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Music of Barbados

The music of Barbados includes distinctive national styles of folk and popular music, including elements of Western classical and religious music. The culture of Barbados is a syncretic mix of African and British elements, and the island's music reflects this mix through song types and styles, instrumentation, dances, and aesthetic principles.

Barbadian folk traditions include the Landship movement, which is a satirical, informal organization based on the Royal Navy, tea meetings, tuk bands and numerous traditional songs and dances. In modern Barbados, popular styles include calypso, spouge, contemporary folk and world music. Barbados is, along with Guadeloupe, Martinique, Trinidad, Cuba, Puerto Rico, and the Virgin Islands, one of the few centres for Caribbean jazz.

Characteristics and musical identity
Bajan culture is syncretic, and the island's musical culture is perceived as a mixture of African and British musics, with certain unique elements that may derive from indigenous sources. Tension between African and British culture has long been a major element of Barbadian history, and has included the banning of certain African-derived practices and black Barbadian parodies of British traditions. Simple entertainment is the basis for most Barbadians' participation in music and dance activities, though religious and other functional musics also occur. Barbadian folk culture declined in importance in the 20th century, but then rekindled in the 1970s, when many Barbadians became interested in their national culture and history. This change was heralded by the arrival of spouge, a popular national genre that reflects Barbadian heritage and African origins; spouge helped kindle a resurgence in national pride, and became viewed as Barbados' answer to the popular Caribbean genres reggae and calypso from Jamaica and Trinidad, respectively.

The religious music of the Barbadian Christian churches plays an important role in Barbadian musical identity, especially in urban areas. Many distinctive Barbadian musical and other cultural traditions derive from parodies of Anglican church hymns and British military drills. The British military performed exhibition drills to both provide security for the island's population, as well as intimidate slaves. Modern Barbadian tea meetings, tuk bands, the Landship tradition and many folk songs come from slaves parodying the practices of white authorities. British-Barbadians used music for cultural and intellectual enrichment and to feel a sense of kinship and connection with the British Isles through the maintenance of British musical forms. Plantation houses featured music as entertainment at balls, dances and other gatherings. For Afro-Barbadians, drum, vocal and dance music was an integral part of everyday life, and songs and performance practices were created for normal, everyday events, as well as special celebrations including Whitsuntide, Christmas, Easter, Landship and Crop Over. These songs remain a part of Barbadian culture and form a rich folk repertoire.

Western classical music is the most socially accepted form of musical expression for Barbadians in Bridgetown, including a variety of vocal music, chamber and orchestral music, and piano and violin. Along with hymns, oratorios, cantatas and other religious music, chamber music of the Western tradition remains an important part of Barbadian music through an integral role in the services of the Anglican church.

History
Though inhabited prior to the 16th century, little is known about Barbadian music before the arrival of the Portuguese in 1536 and then the English in 1627. The Portuguese left little influence, but English culture and music helped shape the island's heritage. Irish and Scottish settlers emigrated in the 17th century, working in the tobacco industry, bringing still more new music to the island. The middle of the 17th century saw the decline of the tobacco industry and the rise of sugarcane, as well as the introduction of large numbers of African slaves. Brazilian exiles however, along with sugarcane introduced Samba to the island which featured a mixture of Latin music with African influences which soon developed into Soca-Samba which is indigenous to Barbados. Modern Barbadian music is thus largely a combination of English and African elements, with Irish, Scottish, and modern American and Caribbean (especially Jamaican) influences as well.

By the 19th century, the Barbadian colonialists grew to fear slave revolts, and specifically, the use of music as a tool of communication and planning for revolution. As a result, the government passed laws to restrict musical activities among slaves. At the same time, American and other forms of imported music were brought to Barbados, while many important elements of modern Barbadian music, such as tuk bands, also emerged. In the 20th century, many new styles were imported to Barbados, most influentially including jazz, ska, reggae, calypso and soca. Barbados became home to many performers of these new genres, especially soca and calypso, while the island also produced an indigenous style called spouge, which became an important symbol of Barbadian identity.

Folk music
Barbadian culture and music are mixtures of European and African elements, with minimal influence from the indigenous peoples of the island, about whom little is known. Significant numbers of Asian, specifically Chinese and Japanese, people have moved to Barbados, but their music is unstudied and has had little impact on Barbadian music.

The earliest reference to Afro-Barbadian music may come from a description of a slave rebellion, in which the rebels were inspired to fight by music played on skin drums, conch trumpets and animal horns. Slavery continued, however, and the colonial and slaveowning authorities eventually outlawed musical instruments among slaves. By the end of the 17th century, a distinctly Barbadian folk culture developed, based around influences and instruments from Africa, Britain and other Caribbean islands.

Early Barbadian folk music, despite legal restrictions, was a major part of life among the island's slave population. For the slaves, music was "essential for recreation and dancing and as a part of the life cycle for communication and religious meaning". African musicians also provided the music for the white landowners' private parties, while the slaves developed their own party music, culminating in the crop over festival, which began in 1688. The earliest crop over festivals featured dancing and call-and-response singing accompanied by shak-shak, banjo, bones and bottles containing varying amounts of water.

Folk song
Barbadian traditional folk songs are heavily influenced by the music of England. Many traditional songs concern events current at the time of their composition, such as the emancipation of the slaves of Barbados, and the coronations of Victoria, George V, and Elizabeth II; this song tradition dates back to 1650. The most influential Barbadian folk songs are associated with the island's lower-class labourers, who have held on to their folk heritage.

Some Barbadian songs and stories made their way back to England, most famously "Inckle the English Sailor" and "Yarico the Indian Maid", which became English plays and an opera by George Coleman with music by Samuel Arnold, and first performed in London in 1787.

Contemporary Barbadian folk songs, especially through the pioneering albums of author and singer-songwriter Anthony Kellman, show a bold fusion of indigenous rhythms such as tuk and calypso with African, Latin, jazz, pop, and East Indian influences. Kellman's songs such as "Mountain" (from 2000 album Wings of A Stranger); "King Jaja" and "My Dog, Your Dog" (from 2005 album Limestone); and "If You See My Girl" and "Tuk, Tabla, and Fedounoum" (from 2009 album Blood Mates), exemplify his eclectic style. More than any of his contemporaries, Kellman, through his songs, poems and novels, demonstrates what it means to be Barbadian through a hybrid mix of African and European cultural elements.

Dance
Barbadian folk dances include a wide variety of styles, performed at Landship, holidays and other occasions. Dancers and other performers at the crop over festivals, for example, are popular and an iconic part of Barbadian culture, known for dancing in the costumes of sugarcane-cutters. The Landship movement features song and dance meant to imitate the passage of a Royal Navy ship through rough seas; Landship and other occasions also feature African-derived improvised and complexly-rhythmic dances, and British hornpipes, jigs, maypole dances and Marches.

The "Jean and Johnnie" dance was an important part of Barbadian culture until it was banned in the 19th century. This was a popular fertility dance performed outdoors at plantation fairs and other festivals, and was functional in that it allowed women to show off to men and, more rarely, vice versa. The dance was eventually banned because it was associated with non-Christian African traditions.

Instrumentation
The Barbadian folk tradition is home to a great variety of musical instruments, imported from Africa, Great Britain or other Caribbean islands. The most central instrument group in Barbadian culture is the percussion instruments. These include numerous drums, among them the pump and the tum tum, made from a hollowed-out tree trunk, the side snare drum and a double-headed bass drum of tuk bands. Folk musicians also use gongs made from tree trunks, bones, rook jaw, triangle, cymbals, bottles filled with water, and xylophones. Rattles are also widespread, and include the pan-Antillean shak-shak and the calabash, de shot and rattle. More recently imported folk percussion instruments include the conga and bongo from Puerto Rico, Dominican Republic and Cuba, and the tambourine.

String and wind instruments play an important role in Barbadian folk culture, especially the bow-fiddle, banjo and acoustic guitar; more modern groups also use an electric and bass guitar. The shukster is a distinctive instrument, made by stretching a guitar string between two sides of a house. Traditional Barbadian wind instruments are largely metal, but in their folk origins, were made out of locally found materials. Barbadian villagers burned fingerholes, for example, on bamboo tubes, made trumpets out of conch shells and pipes from pumpkin vines. Many modern groups use harmonica, accordion, alto and tenor saxophone, trumpet and trombone.

Religious music
Though Western classical and other musics play an important role in Anglican church services on Barbados, religion and folk music are closely intertwined in the everyday lives of most Barbadians. The basis for religious folk music is the Anglican hymn, a kind of praise song mostly sung on Sundays, a day when Christian Barbadians come together with family members to sing and praise God to ask for strength for the next week's work.

Pentecostal music has become a part of Barbadian religious and musical traditions since the 1920s. Music plays a role in Pentecostal ceremonies, and is provided by emotional and improvised performances accompanied tambourines. In addition to the Anglican and Pentecostal traditions, Rastafarian music has spread to the island in more recent years, along with African-American musical forms, especially gospel, and the Spiritual Baptist religion, which derives from the Trinidadian Shango cult that spread to Barbados in the 1960s. One of the more Internationally known religious music groups from Barbados are The Silvertones of Barbados.

