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United States commemorative coins

The United States Mint has minted numerous commemorative coins to commemorate persons, places, events, and institutions since 1848. Many of these coins are not intended for general circulation, but are still legal tender. The mint also produces commemorative medals, which are similar to coins but do not have a face value, and therefore are not legal tender.

Early commemoratives
The earliest commemorative coin minted by the US Mint was the 1848 "CAL" quarter eagle, which commemorated the finding of gold in California. These coins were standard quarter eagles that were modified by punching CAL. onto the reverse above the eagle.

Most standard US commemorative coin lists begin with the 1892 Columbian half dollar commemorating the 400th anniversary of Columbus' voyage to America. The following year, the Columbian Exposition quarter dollar featuring Queen Isabella of Spain was issued.

In 1915, the mint issued the Panama–Pacific half union, which had a face value of $50. This was the first time a commemorative coin was produced in a denomination that was not issued for circulation (a half union coin was proposed, but was never released into circulation). The coin was offered in both round and octagonal versions, the latter being the only US coin that is not round.

In 1925, a commemorative 50-cent coin was released that showed Robert E. Lee and Stonewall Jackson. Money raised from the sale of the coins was combined with money raised by the United Daughters of the Confederacy and the Stone Mountain Confederate Memorial Association in order to fund the carving of a Confederate monument at Stone Mountain.

The 1926 United States Sesquicentennial half dollar was the second United States coin to feature a living person at the time of its minting. The obverse of the coin featured busts of George Washington and Calvin Coolidge. (The first was the 1921 Alabama Centennial half dollar, which showed a bust of then-Governor Thomas Kilby.) Coolidge remains the only president depicted on coinage during his lifetime.

Starting in the 1930s, the US Mint was criticized for issuing commemorative coins of dubious recognition and seemingly endless mint runs (the Oregon Trail Memorial 50-cent piece was minted 8 years during a 14-year span). Multiple unrelated commemoratives also were minted in many years, diminishing the significance of commemorative issues. In 1936 alone 19 commemorative half dollars were minted, not including two half dollars that were dated 1936 but were actually minted the following year. Three commemorative half dollars were proposed for issue in 1954, but all were vetoed by president Dwight D. Eisenhower due to the lack of interest expressed by collectors, and the period of early commemoratives ended that year with the 1954 Carver-Washington half dollar.

Modern commemoratives
In 1982, the US Mint resumed its commemorative coin program with the George Washington 250th Anniversary half dollar. Unlike the original commemoratives, only a few coins are released each year and are more popular with collectors.

The Library of Congress eagle of 2000 was the first bi-metallic coin issued by the US Mint. Later that year, the mint released a 1,000 Icelandic króna coin commemorating the 1,000th anniversary of Leif Ericson's discovery of the Americas. This coin was struck on the same planchet as the silver dollar that also commemorated the event.

The year 2017 marked the 225th anniversary of the US Mint. Although no traditional commemorative coins were issued for the occasion, the mint did produce a $100 coin, a special uncirculated mint set featuring coins with an "enhanced" finish, and a circulating penny featuring the P mint mark.

Circulating commemorative coins
Circulating commemorative coins have been somewhat more unusual in the United States. These are coins that are minted to commemorate a particular person, place, event, or institution, but are intended to enter general circulation.

All US Bicentennial commemoratives were dated 1776–1976, despite being produced throughout 1975–76.

Dollar coins
The first commemorative coin of the United States made specifically as a circulation issue was the 1921 Peace dollar. The coin was originally intended to be produced for one year to commemorate the end of World War I, although the design proved popular and continued to be produced until silver dollar production ended in 1935.

In 1975 and 1976, the Eisenhower dollar was issued for circulation, among other commemorative coins in those years.

The Susan B. Anthony dollar was minted from 1979 to 1981, and then again in 1999.

The Dolley Madison silver dollar was available to buy in 1999, made to commemorate the 150th anniversary of Dolley Madison’s death.

The Presidential dollar coins, the first of which was released in 2007, commemorate deceased presidents of the United States. The program ended in 2016 when the last eligible president, Ronald Reagan, was commemorated (a George H. W. Bush coin was released in 2020).

2009 saw the release of the first Native American dollar coin, to depict "images celebrating the important contributions made by Indian tribes and individual Native Americans to the development of the United States and the history of the United States." The act also called for the removal of the date from the obverse and " E PLURIBUS UNUM " from the reverse of the coin, opting instead to add them to the edge.

In 2018, the American Innovation $1 Coin Program was launched. The program will run from 2019–2032, commemorating an inventor or an invention from each state and six territories. An introductory coin was released in 2018. These coins do not circulate as of 2019, as no dollar coins have been minted for circulation since 2012 due to a lack of demand. Should there be a need for more dollar coins before 2032, however, some American Innovation dollars may enter circulation.

Half dollars
Several issues of commemorative half dollars were released into circulation to initially poor sales. The next planned circulating commemorative coin was a half dollar to commemorate the 200th anniversary of the birth of George Washington. The coin was to have been struck for one year only in 1932, however, no circulating half dollars were struck from 1930 until 1934 due to a lack of demand caused by the Great Depression. The anniversary was instead commemorated with the Washington quarter, which, like the Peace dollar, later became a regular issue coin.

The Kennedy half dollar, first released in March 1964 as a memorial to the assassinated 35th president of the United States John F. Kennedy, became hoarded by collectors, and those interested in a memento of the late president, and for the silver content of the coin, and were seldom seen in circulation despite increased production and periodic decrease of silver content. A special design for the reverse of the half dollar was issued for the United States Bicentennial, struck. Production of the circulating coin was then ended in 2001, but in 2021 began again to be produced for general circulation.

Quarters
In 1975 and 1976, the Washington quarter was issued and circulated to commemorate the United States Bicentennial.

In 1999, the State Quarters program began circulating five different commemoratives each year with reverses for each of the 50 States in the order of their admission to the Union. In 2009, six quarters commemorating the District of Columbia, two commonwealths, and three territories were issued.

Beginning in 2010 and continuing through 2021, a series of quarters, the America the Beautiful Quarters, was issued to recognize America's National Parks, with five quarters issued per year.

The American Women quarters program, authorized by the Circulating Collectible Coin Redesign Act of 2020, sponsored by Representatives Barbara Lee and Anthony Gonzalez, will comprise a series featuring notable women in U.S. history, commemorating the centennial of the Nineteenth Amendment to the United States Constitution. The United States Mint will issue up to five designs each year from 2022 to 2025 for up to 20 total designs. One woman will be honored on the reverse of each coin, selected for "contributions to the United States in a wide spectrum of accomplishments and fields, including but not limited to suffrage, civil rights, abolition, government, humanities, science, space, and arts." The obverse will depict George Washington with a new design. Honorees for 2022 are:Maya Angelou - January 2022, Sally Ride - March 2022, Wilma Mankiller - June 2022, Adelina Otero-Warren, and Anna May Wong.

Nickels
In 2004–2005 the mint issued four commemorative Westward Journey nickels, celebrating the 200th anniversaries of the Louisiana Purchase and the Corps of Discovery.

One cent coins
In 2009, four commemorative one cent pieces were issued to mark the bicentennial of the birth of Abraham Lincoln.

title: United States commemorative coins


text:
It's a Good Life

"It's a Good Life" is a short story by American writer Jerome Bixby, written in 1953. In 1970, the Science Fiction Writers of America selected it for The Science Fiction Hall of Fame, Volume One, as one of the 20 best short stories in science fiction published prior to the Nebula Award. The story was first published in Star Science Fiction Stories No.2. The story was adapted in 1961 into an episode of The Twilight Zone.

