much pleasure in kindly awarding the prizes, consisting of the handsome books you see laid out on that table. As Shakespeare says, there are sermons in books, stones in the running brooks, or, rather, the other way about, and there you have it in a nutshell.'"

Gussie's grammar school speech is referenced in Jeeves in the Offing. Bertie recounts that at the grammar school, Gussie "had got pickled to the gills and made an outstanding exhibition of himself, setting up a mark at which all future orators would shoot in vain".

Adaptations

 * Television
 * In the 1990–1993 series Jeeves and Wooster, Gussie was portrayed by Richard Garnett in series 1 (episodes 4–5) and series 2 (episodes 1–2), and by Richard Braine in series 3 (episodes 4–5) and series 4 (episode 5).
 * Stage
 * In the 1975 musical Jeeves, Gussie was portrayed by Christopher Good.
 * In the 1996 premiere of By Jeeves, a rewrite of the previous musical, he was portrayed by Simon Day.
 * Gussie is one of the characters portrayed in the 2013 play Jeeves and Wooster in Perfect Nonsense, in which Bertie, Jeeves, and the butler Seppings reenact the events of The Code of the Woosters.
 * Film
 * James Kall portrayed Gussie in the 2001 recording of the musical By Jeeves.
 * Radio
 * Gussie was voiced by Rolf Lefebvre in the 1956 BBC BBC Light Programme radio dramatisation of Right Ho, Jeeves.
 * In the 1973–1981 series What Ho! Jeeves, Gussie was voiced by Rex Garner (Right Ho, Jeeves and The Code of the Woosters), David Valla (The Mating Season), and Jonathan Cecil (Stiff Upper Lip, Jeeves).
 * In the 1988 BBC radio adaptation of Right Ho, Jeeves, Gussie was voiced by Trevor Nichols.
 * In the 1997 L.A. Theatre Works radio adaptation of The Code of the Woosters, Gussie was voiced by Thomas M. Shea.
 * In BBC Radio 4's 2006 adaptation of The Code of the Woosters for its Classic Serial series, Gussie was voiced by Jeremy Swift.
 * Gussie was voiced by Matthew Wolf in the 2018 BBC radio adaptation of Stiff Upper Lip, Jeeves.

title: Gussie Fink-Nottle