Holidays, festivals and other celebrations
A number of holidays, festivals and other celebrations play an integral role in Barbadian folk, and popular, music. Whitsuntide, Christmas, and Easter are important, each associated with their own musical traditions, as are distinctly Barbadian festivities like the crop over festival and the Landship movement.

The original crop over festival celebrated the end of the sugarcane harvest. These festivals were held in the great house of the plantations, and included both slaves and plantation managers. Celebrations included drinking competitions, feasting, song and dance, and climbing a greased pole. Musical accompaniment was provided by triangle, fiddle, drums and a guitar, played by slave entertainers. Crop over festivals continue to play a part of Barbadian culture, and always feature music by performers in sugarcane-cutting costumes, even though many modern performers are not themselves sugarcane-cutters.

The Barbadian Landship movement is an informal entertainment organization which mocks, through mimicry and satire, the Royal Navy. Landship began in 1837, founded by an individual known variously as Moses Ward and Moses Wood, in Britton's Hall in Seamen's Village. The structure of the Landship organization mirrors the structure of the Royal Navy, with a "ship" which is connected to a "dock" (a wooden house similar to a chattel house), and leaders known as Lord High Admiral, Captain, Boatswain and other navy ranks. Each unit is named like a typical navy ship and may include actual names of British ships or places. Landship performances symbolize and reflect the passage of ships through rough seas. Parades, jigs, hornpipes, maypole dances and other music and dance types are a part of the Landship Society's celebrations. The Council of the Barbados Landship Association regulates the movement.

Barbadian Christmas music is mostly based on church and concert hall performances, where typical North American Christmas carols are performed, such as "White Christmas" and "Silver Bells", alongside works by English composers including William Byrd, Henry Walford Davies and Thomas Tallis. In more recent years, calypso, reggae and other new elements have become a part of local Christmas traditions. As recently as the 1960s, Barbados was home to a distinctive practice, in which scrubbers travelled from house to house singing hymns and receiving rewards from households.

Tuk bands and tea meetings
Tuk bands are Barbadian musical ensembles, consisting of a bow-fiddle or pennywhistle flute, kittle triangle and a snare and double-headed bass drum. The kittle and bass drum provide the rhythm, while the flute gives the melody. The drums are light-weight so they can be carried easily, and are made by both rural villagers and drummers using cured sheepskin and goatskin. Tuk bands are based on the British military's regimental bands, which played for many years for special occasions, such as visiting royalty and coronations. The tuk sound has evolved over the years, as has the instrumentation, with the bow-fiddle used before being most commonly replaced by the pennywhistle flute. Tuk bands are now most common in Landship events, but are still sometimes independent. On their own, tuk bands are generally accompanied by a range of iconic Barbadian characters, including "shaggy bears", "mother sally", "the steel donkey" and "green monkeys". The upbeat modern sound of tuk ensembles are a distinctly Barbadian blend of African and British musics.

Tea meetings are celebrations held in society lodges or school halls, and feature both solo and group performance, theatrical rhetoric and oratory, and other activities. After declining following World War I, tea meetings have recently been revived and have regained their widespread popularity. They are held at nighttime, beginning at 9:00 pm and continuing until midnight, when there is a two-hour break for food and drink before the tea meeting is resumed.

Popular music

Barbados has produced few internationally popular musicians, with worldwide pop superstar Rihanna being the most famous. It has, however, created a well-developed local scene playing imported styles such as American jazz and calypso, as well as the indigenous spouge style. Calypso was the first popular music in Barbados, and dates back to the 1930s. Barbadian calypso is a comedic song form, accompanied by guitar and banjo. More recent styles of calypso have also kept a local scene alive, and produced a number of famous calypsonians. Spouge is a mixture of calypso and other styles, especially ska, and became very popular in the 1960s, around the same time as the Barbadian jazz scene grew in stature and became home to a number of famous performers. Modern Barbadian popular music is largely based around reggae, ragga and soca, and includes some elements of indigenous styles. Artists like Terencia Coward have used modern popular music with instrumentation borrowed from folk tuk bands. Two of the more popular bands of Barbadian popular music are Krosfyah and Square One [now defunct]. Artists such as Shirley Stewart, the lead singer of the band The Escorts International has gone on to produce hit songs such as the classic "Walk Away From Love", which is one of the most-played songs on the party scene in Barbados and through the world. "Walk Away From Love" remained at number one on the charts for months both in Barbados and throughout the Caribbean. The new wave of singers, largely soca, include Rupee, Lil' Rick and Jabae with lead vocalist Bruce and Barry Chandler, all recent winners at crop over. A more experimental artist such as poet and fiction writer Anthony Kellman writes thoughtful poetic lyrics delivered in a musical style deeply rooted in Barbadian indigenous folk music with strong elements of African and Latin influences. His albums Wings of a Stranger, Limestone, and Blood Mates have been described as groundbreaking due to his highly original style.

Calypso
Prior to the 1930s, Barbadian calypso was called banja, and was performed by labourers in village-tenantry areas. Itinerant minstrels such as Mighty Jerry, Shilling Agard and Slammer were well-known forerunners of modern Barbadian calypso. Their song tradition embraced sentimentality, humour, and opinionated lyrics that continued to the 1960s, often by then accompanied by guitar or banjo.

The mid-20th century brought new forms of music from Trinidad, Brazil, the United States, Cuba and the Dominican Republic to Barbados, and the Barbadian calypso style came to be viewed as lowbrow or inferior. Promoters such as Lord Silvers and Mighty Dragon, however, kept the popular tradition alive through shows at the Globe Theatre, featuring pioneers Mighty Romeo, Sir Don Marshall, Lord Radio and the Bimshire Boys and Mike Wilkinson. These performers set the stage for the development of popular Barbadian calypso in the 1960s.

In the early 1960s, Barbadian calypso grew in popularity and stature, led by Viper, Mighty Gabby and The Merrymen. The first calypso competitions were held in 1960, and they quickly grew larger and more prominent. The Merrymen became the island's most prominent contribution to calypso by the 1970s and into the 1980s. Their style, known as blue beat, incorporated Barbadian folk songs and ballads, as well as American blues, country music, and a distinctive sound created by harmonica, guitar and banjo.

By the beginning of the 1980s, kaiso, a form of stage-presented calypso pioneered in Trinidad, was widespread at crop over and other celebrations. The foundation of the National Cultural Foundation in 1984 helped to promote and administer calypso festivals, which attracted tourists, stimulating the calypso industry. As a result, calypso has become a very visible and iconic part of Barbadian culture, and some calypsonians have become internationally renowned, including Mighty Gabby and Red Plastic Bag.

Spouge
Spouge is a style of Barbadian popular music created by Jackie Opel in the 1960s. It is primarily a fusion of Jamaican ska with Trinidadian calypso, but is also influenced by a wide variety of musics from the British Isles and United States, include sea shanties, hymns and spirituals. Spouge instrumentation originally consisted of cowbell, bass guitar, trap set and various other electronic and percussion instruments, later augmented by saxophone, trombone and trumpets. Of these, the cowbell and the guitar are widely seen as the most integral part of the instrumentation, and are said to reflect the African origin of much of Barbadian music.

Two different kinds of spouge were popular in the 1960s, raw spouge (Draytons Two style) and dragon spouge (Cassius Clay style). The spouge industry grew immensely by the end of the 1970s, and produced popular stars including The Escorts International, Blue Rhythm Combo, the Draytons Two and The Troubadours. Recent years has seen a resurgence of interest in spouge among some quarters, with Desmond Weekes of the Draytons Two being among people indicating that spouge should be encouraged because it is a national form that can reach international audiences and inspire the nation's pride in their cultural heritage.

In 2024 "Pure Spouge Gospel" EP album was released which features five original songs written and performed by Lana Spooner-Jack in the Barbadian-owned genre Spouge. The music for the album was composed by mixing and mastering engineer Jeffrey Y. Grosvenor at his studio "Edge Cliff", in Gatineau, Quebec who added his own creativity by infusing African rhythms and Latin patterns. Each track on the album carries its own unique blend. The track "Come and Buy (Isaiah 55)" has a Meringue pattern that was altered to fit the Spouge rhythm; "In the Same Boat" has a Senagalese mbalax pattern. The congas are playing a Guaguancó pattern in "Drop by Drop"; and in the "Christmas I Believe In" track, the Spouge and the Cuban Bomba rhythms are played alternatively on the drum set. Very interesting combination! Of note, the song "Singing Over Me" is most likely the first Spouge song to be ever composed in the 3/4 time signature.

Jazz
Jazz is a genre of music from the United States that reached Barbados by the end of the 1920s. The first major performer from the island was Lionel Gittens, who was followed by Percy Green, Maggie Goodridge and Clevie Gittens. These bandleaders played a variety of music, including swing, a kind of pop-jazz, Barbadian calypso and waltzes. With little recorded music on the island, radio broadcasts such as Willis Conover's Voice of America had a major influence. In 1937, riots over poverty and disenfranchisement occurred, and people such as Clement Payne had risen to fame advocating reform. In that year, Payne was deported and riots broke out in Bridgetown, spreading throughout the island. The following year, the Barbados Labour Party was formed by C. A. Braithwaite and Grantley Adams.