Plot summary
Anthony Fremont is a three-year-old boy with near-godlike powers: He can transform other people, animals or objects into anything he wishes, think new things into being, teleport himself and others where he wishes, read the minds of people and animals and even revive the dead. His appearance is never completely described; the story mentions his "odd shadow" and "bright, wet, purple gaze", and the obstetrician at his birth was said to have "screamed and dropped him and tried to kill him". The town's children are told that Anthony is a "nice goblin", but they must never go near him.

Anthony's powers were present at birth, as he was able to kill the obstetrician and then, instinctively, separate his birthplace, the town of Peaksville, Ohio, from the rest of Earth moments after he was born. Nobody knows whether Anthony transported Peaksville somewhere or whether the rest of the world was destroyed and only the town remains.

There is no electricity, and the residents have to make their own things and grow their own food; the latter is somewhat difficult, as Anthony changes the weather according to his whims. The adults must satisfy Anthony's every whim, or risk displeasing him. Nobody is safe from Anthony, not even his own family, although they can sometimes influence him slightly; after a "smiling" suggestion from his father, Anthony sends the remains of his victims into graves in the family cornfield, after he has finished with them.

As Anthony can read minds, the town's population must not only act content with the situation when near him, but also think they are happy at all times. However, the story does not present Anthony as malevolent or evil; he is simply a three-year-old boy with any young child's limited grasp of the world, yet with god-like powers. Even his sincere attempts to help those in need often go horribly awry, which is why everyone acts as if everything is "good" no matter what — any change Anthony makes could be much worse. Since Anthony can act immediately on any whim, those he dislikes can come to a quick and nasty end, even if he regrets it later, and no one dares suggest he undo what he has done, since the results could be worse still.

The story mostly takes place during a surprise birthday party for the Fremonts' neighbor, Dan Hollis. The residents take turns passing around certain objects, like books, music or furniture, since they cannot acquire anything new from the outside world. Dan receives a newly discovered Perry Como record for his birthday and wants to play it right away, but as Anthony does not like singing, the others advise him to wait until he gets home. Dan gets drunk and begins demanding that they sing, first "Happy Birthday" and then "You Are My Sunshine". Angrily he turns on Anthony's parents, crying, "You had to go and have him", then he defiantly continues to sing as Anthony appears in the room. Anthony decides Dan is a "bad man" and turns him into something horrific, "something like nothing anyone would have believed possible", before "thinking" him deep into the cornfield.

Because Anthony's Aunt Amy carelessly complained about the heat earlier, the next day Anthony makes it snow, which "killed off half the crops — but it was a good day".

Reception
Floyd C. Gale in 1961 called the story a "super-duper topnotcher". In 1986, it was included in the anthology Isaac Asimov Presents The Great SF Stories 15 as one of the best science fiction short stories of 1953.

In 2004, the story was a finalist for the 1954 Retro-Hugo Award for Best Short Story.

Adaptations

 * "It's a Good Life" (The Twilight Zone), a 1961 episode of the 1959 TV series
 * "It's a Good Life", the third segment; a remake of the Twilight Zone episode "It's a Good Life" in Twilight Zone: The Movie (1983). In this version, Anthony (no last name given) is depicted as eight (he is three in the original story and six in the original episode). He uses his powers to cater to himself and his "family", who are revealed to be random people that he has manipulated and held against their will. Anthony's real sister is crippled and has no mouth because she made Anthony mad. His real parents wanted to "send Anthony away" and are now simply gone. This depiction of Anthony is a much more sympathetic and tragic character who only wants people not to be afraid of him. He also is shown to love cartoons, making it the only thing everyone watches with televisions in every room in the house. According to Anthony "anything can happen in cartoons" and that he himself "can do anything. ANYthing!"
 * "Treehouse of Horror II", the 7th episode of the third season of The Simpsons. The second segment is a parody of the original Twilight Zone episode, with Bart in the role of Anthony.
 * "It's Still a Good Life", the 31st episode of The Twilight Zone (2002 TV series) which acts as a sequel to the episode in the 1959 TV series, with Bill Mumy and Cloris Leachman reprising roles from the original episode.
 * "Johnny Real Good", from the 12th episode of the first season of Johnny Bravo which stands more as a parody of the Twilight Zone episode. Johnny must babysit a boy with god-like powers who constantly sends him to a cornfield for thinking bad thoughts.

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

title: It's a Good Life


text:
Gil Evans

Ian Ernest Gilmore Evans (né Green; May 13, 1912 – March 20, 1988) was a Canadian–American jazz pianist, arranger, composer and bandleader. He is widely recognized as one of the greatest orchestrators in jazz, playing an important role in the development of cool jazz, modal jazz, free jazz, and jazz fusion. He is best known for his acclaimed collaborations with Miles Davis.

Early life
Gil Evans was born in Toronto, Canada, on May 13, 1912, to Margaret Julia McConnachy. Little is known about Evans' biological father, although a family friend said that he was a doctor who died before Evans was born. Originally named Gilmore Ian Ernest Green, Evans took the last name of his step-father, John Evans, a miner. The family moved frequently, living in Saskatchewan, British Columbia, Washington, Idaho, Montana, and Oregon, migrating to wherever Evans' father could find work. Eventually, the family ended up in California, first in Berkeley, where Evans attended the ninth and tenth grades, then in Stockton, where he attended Stockton High School, graduating in 1930. During this time, Evans' father took a job with the Western Pacific Railroad, and Evans began living with friends, later renting a room in a boarding house. After graduating, Evans attended the College of the Pacific in Stockton but then transferred to Modesto Junior College. After a year in Modesto, Evans left and moved back to Stockton.

Evans became interested in music at an early age, listening to Duke Ellington, Louis Armstrong, and Fletcher Henderson on the radio and on records. He studied the piano and began learning how to arrange music, and started picking up jobs with local musicians. While in college, he founded his first band, which performed his arrangements, and which became the house band at the Rendezvous Ballroom in Balboa Beach, California, in 1935. The band toured the Pacific Northwest in 1937 and eventually settled in Hollywood, where they regularly performed on Bob Hope's radio show. Evans' arrangements from this time showed the influence of classical music, and included instruments such as French horns, flutes, and tubas. In 1939, Claude Thornhill was hired for Hope's show, and he became a major influence on Evans.

Evans remained a Canadian citizen until he entered the US Army during the second World War. After 1946, he lived and worked primarily in New York City, living for many years at Westbeth Artists Community.

Career
Between 1941 and 1948, Evans worked as an arranger for the Claude Thornhill Orchestra. Even then, early in his career, his arrangements were such a challenge to musicians that bassist Bill Crow recalled that bandleader Thornhill would bring out Evans's arrangements "when he wanted to punish the band." Evans' modest basement apartment behind a New York City Chinese laundry soon became a meeting place for musicians looking to develop new musical styles outside of the dominant bebop style of the day. Those present included the leading bebop performer, Charlie Parker, as well as Gerry Mulligan and John Carisi.

In 1948, Evans, with Miles Davis, Mulligan, and others, collaborated on a band book for a nonet. These ensembles, larger than the trio-to-quintet combos, but smaller than big bands which were on the brink of economic unviability, allowed arrangers to have a larger palette of colors by using French horns and tuba. Claude Thornhill had employed hornist John Graas in 1942, and composer-arranger Bob Graettinger had scored for horns and tubas with the Stan Kenton orchestra, but the "Kenton sound" was in the context of a dense orchestral wall of sound that Evans avoided. The Miles Davis-led group was booked for a week at the Royal Roost as an intermission group on the bill with the Count Basie Orchestra. Capitol Records recorded 12 numbers by the nonet at three sessions in 1949 and 1950. These recordings were reissued on a 1957 Miles Davis LP titled Birth of the Cool.