As political awareness among the black majority on the island spread, so did bebop, a kind of jazz which was associated, in the United States, with social activism and Afrocentrism. The first Barbadian bebop musician from the island was Keith Campbell, a pianist who had learned to play many styles while living in Trinidad during a time when American soldiers were stationed there, providing a ready market for bands that could play American music. Other musicians of this period included Ernie Small, a trumpeter and pianist, and bandleader St. Clare Jackman.

In the 1950s, R&B and rock and roll became popular on the island, and many jazz bands found themselves pushed aside. A wave of Guyanese musicians also appeared on the island, including Colin Dyall, a saxophonist who later joined the Police Band, and the Ebe Gilkes Quartet. Though mainstream audiences were still listening to R&B and rock, modern jazz retained a small core of followers into the 1960s. The foundation of the Belair Jazz Club in Bridgetown in 1961 helped to keep this scene alive. With independence in 1966 came a focus on black Barbadian culture, and music like calypso, reggae and spouge, rather than the preoccupation with British standards of musical development. Calypso jazz arose during this period, pioneered by groups like the Schofield Pilgrim. The genre had developed by 1965, when original works such as "Jouvert Morning" and "Calypso Lament" were composed. Artists including the pianist Adrian Clarke became popular during the '60s as well.

In the early 1970s, jazz fan and critic Carl Moore launched a project to keep jazz alive on the island, while Zanda Alexander's performance in Bridgetown in 1972 is said to be the first Caribbean jazz festival. Oscar Peterson's 1976 performance in Trinidad also inspired Barbadian musicians, as did the radio programme Jazz Jam, which was broadcast starting in the mid-'70s on the Caribbean Broadcast Corporation. In 1983, however, the Belair Jazz Club closed, and was not replaced by any long-term clubs. Later in the 1980s, jazz declined greatly in popularity, though The National Cultural foundation organized the International Barbados/Caribbean Jazz Festival, which after a brief hiatus due to lack of sponsorship was resurrected by Gilbert Rowe of GMR international tours. Other performances were organized by a group called the Friends of Jazz. More jazz calypso fusion musicians appeared on the scene during this period, including Arturo Tappin, Nicholas Brancker, Andre Woodvine and Raf Robertson.

Rock
Rock music is alive and well in Barbados, there have been several bands through the years that perform alternative, rock and even metal music. Most recently the Alt/Rock/Metal band Standing Penance formed in 2009. The band continues to operate in present-day and is the only act of this genre to be signed to an American record label.

Education and musicology
Academic study of Barbadian music remains limited. Some song collections and other activities have been conducted, but there remain significant holes in scholarship, such as the musics of recent immigrants from China and India, who presumably have brought with them styles of Indian and Chinese musics. Due to a lack of archaeological and historical records, the island's indigenous music is unknown. Since the 1970s, an increase in general interest in Barbadian culture has spurred greater study of music, and given an incentive to radio and television stations to create and maintain archives of cultural practices.

On modern Barbados, oral transmission remains the primary mode of music education, and there are few opportunities for most people to become formally educated in music of any kind. The elders of the island, who are the most educated in oral traditions, are held in high esteem due to their knowledge of folk culture. Modern Barbados is home to several institutions of musical education. There are dedicated schools for ballet: Dance Place and the Liz Mahon Dancers. A number of schools sponsor orchestras, steelbands and tuk bands, including the St. Lucy Secondary School Steel Orchestra. Music is a part of the curriculum for early childhood as well as primary and secondary education. The Barbados Community College has an associate degree programme in music. However, the University of the West Indies, though it has a campus on Barbados, does not offer degree programmes in music. As a matter of fact, only recently has the university started offering students the opportunity to pursue a minor in music.

Music institutions and festivals
The main music festival in Barbados is Crop Over, which is celebrated with song, dance, calypso tent competitions and parades, especially leading up to the first Monday in August, Kadooment Day. The crop over festival celebrates the end of the sugarcane harvest, and is inaugurated by the ritual delivery of the last of the harvest on a cart pulled by mules. The champion sugarcane workers are crowned King and Queen for the event. In addition to crop over, music plays an important role in many other Barbadian holidays and festivals. The Easter Oistins Fish Festival, for example features a street party with music to celebrate the signing of the Charter of Barbados and the fishing industry of the island, and the Holetown Festival, which commemorates the arrival of the first settlers in 1627.

The annual December Classical/Pops Festival comprises an all-star orchestra accompanied by pop and rock stars, Broadway performers, opera singers, and film composers as featured guests. Opera, cabaret and sports are a major part of the Easter Holders Season. On 30 November, the Barbadian Independence Day, military bands in parades play marches, calypsos and other popular songs. This is preceded for several weeks by the National Independence Festival of Creative Arts. The National Independence Festival of Creative Arts and Crop Over are two of the festivals sponsored by the National Cultural Foundation (NCF); the other is Congaline, a recently organized street party that begins in April and ends on May Day. NCF also assists with the Holers Opera Season, Oistins Fish Festival, Holetown Festival and the Barbados Jazz Festival.

Other major musical institutions in Barbados include the Barbados Chamber Orchestra and the Cavite Choral. There are also dance and ballet groups known as Dance National Afrique, Barbados Dance Theatre Company, Dance Strides, The Dance Place and Dancing Africa. The island's music industry is home to several recording studios, the largest being Blue Wave, a 48-track system, and Paradise Alley, a 24-track system. Others include Chambers' Studio, Gray Lizard Productions and Ocean Lab Studios.

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Music of Anguilla

The music of Anguilla is part of the Lesser Antillean music area. The earliest people on the island were the Caribs and Arawaks, who arrived from South America. English settlers from St Kitts and Irish people colonized the island later. Unlike regional neighbors, however, the plantation system of agriculture which relied on chattel slavery never took root in Anguilla, causing a distinctly independent cultural makeup. The most recent influences on Anguilla's musical life come from elsewhere in the Caribbean, especially the music of Trinidad and Tobago and Jamaica, as well as abroad, especially the music of the United States and the United Kingdom. Anguilla's Rastafarian heritage has played a role in the island's music and culture and produced influential figures like activist Ijahnya Christian and Robert Athlyi Rogers, the author of The Holy Piby.

The island has produced a number of reggae, calypso, soca and country musicians. Of these, the latter is especially characteristic, as the genre of the country is not a part of the popular music in the Caribbean. Anguilla's Island Harbour, an Irish-settled village on the east side of the island, is a major center for local country music. Soca is a recent musical influence and is often accompanied by frenzied, sexualized dancing called wukin up.

Notable musicians from Anguilla include Bankie Banx, who has released over ten albums and played with musicians such as Bob Dylan, Jimmy Cliff and Jimmy Buffett. He also opened a music bar called the Dune Preserve, built in order to save the Rendezvous Bay dune; the Dune Preserve is home to the Moonsplash Annual Music Festival. Other notable musicians include the soca group Xtreme Band, who gained regional fame following their success in the 2001 Carnival.

Music institutions in Anguilla include the Soroptimist Club and the annual Tranquility Jazz Festival, though the island's most famous music celebration is Carnival, held near the beginning of August (the first Friday after the first Monday); it includes calypso competitions, j'ouvert, street dances, boat races, costumed parades and stilt walking, and beachside barbecues. Anguillans also celebrate the anniversary of emancipation in August and British holidays such as the King's birthday. For the first time in 2005, Anguilla was home to a country music festival, which was promoted by American country star Billy Ray Cyrus. Other popular musicians from Anguilla include Evan Webster, who is the most famous recent performer to emerge from the island's country music heritage.

In 2015, the island’s musical community was selected by music mogul and producer Kedar Massenburg to record a compilation collection titled Sounds of Anguilla (Volume 1). The production marked the first album ever to feature artists from a single Caribbean island representing a multitude of genres: pop, reggae, hip-hop, soca, and R&B. Executive producers included Massenburg, former Parliamentary Secretary Responsible for Tourism Haydn Hughes, and Marvet Britto, President and CEO of the Britto Agency, who conceived the idea for the project. The album was released on June 30 on iTunes and included the following roster of musicians: Natalie, Amalia Watty, Raskim, Darius James from True Intentions, Jaine Rogers, Gershwin Lake and Parables, Bankie Banx, Raoul “Nyne” Vanterpool, Catriona Lake, Exodus HD, Pantha Vibes International, British Dependency, Deanna Mussington, Roxanne “Roxxy” Webster, Shara, and Keria Hughes. Proceeds from the sale of the compilation benefit the island's burgeoning musical community and support its efforts to record, tour, and present the island’s music to the world.

Anguilla also has a vibrant live entertainment scene that captures most, if not all, of the genres described above at venues that include restaurants, hotels, and beach bars.

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

title: Music of Anguilla


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Dubna

Dubna (Дубна́) is a town in Moscow Oblast, Russia. It has a status of naukograd (i.e. town of science), being home to the Joint Institute for Nuclear Research, an international nuclear physics research center and one of the largest scientific foundations in the country. It is also home to MKB Raduga, a defense aerospace company specializing in design and production of missile systems, as well as to the Russia's largest satellite communications center owned by Russian Satellite Communications Company. The modern town was developed in the middle of the 20th century and town status was granted to it in 1956. Population:

Geography
The town is 120 m above sea level, situated approximately 125 km north of Moscow, on the Volga River, just downstream from the Ivankovo Reservoir. The reservoir is formed by a hydroelectric dam across the Volga situated within the town borders. The town lies on both banks of the Volga. The western boundary of the town is defined by the Moscow Canal joining the Volga, while the eastern boundary is defined by the Dubna River joining the Volga.

Dubna is the northernmost town of Moscow Oblast.

Pre-World War II
Fortress Dubna (Дубна) belonging to Rostov-Suzdal Principality was built in the area in 1132 by the order of Yuri Dolgoruki and existed until 1216. The fortress was destroyed during the feudal war between the sons of Vsevolod the Big Nest. The village of Gorodishche (Городище) was located on the right bank of the Volga River and was a part of the Kashin Principality. Dubna customs post (Дубненское мыто) was located in the area and was a part of the Principality of Tver.

Before the October Revolution, few villages were in the area: Podberezye was on the left bank of the Volga, and Gorodishche, Alexandrovka, Ivankovo, Yurkino, and Kozlaki (Козлаки) were on the right bank.

Right after the Revolution one of the first collective farms was organized in Dubna area.

In 1931, the Orgburo of the Communist Party made a decision to build the Volga-Moscow Canal. Genrikh Yagoda, then the leader of the State Political Directorate, was put in charge of construction. The Canal was completed in 1937. Ivankovo Reservoir and Ivankovo hydroelectrical plant were also created as a part of the project. Many villages and the town Korcheva were submerged under water. Dubna is mentioned in Aleksandr Solzhenitsyn's book The Gulag Archipelago as the town built by Gulag prisoners.

Science
The decision to build a proton accelerator for nuclear research was taken by the Soviet government in 1946. An impractical place where the current town is situated was chosen due to remoteness from Moscow and the presence of the Ivankovo power plant nearby. The scientific leader was Igor Kurchatov. The general supervisor of the project including construction of a settlement, a road and a railway connecting it to Moscow (largely involving penal labour of Gulag inmates) was the NKVD chief Lavrentiy Beria. After three years of intensive work, the accelerator was commissioned on 13 December 1949.

The town of Dubna was officially inaugurated in 1956, together with the Joint Institute for Nuclear Research (JINR), which has developed into a large international research laboratory involved mainly in particle physics, heavy ion physics, synthesis of transuranium elements, and radiobiology. In 1960, a town of Ivankovo situated on the opposite (left) bank of the Volga was merged into Dubna. In 1964, Dubna hosted the prestigious International Conference on High Energy Physics.

Currently, a construction of the NICA particle collider, a megascience project is underway in Dubna.

Outstanding physicists of the 20th century including Nikolay Bogolyubov, Georgy Flyorov, Vladimir Veksler, and Bruno Pontecorvo used to work at the institute. A number of elementary particles and nuclei of transuranium elements (most recently, element 117) have been discovered and investigated there, leading to the honorary naming of chemical element 105 dubnium (Db) for the town.

Administrative and municipal status
Within the framework of administrative divisions, it is incorporated as Dubna Town Under Oblast Jurisdiction—an administrative unit with the status equal to that of the districts. As a municipal division, Dubna Town Under Oblast Jurisdiction is incorporated as Dubna Urban Okrug.

Economics
Before the dissolution of the Soviet Union, JINR and MKB Raduga were the main employers in the town. Since then their role has decreased significantly. Several small industrial enterprises have emerged, however the town still experiences some employment difficulties. Proximity to Moscow allows many to commute and work there. Plans by AFK Sistema and other investors including government structures have been announced to build a Russian analogue of Silicon Valley in Dubna. As of the beginning of 2007, nothing has commenced.

Transport
Dubna is the starting point of the Moscow Canal. In addition to the canal, Dubna is connected to Moscow with the А104 highway, and the Savyolovsky suburban railway line provides access to Moscow. Public transport connections to Moscow include express trains, suburban trains, and bus shuttles departing from the Savyolovsky Rail Terminal.

Culture
Among the city's cultural facilities are: the Mir House of Culture, the Oktyabr Palace of Culture, a movie theater, 21 libraries, 4 music schools and a school of arts. In 1990, the Dubna Symphony Orchestra was established.

Museums

 * Museum of Archeology and Local History of Dubna
 * JINR Museum of the History of Science and Technology
 * Museum of Natural History at Dubna International University
 * Museum of Locks
 * Museum of Sports
 * Svetoch Culturohistorical Center

Cinema
A variety of movies and miniseries were filmed in the city, such as:
 * Volga-Volga (1938)
 * Ballad of Siberia (1948)
 * Nine Days in One Year (1962)
 * All Remains to People (1963)
 * Vasili and Vasilisa (1981)
 * Katya Ismailova (1994)
 * Law of the Lawless (2002)

Sports
Dubna is located on the Moscow Canal and the Ivankovo Reservoir, making it a good destination for water sports such as windsurfing, kitesurfing, and water skiing.. In 2004, for the first time, a stage of the Water Ski World Cup took place in the city. In 2011, Dubna hosted the World Waterskiing Championships. Dubna's sports facilities include two stadiums, a waterskiing stadium on the Volga River, four swimming pools, tennis courts, and five sports complexes.

Trivia
One of the world's tallest statues of Vladimir Lenin, 25 m high, built in 1937, is located at Dubna at the confluence of the Volga River and the Moscow Canal. The accompanying statue of Joseph Stalin of similar size was demolished in 1961 during the period of de-stalinization.

Twin towns and sister cities
Dubna is twinned with:
 * 🇮🇱 Giv'at Shmuel, Israel
 * 🇺🇸 La Crosse, Wisconsin, United States
 * 🇺🇦 Alushta, Ukraine
 * 🇰🇿 Kurchatov, Kazakhstan
 * 🇨🇳 Lincang, China
 * 🇸🇰 Nová Dubnica, Slovakia

title: Dubna


text:
Jet Set Willy

Jet Set Willy is a platform video game written by Matthew Smith for the ZX Spectrum home computer. It was published in 1984 by Software Projects and ported to most home computers of the time.

The game is a sequel to Manic Miner published in 1983, and the second game in the Miner Willy series. It spent over three months at the top of the charts and was the UK's best-selling home video game of 1984.

The player controls Miner Willy as he tidies up his mansion after a massive party to get some sleep. Players navigate Willy through 60 screens of the mansion and grounds, collecting glowing items while avoiding hazards and guardians.

The game features classical music from Beethoven, Grieg, Bach, and Mozart. Initially the game could not be completed due to various bugs, but fixes for these were released by Software Projects. Jet Set Willy included a copy protection measure in the form of a card with coloured codes, making it more difficult to duplicate. Various expanded versions and ports were released, as well as third-party editing tools that allowed players to design their own rooms and sprites.

Plot
A tired Miner Willy has to tidy up all the items left around his house after a huge party. With this done, his housekeeper Maria will let him go to bed. Willy's mansion was bought with the wealth obtained from his adventures in Manic Miner, but much of it remains unexplored and it appears to be full of strange creatures, possibly a result of the previous (missing) owner's experiments. Willy must explore the enormous mansion and its grounds (including a beach and a yacht) to fully tidy up the house so he can get some much-needed sleep.

Gameplay

Jet Set Willy is a flip-screen platform game in which the player moves the protagonist, Willy, from room to room in his mansion collecting objects. Unlike the screen-by-screen style of its predecessor, the player can explore the mansion at will. Willy is controlled using only left, right and jump. He can climb stairs by walking into them (jumping through them to avoid them) and climb swinging ropes by pushing left or right depending on what direction the rope is swinging. The play area itself consists of 60 playable screens making up the mansion and its grounds and contains hazards (static killer objects), guardians (killer monsters which move along predetermined paths), various platforms and collectable objects. The collectable items glow to distinguish them from other objects in the room.

Willy loses a life if he touches a hazard, guardian or falls too far. He is returned to the point at which he entered the room, which may lead to a game-ending situation where Willy repeatedly falls from a height or unavoidably collides with a guardian, losing all lives in succession.

One of the more bizarrely named rooms in the game is We Must Perform a Quirkafleeg. On some versions it is misspelled We Must a Quirkafleeg. The pre-release name for the screen was The Gaping Pit. This is a reference to the comic strip Fat Freddy's Cat, a spin-off from the Fabulous Furry Freak Brothers; in the original comic, the quirkafleeg was an obscure ritual in a foreign country, required to be performed upon the sight of dead furry animals.

Music
Music on the Spectrum version is Beethoven's Moonlight Sonata for the menu, and Grieg's "In the Hall of the Mountain King" during the game itself. Early versions played "If I Were a Rich Man" as the in-game music, but this had to be removed when the publishers of the song demanded £36,000 for its use.