Later, while Davis was under contract with Columbia Records, producer George Avakian suggested that Davis could work with any of several arrangers. Davis immediately chose Evans. The three albums that resulted from the collaboration are Miles Ahead (1957), Porgy and Bess (1958), and Sketches of Spain (1960). Another collaboration from this period, Quiet Nights (1962) was issued later, against the wishes of Davis, who broke with his then-producer Teo Macero for a time as a result. Although these four records were marketed primarily under Davis's name (and credited to Miles Davis with Orchestra Under the Direction of Gil Evans), Evans's contribution was as important as Davis's. Their work coupled Evans's classic big band jazz stylings and arrangements with Davis's solo playing. Evans also contributed behind the scenes to Davis' classic quintet albums of the 1960s.

The demands of the score for Porgy and Bess were legendary, from the very first note for the lead trumpet. The limited time allotted for rehearsals revealed that the ability to read such a challenging score was not consistent among jazz musicians, and there are many audible errors. Yet the recording is now regarded by many as one of the greatest reinterpretations of Gershwin's music in any musical style, because Evans and Davis were each devoted to going outside the "mainstream" of commercial expectations for jazz musicians. Evans was a great influence on Davis's interest in "non-jazz" music, especially orchestral music. Unfortunately, Evans's orchestral scores from the Porgy and Bess sessions were later found to be incomplete (or simply lost), and Quincy Jones and Gil Goldstein attempted to reconstruct these for Miles Davis's final 1991 concerts at Montreux, recorded as Miles & Quincy Live at Montreux. Davis had relented after years of refusing to revisit this material, but he was clearly ill, recovering from pneumonia, and trumpeter Wallace Roney, who was mentored by Davis, covered many of the challenging passages. Davis died before the release of the album.

From 1957 onwards, Evans recorded albums under his own name. Tubist Bill Barber and trumpeter Louis Mucci from Thornhill's band were both stalwarts in Evans's early ensembles, with Mucci finding a spot on nearly every pre-1980s Evans recording. Among the featured soloists on these records were Lee Konitz, Jimmy Cleveland, Steve Lacy, Johnny Coles and Cannonball Adderley. In 1965, he arranged the big band tracks on Kenny Burrell's Guitar Forms album.

Evans was influenced by Spanish composers Manuel de Falla and Joaquín Rodrigo, and by other Latin and Brazilian music, as well as by German expatriate Kurt Weill. His arrangements of pieces already well known to some listeners from their original cabaret, concert hall or Broadway stage arrangements, revealed aspects of the music in a wholly original way. Sometimes in an unexpected contrast to the original atmosphere of the piece, and sometimes taking a dark ballad such as Weill's "Barbara Song" into an even darker place.

The personnel list for The Individualism of Gil Evans (1964), not only features Bill Barber and hornists James Buffington and Julius Watkins (along with two others), but each section features the cream of the younger (some more classically trained) musicians who were making their names in jazz. The presence of four of the most acclaimed young bassists (Richard Davis, Paul Chambers, Ron Carter, and Ben Tucker) along with veteran Milt Hinton would ordinarily indicate that each is used individually for separate tracks, but Evans's scores usually required at least two bassists on any given track, some playing arco (with the bow) and some pizzicato (plucking with fingers, the standard jazz method). These arrangements frequently featured greatly slowed-down tempos with polyrhythmic percussion and no prevailing "beat". To his by-now standard French horns and tuba, Evans's scores added alto and bass flutes, double reeds, and harp; orchestral instruments not associated with "swing" bands, providing a larger palette of orchestral colors, and allowing him to attain the ethereal quality heard in his arrangements during his Thornhill days. He frequently wrote a part for the tenor violin of Harry Lookofsky. Yet, this album featured an orchestral arrangement of "Spoonful" by bluesman Willie Dixon, an early indication of Evans's breadth and a hint of things to come.

In 1966, he recorded an album with Brazilian singer Astrud Gilberto, Look to the Rainbow. He was discouraged by the commercial direction Verve Records was taking with the Gilberto sessions, and he went into a period of hiatus.

During this period while he was somewhat depressed about the commercial and logistical difficulties of his previous scoring requirements, his wife suggested that he listen to the guitarist Jimi Hendrix. Evans developed a particular interest in the work of the rock guitarist. Evans gradually built another orchestra in the 1970s, with none of the coloration instruments from his past arrangements. Working in the free jazz and jazz-rock idioms, he gained a new generation of admirers. These ensembles, rarely more than fifteen and frequently smaller, allowed him to make more contributions on keyboards, and with the development of truly portable synthesizers, he began using these to provide additional color. Hendrix's 1970 death precluded a scheduled meeting with Evans to discuss having Hendrix collaborate with a big band led by Evans.

In 1974, he released an album of his, and other band members', arrangements of music by Hendrix with guitarists John Abercrombie and Ryo Kawasaki. From then on Evans's ensembles featured electric instruments, i.e. guitars, basses, and synthesizers including a collaboration with bassist Jaco Pastorius Gil Evans & Jaco Pastorius – Live Under The Sky Tokyo '84. In contrast to his intricate scores for large ensembles, which required precision orchestral playing accompanying a single soloist, his later arrangements would feature more unison playing by the entire ensemble, such as on Hendrix's "Little Wing", with improvisational touches added throughout by the musicians. Live recordings demonstrate that some entire pieces were collaborative efforts, and Evans can be heard giving cues from the keyboard (behind the band) to guide the band. Before the 1970s, his keyboard playing was generally sparse on recordings but after the 1970s he took a more active role in the rhythm section of the band.

Where Flamingos Fly (recorded 1971, released 1981) demonstrated his ability to contract the most accomplished musicians, with veterans Coles, Harry Lookofsky, Richard Davis and Jimmy Knepper (who played the solo on the "Where Flamingos Fly" track on 1961's Out of the Cool) alongside young multi-instrumentalist Howard Johnson, synthesizer player Don Preston (at that time still a member of The Mothers of Invention), and Billy Harper.

In April 1983, the Gil Evans Orchestra was booked into the Sweet Basil Jazz Club (Greenwich Village, New York) by jazz producer and Sweet Basil owner Horst Liepolt. This turned out to be a regular Monday night engagement for Evans for nearly five years and also resulted in the release of a number of successful albums by Gil Evans and the Monday Night Orchestra. Evans's ensemble featured many of the top-call musicians in New York, many of whom were also in the NBC Saturday Night Live Band and there were many conflicts, so their "deputies" for the night might be other world-class musicians. Yet Evans was also known to let newcomers "sit in" occasionally. The band also performed arrangements by band members, current and past. Stalwarts in this ensemble were Lew Soloff, Alan Rubin, Marvin Peterson, Tom "Bones" Malone, George Adams, David Sanborn, Pete Levin, Hiram Bullock, Mark Egan, drummer Kenwood Dennard, saxophonist Bill Evans (no relation), and Gil Goldstein.

In 1987, Evans recorded a live album with Sting: Last Session - Live At Perugia Jazz Festival July 11, 1987, featuring the Monday Night Orchestra musicians, guest star Branford Marsalis and big band arrangements of songs by and with The Police and Jimi Hendrix. In the same spirit of introducing new talent in his bands, he collaborated with Maria Schneider with her as an apprentice arranger on this and other final projects. His final project was Nov. 3 & 26, 1987, his arrangements for the Laurent Cugny Big Band in Paris, on the recording "Golden Hair" on Emarcy/Polygram.

In 1996, Columbia Record released a box set which besides the masterpieces, featured outtakes and rarities of Miles Davis and Gil Evans.