Music on the C64 version was Beethoven's Moonlight Sonata during the title screen, and J.S. Bach - Inventions # 1 during gameplay. Some rooms also play Mozart's Rondo alla Turca.

Music for the Atari 8-bit series was composed by Rob Hubbard.

Bugs
Upon release, the game could not be completed due to several bugs. Although four completely unrelated issues, they became known collectively as "The Attic Bug". After entering The Attic screen, various rooms would undergo corruption for all subsequent playthroughs, including all monsters disappearing from The Chapel screen, and other screens triggering a game over. This was caused by an error in the path of an arrow in The Attic, resulting in the sprite traveling past the end of the Spectrum's video memory and overwriting crucial game data instead. Initially Software Projects attempted to pass this bug off as an intentional feature to make the game more difficult, claiming that the rooms in question were filled with poison gas, but they later rescinded this claim and issued a set of POKEs to correct the flaws.

Despite these bugs, Ross Holman and Cameron Else won the competition that Software Projects had set for completion of Jet Set Willy and provided Software Projects with a set of bug fixes. Software Projects then hired Cameron Else to port both Manic Miner and Jet Set Willy to the MSX.

Reception
Reviewing Jet Set Willy for Your Spectrum magazine in June 1984, Sue Denham wrote that the game was "every bit as good and refreshing as the original".

In the final issue of Your Sinclair, the ZX Spectrum version was ranked number 32 on "The Your Sinclair Official Top 100 Games of All Time", and voted number 33 on "The Your Sinclair Readers' Top 100 Games of All Time". In 2004, the ZX Spectrum version was voted the 6th best game all of time by Retro Gamer readers in an article originally intended for a special issue of Your Sinclair bundled with Retro Gamer.

Copy protection
Jet Set Willy came with a form of copy protection: a card with 180 coloured codes on it was bundled with the cassette. Upon loading, one of the codes from the card had to be entered before the game would start. Although the cassette could be duplicated, a copy of the card was also needed and at the time, home colour reproduction was difficult, making Jet Set Willy harder to copy than most Spectrum games, but means of circumventing the card were quickly found, and one method was published in a UK computer magazine.

Ports
A version of Jet Set Willy for the Commodore 64 was released by Software Projects and ported by Shahid Kamal Ahmad.

The original releases of Jet Set Willy for the BBC Micro and the Commodore 64 also contained bugs which made it impossible to complete the game. In the Commodore 64 version, it was impossible to reach all of the items in the Wine Cellar.

There are two versions of the original Jet Set Willy for the MSX. The Software Projects version that was sold in the UK is dated 1984 and was programmed by Cameron Else, co-winner of the Jet Set Willy competition. The other version was published by Hudson Soft in 1985 as a Bee Card in Japan.

A port of Jet Set Willy for the Atari 8-bit computers was released by Tynesoft in 1986. It received generally poor reviews which criticised inferior graphics and animation, but Rob Hubbard's theme music, unique to this version, was considered a highlight. Like the Spectrum version, it was impossible to complete but for different reasons. Some of the legitimate items that were needed caused the player to lose a life (e.g. the bottles in the Off Licence).

Ports from Software Projects for the Amiga and Atari ST were cancelled before release, but have since been made available on the internet.

Expanded versions
Jet Set Willy: The Final Frontier, an expanded version for the Amstrad CPC, was later converted back to the ZX Spectrum and released as Jet Set Willy II. Both the original game and Jet Set Willy II were released for the BBC Micro, Acorn Electron, MSX, Commodore 16 and Commodore 64.

A differently expanded version of Jet Set Willy was released for the Dragon 32/64, with extra rooms. This version could also not be completed as it was impossible to traverse The Drive in a right-to-left direction, which was necessary to return to bed after collecting all the items. The game could, however, be completed using a built-in cheat, accessed by holding down the keys M, A and X simultaneously, allowing the player to start Willy from any position on any screen, using the arrow keys and spacebar.

The Dragon port was itself converted to run on the Acorn Archimedes computers. Better collision detection meant that "The Drive" could now be completed right-to-left, unlike on the Dragon.

Third-party modifications
In its original Spectrum version, the rooms themselves are stored in a straightforward format, with no compression, making it relatively easy to create customised versions of the game.

The review of JSW in issue 4 of Your Spectrum included a section entitled "JSW — A Hacker's Guide"; remarks in this section imply that the author had successfully deduced at least some of the data structures, since he was able to remove sections of wall in the Master Bedroom. The following year, issue 13 contained a program that added an extra room ("April Showers") to the game, and issue 15 described the data formats in detail.

Several third-party editing tools were published between 1984 and 1986, allowing players to design their own rooms and sprites.

title: Jet Set Willy


text:
Talk:Book of Abraham

translation
Could this article be translated into spanish please? — Preceding unsigned comment added by 190.235.150.43 (talk • contribs) 00:16, 5 March 2014

title: Talk:Book of Abraham


text:
User:NaKyle

I have Xenophobia

title: User:NaKyle


text:
Talk:William I, German Emperor

Add-on to: Proposed move to William I, German Emperor
(section added, since previous section is closed and should be left undisturbed LMSchmitt 12:53, 26 September 2020 (UTC))

I propose that the name remain 'Wilhelm,' rather than William. The idea that the article be called 'William I' is absurd. During his own lifetime, he was styled and referred to as 'Wilhelm'; this was his personal and dynastic name, not 'William.' We don't refer to Ivan IV of Russia/ the Terrible/Vasilyevich as 'John IV of Russia' or 'John IV Son of Basil.' Doesn't anyone else see the absurdity of this proposed move? The history books may call him 'William,' but that doesn't make them right. —Preceding unsigned comment added by MDunn1937 (talk • contribs) 04:01, 15 July 2010 (UTC)
 * Nor are they wrong; but as the authoritative sources, they're what Wikipedia follows.--Kotniski (talk) 07:51, 15 July 2010 (UTC)
 * No, you see, they are wrong. They may be authoritative, but they are not infallible. Simply because the English version of his name was 'William' does not mean that a German leader should be referred to as such. He was named Wilhelm, not William. It's actually a prime example of cultural arrogance to claim the right to call persons of other nationalities by the translated versions of their names. Is Juan Carlos I normally referred to as 'John Charles I' in the news? Unless I'm wrong, he's not. Therefore, the argument that authoritative works refer to this person as 'William' fails, it being common practice in the past to translate names to the respective language of the translator. Consequently, the implication is that books written during the 19th/20th centuries, when this practice was commonplace, are justified because Wilhelm lived in the 1800s. I'm surprised that no one else appears to recognise how ridiculous, and even mildly offensive, this is. Referring to foreign persons of note by their birth-names may be a relatively new practise that some might see as an exercise in political correctness, however, in this instance, I believe that this is just that, correct. —Preceding unsigned comment added by 75.181.28.87 (talk) 13:56, 16 July 2010 (UTC)
 * Many (most?) people from history - even other English people, if you go far enough back - have their names spelt and spoken differently from the way they themselves spelt or spoke them. It's just the way the English language does things (and other languages do the same thing). One day perhaps people will come around to doing it the way you think of as "correct" - when they do, Wikipedia will naturally follow.--Kotniski (talk) 14:43, 16 July 2010 (UTC)
 * To anonymous IP 75.181.28.87 who wrote: " I'm surprised that no one else appears to recognise how ridiculous, and even mildly offensive, this is." Please read the discussion.  Some strongly opposed the move from "Wilhelm" to "William".
 * --Frania W. (talk) 14:57, 16 July 2010 (UTC).
 * To understand why English usage was as it was (modern usage differs), you need to notice that the current British monarchy were originally German and that an earlier monarch was Dutch. Names were translated in deference to public sentiment.  Several other empires have routinely translated the name of the ruler into local forms, at least as far back as Xerxes.  AJRG (talk) 16:35, 16 July 2010 (UTC)
 * No one would balk at Guillaume I, empereur allemand in French or Isabel II de Reino Unido in Spanish... English, however, must always bend to non-English forms? Seven Letters 16:49, 16 July 2010 (UTC)

 * Protesting that "I just don't like it" is not an argument. Translating foreign names, especially of royals, is not "cultural arrogance" - everyone does it. A German colleague tried to suggest the English were arrogant for going around the world renaming places into English (Munich, Rhine, Black Forest, etc) until I pointed out that Germans did exactly the same (Schottland, Kapstadt, Großbrittanien) as did the French (Angleterre, Allemagne, Londres), whereupon he ate some humble pie. --Bermicourt (talk) 20:04, 16 July 2010 (UTC)
 * Not to mention "Elisabeth II".91.34.203.197 (talk) 13:13, 15 April 2012 (UTC)
 * The fact that "everyone does it" does not mean that it's not cultural arrogance. Now we're saddled with the absurd situation that one Emperor Wilhelm is called "William" here, while a grandson that was named after him is referred to as "Wilhelm", and various institutions and buildings named after the same "William" have Wilhelm in their name (see the society, the church, and the bridge, to name three). Consistency, please. --Ilja.nieuwland (talk) 20:34, 26 February 2019 (UTC)
 * This WP article keeps the proper German name: https://en.wikipedia.org/wiki/Wilhelm_II,_German_Emperor. Google translates Wilhelm (GER) to Wilhelm (ENG). LMSchmitt 12:53, 26 September 2020 (UTC)

I don't really understand why this topic is brought up again and again. And I really don't understand why William II was renamed. Just look at the German Wikipedia. The names of British monarchs there are given in their German form. Conversely, it's only logical that the English Wikipedia uses the English names. Zwerg Nase (talk) 16:01, 26 September 2020 (UTC)
 * In my opinion, it's inconsistent and, thus, not so good. The split William I--Wilhelm II is explained in that Wikipedia use is mostly William I and Wilhelm II (a consequence of WW1 where English use wanted to stress "German Enemy"). In my opinion, one should leave people their proper name, even monarchs. Google does. Germans can read Charles I and don't need Karl I. Except when it's a German. Peace.! LMSchmitt 17:53, 26 September 2020 (UTC)

Why can't people figure out if his name was "Wilhelm" or "William" ?
His name was "Wilhelm". Why is Wilhelm the First called "William I" and Wilhelm the Second called "Wilhelm II"? Inconsistent in choosing what to change the name of historical characters to... — Preceding unsigned comment added by 108.183.84.89 (talk) 17:13, 8 July 2013

During the Victorian Era, Prussia was (sort of) allied with the UK, through the Crown Prince's marriage to the Princess Royal - but after Wilhelm II's reign and WW1, "William" was changed back to "Wilhelm", to alienise and Germanize the Prussians. Franz Josef was previously known as "Francis Joseph". — Preceding unsigned comment added by 121.99.126.230 (talk) 06:12, 25 March 2020 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Franz Joseph I of Austria which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 14:30, 7 June 2020 (UTC)

Why was the photo changed?
There doesn't appear to be any significant differences between the current and previous portrait used in the infobox, aside from one taken as German Emperor and the other as only King of Prussia. Anyone else prefer reverting to the last image? Yourlocallordandsavior (talk) 19:56, 20 May 2021 (UTC)

Numbering
Can it be proven that immediately when Wilhelm I ascended the Prussian (not German Empire) throne in 1861 he was referred to as Wilhelm I and not Friedrich Wilhelm V or Wilhelm V ? — Preceding unsigned comment added by 85.249.44.172 (talk) 08:44, 12 December 2022 (UTC)

Brazil's Southern Cross award
Under his titles, it says he was awarded the Brazil's Southern Cross Medal (Medalha do Cruzeiro Sul). I tried to find a source that explained what he did and how he received such a medal, but couldn't find one. On the award's page, it says one was given to his grandson, Wilhelm II, on 1878, not Wilhelm I. There is no mention of Wilhelm I on there. Was this a mistake? Did both Wilhelms receive the Southern Cross? Did his grandson receive one, and this title got added here by confusion? I'm willing to translate sources in portuguese, if anyone can find them.

Also, another discrepancy: on Wilhelm's II page, it says he was awarded one in 1878, and in the Order of The Southern Cross page, it says it was given on July of 1877. 2804:18:683F:E419:1:0:B5B5:7EDB (talk) 03:03, 3 March 2023 (UTC)

art
he is the o;der one 20012 204.101.49.85 (talk) 18:41, 19 June 2023 (UTC)

title: Talk:William I, German Emperor


text:
Marvin Hamlisch

Marvin Frederick Hamlisch (June 2, 1944 – August 6, 2012) was an American composer and conductor. He is one of a handful of people to win Emmy, Grammy, Oscar and Tony awards, a feat dubbed the "EGOT". He and composer Richard Rodgers are the only people to have won those prizes and a Pulitzer Prize ("PEGOT").

Early life
Hamlisch was born in Manhattan, to Viennese-born Jewish parents Lilly (née Schachter) and Max Hamlisch. His father was an accordionist and bandleader. Hamlisch was a child prodigy; by age five, he began mimicking the piano music he heard on the radio. A few months before he turned seven, in 1951, he was accepted into what is now the Juilliard School Pre-College Division. His favorite musicals growing up were My Fair Lady, Gypsy, West Side Story, and Bye Bye Birdie.

Career
Hamlisch attended Queens College, earning his Bachelor of Arts degree in 1967. His first job was as a rehearsal pianist for Funny Girl with Barbra Streisand. Even on tour he would take time to book Kenny Veenstra's Progressive Music Studio to send musical ideas back to "Babs" in NY. Shortly afterward, producer Sam Spiegel hired him to play piano at parties, and later to score Spiegel's 1968 film The Swimmer.

Music for films
Liza Minnelli's 1964 debut album included "The Travelin' Life", a song Hamlisch wrote in his teens (originally titled "Travelin' Man"). His first hit arrived when he was 21 years old: "Sunshine, Lollipops and Rainbows", co-written with Howard Liebling and recorded by Lesley Gore. It reached No. 13 on the Billboard Hot 100 in the summer of 1965.

His first film score was for 1968's The Swimmer. He also wrote music for several early Woody Allen films, including Take the Money and Run (1969) and Bananas (1971).

Hamlisch and Liebling co-wrote the song "California Nights", which was recorded by Lesley Gore for her 1967 hit album of the same name. The Bob Crewe-produced single peaked at No. 16 on the Hot 100 in March 1967, two months after Gore had performed the song on the Batman television series, in which she guest-starred as an accomplice to Julie Newmar's Catwoman.

Among Hamlisch's better-known works during the 1970s were adaptations of Scott Joplin's ragtime music for the motion picture The Sting, including its theme song, "The Entertainer". It hit No. 1 on Billboard's Adult Contemporary chart and No. 3 on the Hot 100, selling nearly 2 million copies in the U.S. alone. He had great success in 1973, winning two Academy Awards for the title song and the score for the motion picture The Way We Were and an Academy Award for the adaptation score for The Sting. He won four Grammy Awards in 1974, two for "The Way We Were".

In 1975, he wrote the original theme music for Good Morning America; the show used it for 12 years. He co-wrote "Nobody Does It Better" for The Spy Who Loved Me (1977) with his then-girlfriend Carole Bayer Sager, which would be nominated for an Oscar. In the 1980s, he had success with the scores for Ordinary People (1980) and Sophie's Choice (1982). He also received an Academy Award nomination in 1986 for the film version of A Chorus Line.

In 1985, he worked on D.A.R.Y.L., a 1985 film about a boy who is in fact a U.S. military robot. He also worked on the score for The Informant! (2009), starring Matt Damon and directed by Steven Soderbergh. Late in his life, he wrote a children's book Marvin Makes Music, which included the original music "The Music in My Mind" with words by Rupert Holmes; and the score for the HBO film Behind the Candelabra (2013), also directed by Soderbergh and starring Matt Damon and Michael Douglas as Liberace.

Stage
Hamlisch's first major stage work was in 1972 playing piano for Groucho Marx at Carnegie Hall for An Evening with Groucho. Hamlisch acted as both straight man and accompanist while Marx, at age 81, reminisced about his career in show business. The performances were released as a two-record set, and remained very popular.

He then composed the scores for the 1975 Broadway musical A Chorus Line, for which he won both a Tony Award and a Pulitzer Prize; and for the 1978 musical They're Playing Our Song, loosely based on his relationship with Carole Bayer Sager.

At the beginning of the 1980s, his romantic relationship with Bayer Sager ended, but their songwriting relationship continued. The 1983 musical Jean Seberg, based on the life of the real-life actress, failed in its London production at the UK's National Theatre and never played in the U.S. In 1986, Smile was a mixed success and had a short run on Broadway. The musical version of Neil Simon's The Goodbye Girl (1993) closed after only 188 performances, although he received a Drama Desk nomination, for Outstanding Music.

Shortly before his death, Hamlisch finished scoring a musical theatre version of The Nutty Professor, based on the 1963 film. The show played in July and August 2012, at the Tennessee Performing Arts Center (TPAC) in Nashville, aiming for a Broadway run. The book is by Rupert Holmes, and the production was directed by Jerry Lewis.

Conductor
Hamlisch was musical director and arranger of Barbra Streisand's 1994 concert tour of the U.S. and England as well as of the television special, Barbra Streisand: The Concert, for which he received two of his Emmys. He also conducted several tours of Linda Ronstadt during this period, most notably on her successful 1996 Dedicated to the One I Love tour of arenas and stadiums.

Hamlisch held the position of Principal Pops Conductor for the Pittsburgh Symphony Orchestra, the Milwaukee Symphony Orchestra, the San Diego Symphony, the Seattle Symphony, the Dallas Symphony Orchestra, Buffalo Philharmonic Orchestra, The National Symphony Orchestra Pops, The Pasadena Symphony and Pops, and the Baltimore Symphony Orchestra.

On July 23, 2011, Hamlisch conducted his debut concert for Pasadena Symphony and Pops at The Rose Bowl in Pasadena, California. Hamlisch replaced Rachael Worby. At the time of his death, he was preparing to assume responsibilities as Principal Pops Conductor for The Philly POPS.