Ryan Truesdell presents the Gil Evans Project
Ryan Truesdell (de) began the Gil Evans Project, which resulted in a 2012 CD entitled Centennial, featuring previously unrecorded compositions and arrangements. These were produced with the permission of the Gil Evans estate, who gave Truesdell access to these scores and materials. Miles Evans, Gil's son, also led the Gil Evans Orchestra for a centennial concert at New York's Highline Ballroom, featuring many of the musicians heard in the orchestra during Evans's lifetime.

Film music
In 1986, Evans produced and arranged the soundtrack to the film of the Colin MacInnes book Absolute Beginners, thereby working with such contemporary artists as Sade Adu, Patsy Kensit's Eighth Wonder, the Style Council, Jerry Dammers, Smiley Culture, Edward Tudor-Pole, and David Bowie.

He also arranged the music for the 1986 Martin Scorsese film The Color of Money.

Personal life
Evans first married Lillian Grace following the 1949 Birth of the Cool recording sessions. Very little is known about this marriage. In 1963, he would marry again. Evans was survived by his second wife, Anita (Cooper), and two children, Noah and Miles. His son Miles played trumpet in his Monday Night Orchestra.

Evans died of peritonitis in Cuernavaca, Mexico, contracting it shortly after a surgery for his prostate and subsequent travel to Mexico to recover. Evans died at the age of 75.

Awards and honors

 * In 1986, Evans was inducted into the DownBeat Jazz Hall of Fame.
 * He was also inducted into the Canadian Music Hall of Fame in 1997.

Grammy Awards
Awarded as followings:
 * 1960: Sketches of Spain (with Miles Davis, Best Jazz Composition of More Than Five Minutes Duration)
 * 1988: Bud and Bird (posthumously with the Monday Night Orchestra, Best Jazz Instrumental Performance, Big Band)
 * 1997: (Miles Davis & Gil Evans: The Complete Columbia Studio Recordings (Best Historical Album for the Compilation Producers and/or Mastering Engineers))
 * 2012: "How About You" in Centennial - Newly Discovered Works of Gil Evans (posthumously with Gil Evans Project, Best Instrumental Arrangement)

Grammy Award nominations

 * 1961: Out of the Cool (Best Jazz Performance Solo or Small Group)
 * 1962: Miles Davis at Carnegie Hall (with Miles Davis, Best Jazz Performance Solo or Small Group (Instrumental))
 * 1964: The Individualism of Gil Evans (Best Instrumental Jazz Performance – Small Group or Soloist)
 * 1964: Quiet Nights (with Miles Davis, Best Instrumental Jazz Performance – Small Group or Soloist)
 * 1965: Kenny Burrell's Guitar Forms (with Kenny Burrell, Best Instrumental Jazz Performance – Soloist or Small Group)
 * 1965: "Greensleeves" in Kenny Burrell's Guitar Forms (Best Instrumental Arrangement)
 * 1973: Svengali (Best Jazz Performance by a Group)
 * 1983: Priestess (Best Jazz Instrumental Performance, Group)
 * 2012: "Look to the Rainbow" in Centennial - Newly Discovered Works of Gil Evans (posthumously with Gil Evans Project & Luciana Souza, Best Instrumental Arrangement Accompanying Vocalist(s))

As leader

 * Gil Evans & Ten (Prestige, 1958)
 * New Bottle Old Wine (World Pacific, 1958)
 * Great Jazz Standards (World Pacific, 1959)
 * Out of the Cool (Impulse!, 1961)
 * Into the Hot (Impulse!, 1962)
 * The Individualism of Gil Evans (Verve, 1964) - Reissued in 1988 on extended CD
 * Gil Evans (Ampex, 1970) – also released as Blues in Orbit (Enja, 1980)
 * Svengali (Atlantic, 1973)
 * The Gil Evans Orchestra Plays the Music of Jimi Hendrix (RCA Victor, 1974)
 * Previously Unreleased Recordings (Verve, 1974) - recorded in 1964
 * Montreux Jazz Festival '74 (Philips, 1975)
 * There Comes a Time (RCA, 1976) – recorded in 1975
 * Little Wing Live in Germany (Circle, 1978)
 * Parabola (Horo, 1979) – recorded in 1978
 * Gil Evans Live at the Royal Festival Hall London 1978 (RCA Victor, 1979)
 * Live at the Public Theater (New York 1980) Vol.1 (Trio, 1980), Vol.2 (Trio, 1981)
 * The Rest of Gil Evans Live at The Royal Festival Hall London 1978 (Mole Jazz, 1981)
 * Where Flamingos Fly (Artists House, 1981) – recorded in 1971
 * Priestess (Antilles, 1983) – recorded in 1977
 * The British Orchestra (Mole Jazz, 1983)
 * Live at Sweet Basil (Electric Bird, 1985)
 * Live at Sweet Basil Vol. 2 (Electric Bird, 1986)
 * Absolute Beginners: The Original Motion Picture Soundtrack (EMI, 1986)
 * Bud and Bird (Electric Bird, 1987)

Posthumous releases
 * Farewell (Electric Bird, 1988) – recorded in 1986
 * Paris Blues with Steve Lacy (Owl, 1988) – recorded in 1987
 * Rhythm A Ning with Laurent Cugny (EmArcy, 1988) – recorded in 1987
 * Golden Hair with Laurent Cugny (EmArcy, 1989) – recorded in 1987
 * Lunar Eclypse (New Tone Records, 1992) – recorded in 1981
 * The Honey Man (New Tone Records, 1995) – recorded in 1986
 * 75th Birthday Concert (BBC Legends, 2001) – recorded in 1987
 * Tokyo Concert 1976 (Studio Songs, 2010) – recorded in 1976

With others
 * Lucy Reed, This Is Lucy Reed (Fantasy, 1957)
 * Kimiko Kasai & Gil Evans, Satin Doll (CBS/Sony, 1972)
 * Masabumi Kikuchi, Masabumi Kikuchi with Gil Evans (Philips, 1972)
 * Jaco Pastorius, Gil Evans & Jaco Pastorius – Live Under The Sky Tokyo '84 (Hi Hat, 2016)
 * Glen Hall & Gil Evans, The Mother of the Book (InRespect, 1994) - recorded in 1985
 * Lew Soloff, Hanalei Bay (Bellaphon, 1985)
 * Ornella Vanoni, Ornella &... Duetti, Trii, Quartetti (CGD, 1986)
 * Sting, ...Nothing Like the Sun (A&M, 1987)
 * Sting, Last Session - Live At Perugia Jazz Festival 11 July 1987 (Jazz Door, 1992)
 * Helen Merrill & Gil Evans, Collaboration (EmArcy, 1988) – recorded in 1987
 * James Senese, Alhambra (EMI, 1988)
 * Orchestre National de Jazz & Antoine Herve, O.N.J. 87 (Label Bleu, 1988)
 * Ray Russell, Why Not Now (Theta, 1988)
 * Ray Russell, A Table Near the Band (Last Chance Music, 1990)
 * Lee Konitz & Gil Evans, Heroes (Verve, 1991)
 * Lee Konitz & Gil Evans, Anti-Heroes (Verve, 1991)