Accolades
Hamlisch is one of only few people to win Emmy, Grammy, Oscar and Tony awards. This collection of all four is referred to as an "EGOT". He is one of only two people to have won those four prizes and a Pulitzer Prize (the other being Richard Rodgers). He is one of ten people to win three or more Oscars in one night and the only one other than a director or screenwriter to do so. Hamlisch also won two Golden Globes. He earned ten Golden Globe Award nominations, winning twice for Best Original Song, with "Life Is What You Make It" in 1972 and "The Way We Were" in 1974.

He shared the Pulitzer Prize for Drama in 1976 with Michael Bennett, James Kirkwood, Nicholas Dante, and Edward Kleban for his musical contribution to the original Broadway production of A Chorus Line. Hamlisch received a Lifetime Achievement Award in 2009 at the World Soundtrack Awards in Ghent, Belgium. He was also inducted into the Long Island Music Hall of Fame in 2008. In 2008, he appeared as a judge in the Canadian reality series Triple Sensation which aired on CBC. The show was aimed to provide a training bursary to a talented young man or woman with the potential to be a leader in song, dance, and acting. In 2008, Hamlisch was also inducted into the American Theater Hall of Fame.

Personal life
Hamlisch's relationship with lyricist Carole Bayer Sager inspired the musical They're Playing Our Song. He was also in a relationship with actress Emma Samms. He was in a relationship with television personality Cyndy Garvey after her breakup with her husband, Steve Garvey.

In May 1989, Hamlisch married Terre Blair, a native of Columbus, Ohio, and graduate of Otterbein College, who was the weather and news anchor for that city's ABC affiliate, WSYX-Channel 6. The marriage lasted until his death.

Death
After a brief illness, Hamlisch collapsed in Los Angeles on August 6, 2012, and died later that day at Ronald Reagan UCLA Medical Center at age 68. According to Hamlisch's death certificate, the cause of death was determined to be respiratory arrest, with hypertension and cerebral hypoxia as contributing factors.

The Associated Press described him as having written "some of the best-loved and most enduring songs and scores in movie history". Barbra Streisand released a statement praising Hamlisch, stating it was "his brilliantly quick mind, his generosity and delicious sense of humor that made him a delight to be around". Aretha Franklin called him "classic and one of a kind", and one of the "all-time great" arrangers and producers. The head of the Pasadena Symphony and Pops commented that Hamlisch had "left a very specific ... original mark on American music and added to the great American songbook with works he himself composed".

At 8:00 p.m. EDT on August 8, the marquee lights of the 40 Broadway theaters were dimmed for one minute in tribute to Hamlisch, an honor traditionally accorded to those considered to have made significant contributions to the theater arts upon their death.

Barbra Streisand, Aretha Franklin, and Liza Minnelli took turns singing songs by Hamlisch during a memorial service for the composer on September 18, 2012. At the 2013 Academy Awards, Streisand sang "The Way We Were" in Hamlisch's memory. On June 2, 2013, a tribute was held in New York City to remember Hamlisch in advance of the first anniversary of his death. At the tribute, Staples Players, a high school theatre group from Staples High School in Westport, Connecticut performed a selection of material from A Chorus Line. Other veterans of the screen and stage also performed at the event.

Orchestral work
Hamlisch was the primary conductor for the Pittsburgh Pops from 1995 until his death.

The Dallas Symphony Orchestra performed a rare Hamlisch classical symphonic suite titled Anatomy of Peace (Symphonic Suite in one Movement For Full Orchestra/Chorus/Child Vocal Soloist) on November 19, 1991. It was also performed at Carnegie Hall in 1993, and in Paris in 1994 to commemorate D-Day. The work was recorded by the Dallas Symphony Orchestra in 1992. The Anatomy of Peace was a book by Emery Reves which expressed the world-federalist sentiments shared by Albert Einstein and many others in the late 1940s, in the period immediately following World War II.

title: Marvin Hamlisch


text:
User:Omnipotent Q

John de Lancie in Star Trek. A being with infinite/unlimited power.

NOTE: The previous entry was wrong. Someone thought he/she was Q.

title: User:Omnipotent Q


text:
Mulhouse

Mulhouse (Alsatian: Mìlhüsa ; Mülhausen, meaning "mill house") is a city of the European Collectivity of Alsace (Haut-Rhin department, in the Grand Est region of France), close to the Swiss and German borders. It is the largest city in Haut-Rhin and second largest in Alsace after Strasbourg.

Mulhouse is known for its museums, especially the Cité de l'Automobile (also known as the Musée national de l'automobile, 'National Museum of the Automobile') and the Cité du Train (also known as Musée Français du Chemin de Fer, 'French Museum of the Railway'), respectively the largest automobile and railway museums in the world. An industrial town nicknamed "the French Manchester", Mulhouse is also the main seat of the Upper Alsace University, where the secretariat of the European Physical Society is found.

Administration
Mulhouse is a commune with a population of 108,312 in 2019. This commune is part of an urban unit also named Mulhouse with 247,065 inhabitants in 2018.

Additionally Mulhouse commune is the principal commune of the 39 communes which make up the communauté d'agglomération of Mulhouse Alsace Agglomération (m2A, population 280,000 in 2020).

Mulhouse commune is a subprefecture, the administrative centre of the Arrondissement of Mulhouse. It is one of the most populated sub-prefectures in France.

History
In 58 BC a battle took place west of Mulhouse and opposed the Roman army of Julius Caesar by a coalition of Germans led by Ariovistus. The first written records of the town date from the twelfth century. It was part of the southern Alsatian county of Sundgau in the Holy Roman Empire. From 1354 to 1515, Mulhouse was part of the Zehnstädtebund, an association of ten Free Imperial Cities in Alsace. The city joined the Swiss Confederation as an associate in 1515 and was therefore not annexed by France in the Peace of Westphalia in 1648 like the rest of the Sundgau. An enclave in Alsace, it was a free and independent Calvinist republic, known as Stadtrepublik Mülhausen, associated with the Swiss Confederation until, after a vote by its citizens on 4 January 1798, it became a part of France in the Treaty of Mulhouse signed on 28 January 1798, during the Directory period of the French Revolution.

Starting in the middle of the eighteenth century, the Koechlin family pioneered cotton cloth manufacturing; Mulhouse became one of France's leading textile centers in the nineteenth century. André Koechlin (1789–1875) built machinery and started making railroad equipment in 1842. The firm in 1839 already employed 1,800 people. It was one of the six large French locomotive constructors until the merger with Elsässische Maschinenbau-Gesellschaft Grafenstaden in 1872, when the company became Société Alsacienne de Constructions Mécaniques.

After the Prussian victory in the Franco-Prussian War (1870–1871), Mulhouse was annexed to the German Empire as part of the territory of Alsace-Lorraine (1871–1918). The city was briefly occupied by French troops on 8 August 1914 at the start of World War I, but they were forced to withdraw two days later in the Battle of Mulhouse. French forces then reoccupied the city again on 19 August, before retreating again on 28 August having suffered heavy casualties. Alsatians who celebrated the appearance of the French army were left to face German reprisals, with several citizens sentenced to death. After World War I ended in 1918, French troops entered Alsace, and Germany ceded the region to France under the Treaty of Versailles. After the Battle of France in 1940, it was occupied by German forces until its return to French control at the end of World War II in May 1945.

The town's development was stimulated first by the expansion of the textile industry and tanning, and subsequently by chemical and Engineering industries from the mid 18th century. Mulhouse was for a long time called the French Manchester. Consequently, the town has enduring links with Louisiana, from which it imported cotton, and also with the Levant. The town's history also explains why its centre is relatively small.

Geography
Two rivers run through Mulhouse, the Doller and the Ill, both tributaries of the Rhine. Mulhouse is approximately 100 km from Strasbourg and Zürich; it is 350 km from Milan and about 340 km from Frankfurt. It is close to Basel, Switzerland and Freiburg, Germany. It shares the EuroAirPort international airport with these two cities.

Districts
Medieval Mulhouse consists essentially of a lower and an upper town.
 * The lower town was formerly the inner city district of merchants and craftsmen. It developed around the Place de la Réunion (which commemorates its reunion with France). Nowadays this area is pedestrianised.
 * The upper town developed from the eighteenth century on. Previously, several monastic orders were established there, notably the Franciscans, Augustinians, Poor Clares and Knights of Malta.
 * The Nouveau Quartier (New District) is the best example of urban planning in Mulhouse, and was developed from 1826 on, after the town walls had been torn down (as they were in many towns in France). It is focused around the Place de la République. Its network of streets and its triangular shape are a good demonstration of the town's desire for a planned layout. The planning was undertaken by the architects G. Stolz and Félix Fries. This inner city district was occupied by rich families and the owners of local industries, who tended to be liberal and republican in their opinions.
 * The Rebberg district consists of grand houses inspired by the colonnaded residences of Louisiana cotton planters. Originally, this was the town's vineyard (the word Rebe meaning vine in German). The houses here were built as terraces in the English style, a result of the town's close relationship with Manchester, where the sons of industrialists were often sent to study.

Climate
Mulhouse's climate is temperate oceanic (Köppen: Cfb), but its location further away from the ocean gives the city colder winters with some snow, and often hot and humid summers, in comparison with the rest of France.