As arranger
By recording date
 * 1947-49: Claude Thornhill Orchestra, The Real Birth of the Cool: Studio Recordings (CBS/Sony, 1971)
 * 1949-50: Miles Davis, Birth of the Cool (Capitol, 1957)
 * 1950-52: Charlie Parker, Big Band (Clef, 1954)
 * 1955: Hal McKusick, The Jazz Workshop (RCA Victor, 1956)
 * 1956: Johnny Mathis, Johnny Mathis (Columbia, 1956)
 * 1956: Marcy Lutes, Debut (Decca, 1956)
 * 1957: Lucy Reed, This Is Lucy Reed (Fantasy, 1957)
 * 1956-57: Helen Merrill, Dream of You (EmArcy, 1957)
 * 1957: Miles Davis, Miles Ahead (Columbia, 1957)
 * 1958?: Don Elliott Octet, Jamaica Jazz (ABC-Paramount, 1958)
 * 1958: Miles Davis, Porgy and Bess (Columbia, 1959)
 * 1959-60: Miles Davis, Sketches of Spain (Columbia, 1960) – 3rd Annual Grammy Awards: Best Jazz Composition of More Than Five Minutes Duration
 * 1961: Miles Davis, Miles Davis at Carnegie Hall (Columbia, 1962)
 * 1962-63: Miles Davis, Quiet Nights (Columbia, 1963)
 * 1964-65: Kenny Burrell, Guitar Forms (Verve, 1965)
 * 1965-66: Astrud Gilberto, Look to the Rainbow (Verve, 1966)
 * 1968: Miles Davis, Filles de Kilimanjaro (Columbia, 1968) – without credits
 * 1982-83: Miles Davis, Star People (Columbia, 1983)
 * 1983: Miles Davis, Decoy (Columbia, 1984) – only "That's Right"
 * 1985: Glen Hall, The Mother Of The Book (inRespect, 1994)

Filmography

 * 2004: RMS Live with Gil Evans at the Montreux Jazz Festival 1983 (Angel Air)
 * 2007: Gil Evans and His Orchestra (V.I.E.W. Video)
 * 2007: Strange Fruit with Sting
 * 2009: Miles Davis – The Cool Jazz Sound

title: Gil Evans


text:
West Coast Express

The West Coast Express is a commuter railway serving the Lower Mainland region of British Columbia, Canada. It is owned and operated by the region's transit authority, TransLink. Opened in 1995, it provides a link between Metro Vancouver and the Fraser Valley Regional District and is the only commuter railway in Western Canada. In, the system had a ridership of , or about per weekday as of.

Service is provided between Downtown Vancouver and the municipalities of Port Moody, Coquitlam, Port Coquitlam, Pitt Meadows, Maple Ridge, and Mission. Along its route, several stations interchange with the SkyTrain metropolitan rail system as well as local bus services. Additionally, Waterfront station in Downtown Vancouver provides a connection to the SeaBus passenger ferry.

Operation
The West Coast Express operates from Monday to Friday (excluding holidays) with five trains per day running from Mission to Vancouver in the morning peak hours (5:25am – 7:25am) and returning to Mission in the evening peak (3:50pm – 6:20pm). A one-way trip takes 75 minutes, which is faster than driving to Downtown Vancouver.

The commuter railway is owned by TransLink, the transportation authority of the Metro Vancouver region, and a member of the Canadian Urban Transit Association. Metro Vancouver Transit Police officers and transit security officers conduct random fare inspections within the Fare Paid Zones at stations and on board trains. People caught without valid fare are removed from the train and may be fined $173. Contracted commissionaires provide station attendant services and a security presence, even checking fares on occasion at stations. Commissionaires do not conduct fare enforcement.

Supplementary bus service
Rail service is supplemented by TransLink's 701 bus route, which runs four eastbound and four westbound trips per weekday—one in the morning, one in the afternoon, and two in the evening—between Coquitlam Central station and Mission City station. As with the West Coast Express itself, this bus service does not run on weekends and holidays. TransLink's regular one-zone adult/concession fare rates apply to these trips. The eastbound bus makes regular stops until it reaches Haney Place Exchange in Maple Ridge and then runs non-stop for about 26 minutes to Mission City station. This process is reversed for westbound buses. The entire one-way route is completed in 60 to 70 minutes.

Prior services
Until 30 December 2016, the West Coast Express ran coach-style "TrainBus" service, which provided additional service when trains were not running. The TrainBus service provided two buses, one from Port Haney station in Maple Ridge and one from Mission City station, to Vancouver in the morning (after all westbound trains had departed) and five buses eastbound (two mid-day, and three after all eastbound trains had departed Waterfront), three of which extended to Mission, stopping only at West Coast Express stations. This service was replaced by the 701 bus service.

Legend
West Coast Express route and stops

Expo Line (runs from Waterfront to King George with a branch northeast after Columbia to Production Way–University)

Millennium Line (runs from VCC–Clark to Lafarge Lake–Douglas, interlined with the Expo Line from Production Way–University to Lougheed Town Centre)

SeaBus

Canada Line

Fares
Use of the Compass Card on the West Coast Express began on 8 June 2015, along with new card vending machines. Existing paper fares were honoured until 24 July 2015.

West Coast Express fares can also be used as a three-zone fare on other TransLink services. A one-way fare expires 180 minutes from the time of purchase; all other fares work as an all-day pass. See TransLink Fares for more information on the pricing of the West Coast Express' fares.

, the lowest adult fare is $5.90 for one or two zones traveled excluding Waterfront station and $7.65 for three zones including Waterfront station. A discount is available for Compass Card users, who are also able to load return and monthly passes.

Rolling stock

Denotes wheelchair access

Each train consists of a General Motors/ EMD F59PHI diesel-electric locomotive and between four and ten Bombardier BiLevel passenger coaches. The West Coast Express also operates an MPI MP36PH-3C and EMD F59PH for backup. The total fleet of passenger coaches numbers 44. Each passenger carriage has a seating capacity of 144 people. Like many commuter railways, the West Coast Express uses push–pull operation; instead of moving the locomotive to the other end of the train, it is controlled remotely from a second cab in the last passenger carriage, allowing the train to run 'backwards'; this occurs during mornings, as during afternoons the locomotive is at the front of train. Passenger amenities include washrooms, a cappuccino bar, power outlets, wheelchair accessibility and space for bicycles.

The coaches and locomotives are maintained by Via Rail and, under the contract, operated by Bombardier Transportation over tracks which belong to the Canadian Pacific Railway. Bombardier began a contract to operate the trains for the next five years, commencing on 5 May 2014. After May 2014, track time is negotiated between TransLink and the Canadian Pacific Railway, which balances the use by the West Coast Express with its mainstay freight operation.

Future plans
TransLink's 2009 capital plan included upgrades to the Waterfront and Mission stations, and platform extensions to handle longer trains. In the 2009 10-Year Plan, TransLink also proposed a number of other improvements to West Coast Express service, some of the key improvements being:
 * Upgrades to Port Haney station passenger drop-off
 * Park and ride expansion at Maple Meadows station

The company committed to maintaining the 2011 service levels to 2014. TransLink has been criticized for the low ridership of the West Coast Express and supports its expansion.

"A 20-year service agreement between TransLink and the Canadian Pacific Railroad to operate the West Coast Express expired in 2015. Negotiations for renewal were initiated within the time period covered by this Base Plan. A fuller understanding of the future interaction of the service with the Evergreen Line is required, as well as an understanding of the overall market for long distance travel in the corridor. Accordingly, TransLink initiated the development of a West Coast Express Strategy in 2011 to consult with stakeholders and examine the issues. Completion of the strategy is expected in 2012, with subsequent implementation work expected to identify appropriate future service and infrastructure requirements."

A proposal in the 2009 10-Year Plan for a new station in Albion did not appear in the 2012 ten-year plan. Plans for a new station in northern Burnaby to service Simon Fraser University have been indefinitely postponed.

In 2021, the federal and provincial governments announced an upgrade program to extend the life of six of the seven locomotives used for the West Coast Express, with additional upgrades to improve efficiency and allow the future operation of longer trains. The upgrades are expected to be completed by 2026.

title: West Coast Express


text:
Hallertau

The Hallertau or Holledau is an area in Bavaria, Germany. With an area of 178 km2, it is listed as the largest continuous hop-planting area in the world. According to the International Hop Growing Convention, Germany produces roughly one third of the world's hops (used as flavoring and stabilizers during beer brewing), over 80% of which are grown in the Hallertau.

Hallertau is roughly located between the cities of Ingolstadt, Kelheim, Landshut, Moosburg, Freising and Schrobenhausen. The region is defined by the hop-planting area in Bavaria. It is divided into several seal districts:

 * Abensberg
 * Altmannstein
 * Au in der Hallertau
 * Geisenfeld
 * Hohenwart
 * Langquaid
 * Mainburg
 * Nandlstadt
 * Neustadt an der Donau
 * Pfaffenhofen an der Ilm
 * Pfeffenhausen
 * Rottenburg an der Laaber
 * Siegenburg
 * Wolnzach

Famous citizens

 * Johannes Aventinus (4 July 1477 – 9 January 1534), a Bavarian Renaissance humanist, historian, and philologist.
 * Christoph Thomas Scheffler (December 20, 1699 – January 25, 1756), a Bavarian painter of the rococo period.
 * Roider Jackl (17 June 1906 – 8 May 1975) was a Bavarian performer, singer, and folk singer

title: Hallertau


text:
Talk:Thomas Malory

New Research
For those interested, a sizable new scholarly work was just published on the identity of Thomas Malory for the first time in decades, entitled The Knight Who Gave Us King Arthur: Sir Thomas Malory, Knight Hospitaller. The author, as I hinted a year ago on the talk page below, is Cecelia Lampp Linton, PhD. She's my mother, so in order to avoid conflict of interest I won't add any information from her work to the Article and will leave it to the community to decide what's appropriate. The work is about 400 pages and includes a lot of original research from over the past 20 years, and new analysis of previous scholarship. I won't go into any of the content here either, other than to point out that you can tell a lot about her theory from the title. — Preceding comment added by Jeblinton (talk • contribs) 16:26, 21 June 2023 (UTC)

Needs improvement
Much is wrong here. Will try to fix later. — Preceding unsigned comment added by Geogre (talk • contribs) 19:00, 21 November 2003 (UTC)

 * I'm working on a much more detailed examination of the competing Newbold-Revel timelines as analyzed by Kettridge, Vinaver, Field, Matthews and Spisak that should clear things up. Coming soon. Jeblinton (talk) 02:54, 26 July 2022 (UTC)
 * Taking this a bit at a time; corrected a factual error in the summary section - Caxton did not identify Malory as a knight prisoner; this was suspected based on some passages in which the author showed personal knowledge of the hardship of imprisonment; this is the reason Hicks and others went delving into prison records and turned up Malory of Newbold Revel's crime spree, publishing the details in 1928. The 'knight presoner' quote is from Malory himself and comes from the Winchester manuscript (which revealed Malory's words that Caxton had left out) - this wasn't discovered until 1934. Jeblinton (talk) 03:15, 4 August 2022 (UTC)
 * I also rephrased the intro section a bit to be more in keeping with neutral tone on the identity controversy. More to come in this vein. Jeblinton (talk) 03:16, 4 August 2022 (UTC)
 * Sorry, that's "knyght presoner" in Malory's Middle English or "knight prisoner" in modern. Jeblinton (talk) 03:18, 4 August 2022 (UTC)
 * Much more is wrong here than I originally realized. Full disclosure: I'm biased based on a new work that's about to be published, and I have a personal interest in it, so I'll only try to clean up the record using well-established previous sources. The short version of my concern is that there are two competing timelines for Malory of Newbold Revel; most of the scholarly work until the late 20th century assumed he was born around 1393. This is because Dugdale's history of Warwickshire notables way back in 1656, just a century or so after Le Morte's publication while it was still very popular and being reprinted, showed him being commissioned around 1414 for Henry V's Calais campaign - i.e. he was one of what Shakespeare called the 'Band of Brothers' in Henry V's famous Agincourt campaign. This makes his story really interesting as he apparently turned to crime (according to this timeline) when he was 50-ish to late 60s. P.J.C. Field and Matthews seem to agree that it's implausible that he wrote Le Morte if this timeline is correct - he would be in his mid to late 70s (and in prison) when the writing was finished. Field proposed an alternate timeline that has become the dominant story, placing his birth around 1415, and his reasoning seems to require that one of the major pieces of historical evidence (Dugdale) points to the wrong Thomas Malory altogether. If this timeline were true and Dugdale had the wrong guy, there's no reason to believe that the author served under Beauchamp. This timeline seems highly questionable, since Dugdale's original notes were dug up by Matthews and confirmed to refer to the Agincourt campaign... Malory of Newbold Revel was almost certainly one of the Band of Brothers at Agincourt, which Field and Matthews say makes him too old to have finished Le Morte in prison at age 77-ish. Jeblinton (talk) 05:00, 1 August 2022 (UTC)
 * Delving deeper into Field and Matthews, some of what I wrote here is wrong - it looks like Chambers, Vinaver, and possibly also Field accept part of Dugdale's record, such that that Malory of Newbold Revel did actually serve under Beauchamp, but in the abortive 1436 action rather than Agincourt in 1414/1415. Field suggests that this Malory never saw any real military action, but if I'm reading it right, Matthews (arguing for the original timeline with the much older Malory of Newbold Revel) seems to believe that he served under Beauchamp in France for upwards of 25 years. I'll try to make sure that the article text reflects the nuances. Jeblinton (talk) 04:51, 6 August 2022 (UTC)

 * I've fixed a chunk of it. The problem was that it depended on a source from the 1880s (!). Modern biographies (i.e., since 1896) have pinpointed the actual historical person believed to be him. The opening paragraph's from this 1911 encyclopedia article explain :
 * Previous to the publication of Professor Kittredges monograph, Who was Sir Thomas Malory? [ Mrwojo: pub. 1896] the identity of this writer remained an unsolved problem. Mr. Sidney Lee, in the Dictionary of National Biography, was compelled to admit that he could find no one of that name fulfilling the necessary conditions. Of direct evidence we have very little; in the concluding passage of the book the author asks the prayers of the reader for Syr Thomas Maleore knyght, and states that the book was ended the ix. yere of the reygne of Kyng Edward the fourth. Caxton, in his preface, says that he printed the book after a copye unto me delivered whyche copye Syr Thomas Malorye dyd take oute of certeyn bookes of frensshe and reduced it in to Englysshe ; in his colophon he repeats this statement, adding that he himself is responsible for the division of the work into books and chapters, and that it was printed in 1485. It will be noted that Caxton does not say that he received the book from Malory, only that he had received a copy made by Malory; from this Professor Kittredge draws the conclusion that the compiler was no longer living. The problem then is to find a Thomas Malory who was (a) a knight, (b) alive in the ninth year of King Edward IV. (Mar. 4, 1469Mar. 3, 1470), and (c) who was, no longer living in July (or June) 1485.

 * All these conditions Professor Kittredge finds fulfilled in the life of Sir Thomas Malory, knight, of Newbold Revell (or Fenny Newbold), M.P. for Warwickshire ~n. 1445. The date of Sir Thomass birth is uncertain, but he succeeded his father, Sir John, in 1433 or 1434. Previously to this he had served in France, in the retinue of the earl of Warwick, most probably during the time that that nobleman held the office of captain of Calais. It seems probable that he is also to be identified with a Thomas Malone, miles, who in 1468 was, on account of the part played by him in the Wars of the Roses, excluded with several others from the operation of a pardon issued by Edward IV. As, however, on the death of Sir Thomas on the 14th of March 1470, there was no difficulty as to inheritance, his estates passing to his grandson, he must, if this identification be correct, have come under the general amnesty of 1469. It will be seen, therefore, that so far as it is in our power to state the question this Sir Thomas Malory fulfils all the necessary conditions.