Population
The population data in the table and graph below refer to the commune of Mulhouse proper, in its geography at the given years. The commune of Mulhouse absorbed the former commune of Dornach in 1914 and Bourtzwiller in 1947.

Main sights

 * Hôtel de Ville (1552). The town hall was built in 1553 in the Rhenish Renaissance style. Montaigne described it as a "palais magnifique et tout doré" ("splendid golden palace") in 1580. It is known for its trompe-l'œil paintings, and its pictures of allegories representing the vices and virtues.
 * Workers' quarter (mid 19th century), inspired workers' quarters in many other industrial towns.
 * Place de la Bourse and the building of the Société Industrielle de Mulhouse, in the Nouveau Quartier (19th century)
 * Cité de l'Automobile (featuring the Schlumpf collection)
 * Cité du Train successor to Musée Français du Chemin de Fer (French National Railway Museum)
 * Museum of Electricity (Electropolis)
 * Musée des Beaux-Arts (Fine Arts Museum)
 * Musée historique (History Museum, located in the Hôtel de Ville)
 * Museum of Printed Textiles (Musée de l'impression sur étoffes)
 * The Parc Zoologique et Botanique de Mulhouse (botanical garden and zoo)
 * Saint-Steffen Calvinist temple (1859–1869), by Jean-Baptiste Schacre
 * Miscellaneous Street art works all around the town, amongst them a picture of Milhouse van Houten from The Simpsons as his name is pronounced similarly to Mulhouse in the French-dubbed version.

Principal economic activities

As early as the mid-19th century, Mulhouse was known as "the industrial capital of Alsace", the "city with a hundred chimneys" (cité aux cent cheminées) and "the French Manchester".

 * Automobile industry (Peugeot's Mulhouse factory is the largest employer in Alsace)
 * Chemical industry (ICMD)
 * Electronics (Clemessy)
 * Engineering (SACM – Wärtsilä)

Between 1909 and 1914 there was an aircraft manufacturer, Aviatik, in Mulhouse.

Education
The École nationale supérieure de chimie de Mulhouse, the first school of Chemistry in France, is located in the city.

Air
Mulhouse is served by EuroAirport Basel-Mulhouse-Freiburg, located 25 km south of the town.

Rail
Gare de Mulhouse is well connected with the rest of France by train, including major destinations such as Paris, Dijon, Besançon, Belfort, Strasbourg, Lyon, Marseille, Montpellier and Lille. Some trains operate to destinations in Switzerland, in particular proximity Basel, Bern and Zürich. There is also a train service to Frankfurt am Main in Germany, and a Eurocity service that connects Brussels, Luxembourg, Strasbourg and Basel calls at Mulhouse.

Regional services connect Mulhouse to Colmar, Strasbourg, Basel, Belfort, Kruth and Freiburg im Breisgau.

Urban transport
Transport within Mulhouse is provided by Soléa and comprises a network of buses together with the city's tram network, which opened on 13 May 2006. The tramway now consists of three tram lines and one tram-train line.

 * Line 2 from Nouveau Bassin to Coteaux
 * Line 1 from Gare Centrale to Châtaignier
 * Line 3 from Gare Centrale to Lutterbach
 * Tram-train line from Gare Centrale to Thann via Lutterbach

Road
Motorway A36 is the main axis connecting the city with the west of the country, to cities such as Dijon, Paris and Lyon. The A35 is the main north–south axis, connecting cities such as Strasbourg and Basel.

Sports
Mulhouse is one of the nation's hubs for women's volleyball. ASPTT Mulhouse won multiple titles at the National level. The team plays its home games at the Palais des Sports.

Additionally, FC Mulhouse Basket is based in Mulhouse.

People
Mulhouse was the birthplace of:
 * Maurice Achener (1881–1963), French illustrator, painter, and print maker
 * Jean de Beaugrand (1584–1640), lineographer and mathematician
 * Serge Blenner (born 1955), composer and synthesist
 * Bernard Bloch (born 1949), actor and director
 * Jean Brenner (1937–2009), painter
 * Karl Brandt (1904–1948), German Nazi personal physician to Adolf Hitler and head administrator of the T-4 Euthanasia Program, executed for war crimes
 * David Cage (born 1969), French video game designer, writer and musician. Born in Mulhouse, Cage was the first game developer to receive the Legion of Honour, the highest decoration granted in France.
 * Pierre Chambon (born 1931), biologist
 * Cléopatre Darleux (born 1989), handball goalkeeper
 * Mireille Delunsch (born 1962), soprano
 * Tom Dillmann (born 1989), racing driver
 * Artur Dinter (1876–1948), writer and Nazi politician
 * Dorian Diring (born 1992), footballer
 * Adrien Dollfus (1858–1921), French zoologist and carcinologist
 * Jean Dollfus (1800–1887), French industrialist
 * Jean Dorst (1924–2001), ornithologist
 * Alfred Dreyfus (1859–1935), French military officer best known for being the focus of the Dreyfus affair
 * Huguette Dreyfus (1928–2016), harpsichordist
 * Léon Ehrhart (1854–1875), composer
 * Yann Ehrlacher (born 1996), racing driver
 * Nusch Éluard (1906–1946), performer, model and surrealist artist
 * François Florent (born François Eichholtzer, 1937), actor, founder of the Cours Florent
 * Georges Friedel (1865–1933), mineralogist, son of Charles Friedel
 * Charles Frédéric Girard (1822–1895), biologist specializing on ichthyology and herpetology
 * Pierre Haffner (1718–1760), film critic
 * Jean-Gaspard Heilmann (1718–1760), painter
 * Jean-Jacques Heilmann (1822–1859), photographer
 * Friedrich Janz (1898–1964), diplomat
 * Daniel Jelensperger (1799–1831), musicologist
 * Katia and Maurice Krafft, volcanologists
 * Johann Heinrich Lambert (1728–1777), mathematician, physicist and astronomer
 * Joffrey Lauvergne (born 1991), basketball player
 * Friedrich Wilhelm Levi (1888–1966), mathematician
 * François Loeser (born 1958), mathematician
 * Paul Meyer (born 1965), clarinetist
 * Hervé Milazzo (born 1975), professional footballer
 * Véronique North-Minca (born 1953), diplomat
 * Thierry Omeyer (born 1976), handball goalkeeper
 * Marc Pfertzel (born 1981), football player
 * Rémy Pflimlin (1954–2016), CEO of France Télévisions from 2010 to 2015
 * Pierre Probst (1913–2007), comic and children book artist
 * Napoléon Henri Reber (1807–1880), composer
 * John Loretz (1840–1908), organist and composer
 * Claire Roman (1906–1941), French Air Force pilot in World War II
 * Daniel Roth (born 1942), organist, composer and pedagogue
 * Franz Eugen Schlachter (1859–1911), revivalist preacher, classical scholar, and translator of the Schlachter Bible
 * Christiane Scrivener (born 1925), EU-Commissioner
 * Daniel Schlumberger (1904–1972), archaeologist and professor of Near Eastern Archaeology at the University of Strasbourg and later Princeton University
 * Françoise Urban-Menninger (born 1953), writer
 * Jean Schlumberger (1907–1987), jewelry designer at Tiffany & Co
 * René Schützenberger (1860–1916), painter
 * Jules Siegfried born Mulhouse in 1837, industrialist and politician, French Minister of Commerce 1892-3
 * Rémy Stricker (1936–2019), musicologist
 * Frank Ténot (1925–2004), press agent, pataphysician and jazz critic
 * Philippe Tondre (born 1989), oboist
 * Thomas Trauttmann (born 1991), basketball player
 * Vitaa (born 1983), singer
 * Pierre Weiss (1865–1940), physicist
 * Alfred Werner (1866–1919), Nobel Prize in Chemistry 1913
 * Jules Auguste Wiernsberger (1857–1925), composer and conductor
 * Paul Wolff (photographer) (1887–1951), photographer
 * Robert Wyler (1900–1971), film producer
 * William Wyler (1902–1981), award-winning motion picture director
 * Jean-Marc Savelli (born at Mulhouse in 1955), a virtuoso concert pianist
 * Antar Yahia (born 1982), football player
 * Georges Zipélius (1808–1890), illustrator

Other residents include:

 * Adolphe Braun (1812–1877), photographer
 * Alfred de Glehn (1848–1936), designer of steam locomotives
 * Armando Thiriet Koenig (1882–1956), industrial engineer, Director of AEG Madrid in 1919, established an AEG subsidiary in Seville in the early 1920s

Twin towns—sister cities
Mulhouse is twinned with:

 * Walsall, England, since 1953
 * 🇧🇪 Antwerp, Belgium, since 1956
 * 🇩🇪 Kassel, Germany, since 1965
 * 🇮🇹 Bergamo, Italy, since 1989
 * 🇩🇪 Chemnitz, Germany, since 1990
 * 🇮🇱 Giv'atayim, Israel, since 1991
 * 🇷🇴 Timișoara, Romania, since 1991
 * 🇨🇳 Jining, China, since 1996

title: Mulhouse