 * The dates rule out the "c. 1430" birth originally mentioned. It's likely the bit about him possibly being a priest could also be axed. Once the old bits are excised or rewritten, I think the "from an 1880s encyclopedia" warning could go. Also note his death date is listed as 14 March 1470; 25 March was the traditional start of the new year in Britain until the 18th century, so the 1471 year is correct in modern calendars. --Mrwojo 16:50, 2 Jan 2004 (UTC)

I've made a bunch of small updates to clear up the current state of scholarship on Malory of Newbold Revel. Several of these are third-source from Matthews and need to be replaced by second-source in order to comply better with the gold standard of second sources. At this point it looks like we should probably put Newbold Revel on the same level as Hutton Conyers and Papworth - too many scholarly works in the late 20th century throw doubt on Newbold Revel, especially Matthews's strong evidence that he was way too old to have written Le Morte in prison. Also, the author's birth and death dates are completely in question. I'll hold off for a bit on making major changes to this stuff to see if anyone else cares to weigh in. In any case, I anticipate that major changes will come when the new book gets published with lots of evidence not available in the scholarship to date. Jeblinton

As promised, I restructured the article to put the candidates on a more equal footing. I also added more substance to the Papworth candidate that was badly lacking, and a bit more on why the very early Welshman theory isn't considered a real possibility by modern scholars. Jeblinton — Preceding undated comment added 01:40, 30 September 2022 (UTC)

 * Also changed the section subtitle to remove "poet" - not sure who if anyone asserted that he was a poet, even assuming this candidate ever existed at all. Jeblinton (talk) 01:43, 30 September 2022 (UTC)

Citation needed
Malory calling himself a "servant of Jesu" does not seem like very compelling evidence that he could have been a priest; it was a common way to speak of oneself at the time, and basically just identifies him as a Christian. If we cannot cite this as a reputable scholar's opinion, it probably is not worth the speculation here. --BDD 18:19, 14 February 2006 (UTC)
 * Kudos to whoever added the reference. I'm very reluctant to add those tags, so I'm glad such an equitable goal was reached. --BDD 05:48, 19 April 2006 (UTC)

Complete 1911 EB article
I thought it might be helpful to have the complete 1911 article accessible somewhere.

MALORY, SIR THOMAS, translator and compiler of the famous English classic, the Morte dArthur. Previous to the publication of Professor Kittredges monograph, Who was Sir Thomas Malory? the identity of this writer remained an unsolved problem. Mr. Sidney Lee, in the Dictionary of National Biography, was compelled to admit that he could find no one of that name fulfilling the necessary conditions. Of direct evidence we have very little; in the concluding passage of the book the author asks the prayers of the reader for Syr Thomas Maleore knyght, and states that the book was ended the ix. yere of the reygne of Kyng Edward the fourth. Caxton, in his preface, says that he printed the book after a copye unto me delivered whyche copye Syr Thomas Malorye dyd take oute of certeyn bookes of frensshe and reduced it in to Englysshe ; in his colophon he repeats this statement, adding that he himself is responsible for the division of the work into books and chapters, and that it was printed in 1485. It will be noted that Caxton does not say that he received the book from Malory, only that he had received a copy made by Malory; from this Professor Kittredge draws the conclusion that the compiler was no longer living. The problem then is to find a Thomas Malory who was (a) a knight, (b) alive in the ninth year of King Edward IV. (Mar. 4, 1469-Mar. 3, 1470), and (c) who was, no longer living in July (or June) 1485.

All these conditions Professor Kittredge finds fulfilled in the life of Sir Thomas Malory, knight, of Newbold Revell (or Fenny Newbold), M.P. for Warwickshire in 1445. The date of Sir Thomas's birth is uncertain, but he succeeded his father, Sir John, in 1433 or 1434. Previously to this he had served in France, in the retinue of the earl of Warwick, most probably during the time that that nobleman held the office of captain of Calais. It seems probable that he is also to be identified with a Thomas Malone, miles, who in 1468 was, on account of the part played by him in the Wars of the Roses, excluded with several others from the operation of a pardon issued by Edward IV. As, however, on the death of Sir Thomas on the 14th of March 1470, there was no difficulty as to inheritance, his estates passing to his grandson, he must, if this identification be correct, have come under the general amnesty of 1469. It will be seen, therefore, that so far as it is in our power to state the question this Sir Thomas Malory fulfils all the necessary conditions.

It is interesting to note that the career of the earl of Warwick in France was maFked by certain picturesque and chivalric features which might well impress the imagination of a young retainer. John Rous, in his Life of Richard Earl of Warwick, tells us that at a certain tourney held near Calais at Christmastide, Earl Richard appeared three days running in different armour, overthrowing his adversary on each occasionan exploit obviously imitated from the chivalric romances of the period.

The work with which Malorys name is connected is an abridged compilation of the great body of Arthurian romance in its latest form. The Merlin (Vulgate and Suite), Tristan, Lancelot, Queste and Mort Anus are all represented, the only branch omitted is that dealing with the early history of the Grail the Joseph of Arimathea and Grand S. Graal. Thanks mainly to the labors of Dr Oskar Sommer, we can now assign thi majority of the books to their separate sources, although certair stories, such as the adventures of Sir Gareth under the pseudonym of Beaumains, the handling of Sir Urre of Hungary, and th details of the abduction of Guenevere by Meleagaunt, still remain unidentified. But we do not yet know whether Malory himself was responsible for this selection, or whether be found it ready to hand in a MS., the Frensshe Booke to which he often refers. To make such a compilation at first hand, considering the extent of the ground covered, would involve an enormous amount of study and selection, and the access to a very large libraryconditions which scarcely seem to fit in with the social position and activities of Sir Thomas. On the other hand it is undeniable that the medieval copyists, at the instance of their patrons, did make compilations from the various romances within their reach, such as e.g. the enormous codex 112 (fonds Franc.) of the Bibliothque Nationale, which includes large sections of the Tristan, the Lancelot, and the Merlin Suite. Taking into consideration alike what Malory retains and what he omits, it seems most probable that he was in possession, not of complete copies of the romances, but of one or more volumes of compilations from these sources.

From the point of view of matter it must be admitted that the Monte d Arthur does not represent the Arthurian cycle at its best, but rather in the period of its decadence; nor does Malory in any way endeavour to overcome the difficulties caused by the juxtaposition of a number of independent (and often contradictory) versions. This is especially noticeable in his treatment of Gawain; in the section derived from the Lancelot and Mort Artus he is a good and valiant knight, a ful noble knyghte as ever was borne1 in those derived from the Tristan and the Queste, he is treacherous, dissolute, and a murderer of good knights.

The great charm of Malorys work lies in his style; stately, earnest and dignified, it has lent to the relations between Lancelot and Guenevere a character of truth and vitality in which the French original is wholly lacking. Malory achieved a remarkable feathe took the Arthurian story in its worst and weakest form and he imparted to it a moral force and elevation which the cycle, even in its earlier and finer stage, had, save in the unique case of Von Eschenbachs Parzival, never possessed. While genuine lovers of the Arthurian cycle must regret that the romances should only be known to the great majority of English readers through the versions of Malory and Tennyson, it isimpossible to withholdfrom the Monte dArt hut the admiration due to an imperishable monument of English language and literature.

See Who was Sir Thomas Malory? C. L. Kittredge (Harvard Studies and Notes, vol. v., 1896); Monte dArthur, ed. by Dr Oskar Sommer (an exact reproduction of the original text in 2 vols.)

vol. iii. a study on The Sources of Malory. The sections on Lancelot and Queste are unfortunately very inadequate; for these cf. The Legend of Sir Lancelot, Grimm Library, vol. xii. (J.L.W.)--FeanorStar7 00:26, 6 June 2006 (UTC)

Birth
"Sir Thomas Malory (c.1399 – March 14, 1471)" is followed shortly after by "He was probably born sometime around 1405" -- let's be consistent! -Phoenixrod 19:49, 26 March 2007 (UTC)

 * I changed it to 1405, I think that's the conventional suggestion.--Cúchullain t/ c 19:53, 26 March 2007 (UTC)

 * Thanks! I didn't know enough to change factual information. -Phoenixrod 20:12, 26 March 2007 (UTC)
 * There's a lot more scholarship on Newbold-Revel Malory's birth that I'm going to post shortly - it should clear the matter up on the two competing claims. Jeblinton (talk) 02:56, 26 July 2022 (UTC)
 * Posted the first major edit on Newbold Revel's date of birth, based on the timelines proposed by the major scholars on the subject. Jeblinton (talk) 04:38, 4 August 2022 (UTC)
 * More citations to come - need to shore up the specifics of who discovered/proposed and published which details. Jeblinton (talk) 04:39, 4 August 2022 (UTC)

Birth revisited
Judging by the fact that he attained his majority (at the age of 21) between 1434 and 1439, he was born after 1415 and before 1418.

 * Firstly, that date-range is not reflected in the lede, and it should be.
 * But secondly, the mathematics of the sentence is dubious at best. If he turned 21 in 1434, he was born in 1413, not "after 1415".  If he turned 21 in 1439, he was born in 1418, not "before 1418".  The possible birth year range, judging from the ages at which he could have turned 21, is 1413 - 1418.  That's six possible years.  But "after 1415 and before 1418" brings it down to 1416 or 1417, which is only two possible years.

Something's very amiss here, and it needs correction. --  Jack of Oz   [pleasantries]  23:41, 29 June 2015 (UTC)

 * See my comments above - more references to follow shortly which should make this clearer. Jeblinton (talk) 02:57, 26 July 2022 (UTC)

Criminal?
The article states that he was never actually convicted of any of the charges against him. If so, should he be included in the category British criminals. Or should he be included in a more specific category e.g. Category:English rapists? PatGallacher (talk) 17:58, 25 March 2008 (UTC)

MP?
There is no mention of a William Mallory or Malory as MP on the Cambridgeshire or Cambridge constituency pages in Wikipedia, nor any reference in the published volumes of History of Parliament Online (admittedly incomplete). He has an oft-confused namesake who was MP for Leicestershire. Anyone know otherwise, or is this ripe for removal? Sjwells53 (talk) 10:17, 11 December 2013 (UTC)

External links modified
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Works
This statement in the 'Works' section is completely false: 'Malory's Le Morte d'Arthur (The Death of Arthur) is [..] is the only major work of English literature between Geoffrey Chaucer, around a century earlier, and Shakespeare, around a century later.' First, the English Renaissance happened between Malory and Shakespeare, with Spenser's Faerie Queene being the major work of that era (prior to Shakespeare's plays) and still considered one of the most important texts in English Literature. The plays of Marlowe also precede Shakespeare. Arguments could be made for the 'major' status of other writers who fall between Chaucer and Shakespeare. In short, the statement should be removed swiftly. RobotBoy66 (talk) 09:32, 13 June 2024 (UTC)

title: Talk:Thomas Malory


text:
List of deserts

This is a list of deserts sorted by the region of the world in which the desert is located.

Africa

 * Kalahari Desert – a desert covering much of Botswana and parts of Namibia and South Africa
 * Karoo Desert – a desert covering parts of southern South Africa
 * Namib Desert – a desert in present-day Namibia
 * Danakil Desert – a desert lying in the Afar Triangle and covering northeastern Ethiopia, southern Eritrea, southern Djibouti and northwesternmost Somalia
 * Eritrean Coastal Desert – a desert lying along the southern part of the coast of Eritrea and the coast of Djibouti
 * Guban Desert – a desert lying along the coast of northwestern Somalia
 * Grand Bara Desert – a desert covering parts of south Djibouti
 * Chalbi Desert – a desert in northern Kenya along the border with Ethiopia
 * Nyiri Desert – a desert located in southern Kenya along the border with Tanzania
 * Lompoul Desert – a desert lying in northwestern Senegal between Dakar and Saint-Louis
 * Sahara Desert – Africa's largest desert and the world's largest hot desert which covers much of North Africa comprising:
 * Ténéré – a desert covering northeastern Niger and western ChadMoonlight in the Sahara.jpg]]
 * Tanezrouft – a desert covering northern Mali, northwestern Niger as well as central and southern Algeria, at the west of the Hoggar Mountains
 * El Djouf – a desert which covers northeastern Mauritania and parts of northwestern Mali
 * Djurab Desert – a desert covering northern central Chad
 * Tin-Toumma Desert – a desert covering southeastern Niger, at the south of the Ténéré
 * Libyan Desert (also called Western Desert) – a desert covering eastern Libya, western Egypt and northwestern Sudan at the west of the Nile River
 * White Desert – a desert covering a part of western Egypt and located in Farafra, Egypt
 * Eastern Desert – a desert covering eastern Egypt and northeastern Sudan between the Nile River and the Red Sea
 * Nubian Desert – a desert covering northeastern Sudan between the Nile River and the Red Sea
 * Bayuda Desert – a desert covering eastern Sudan located just at the southwest of the Nubian Desert
 * Sinai Desert – a desert located on the Sinai Peninsula in Egypt
 * Atlantic Coastal Desert – a desert lying along the western coast of the Sahara Desert and occupies a narrow strip in Western Sahara and Mauritania

Asia

 * Arabian Desert – desert complex on the Arabian Peninsula comprising:
 * Al Khatim Desert – a desert near Abu Dhabi
 * Al-Dahna Desert – a desert being the main central division of the Arabian Desert and covering parts of Saudi Arabia
 * Empty Quarter (Rub' al Khali) – the world's largest sand desert and covering much of Saudi Arabia, Oman, the United Arab Emirates and Yemen
 * Nefud Desert – a desert in northern part of the Arabian Peninsula
 * Ramlat al-Sab`atayn – a desert in north-central Yemen
 * Wahiba Sands – a desert covering great parts of OmanIsrael-2013-Aerial 00-Negev-Makhtesh Ramon.jpg]]
 * Judaean Desert – a desert in eastern Israel and the West Bank
 * Negev – a desert located in southern Israel
 * Bromo Sand Sea – a volcanic desert in Bromo Tengger Semeru National Park, East Java, Indonesia
 * Dasht-e Kavir – a desert in central Iran
 * Dasht-e Lut – a large salt desert in southeastern Iran
 * Polond Desert – a desert in eastern Iran
 * Maranjab Desert – a desert in central Iran
 * Katpana Desert – a cold desert in Pakistan
 * Indus Valley Desert – a desert located in Pakistan
 * Kharan desert – a desert located in Pakistan
 * Syrian desert – a desert located in Syria, Jordan and Iraq
 * Thal Desert – a desert in Pakistan
 * Thar Desert – a desert in India and PakistanBayanzag.jpg in Mongolia]]
 * Cholistan Desert – a desert in Pakistan
 * Dasht-e-Margo – a desert in southwestern Afghanistan
 * Kyzyl Kum – a desert in Kazakhstan and Uzbekistan
 * Kara Kum – a large desert in Central Asia
 * Lop Desert – a desert in China
 * Ordos – a desert in northern China
 * Kubuqi Desert – a desert in northern China
 * Mu Us Desert – a desert in northern China
 * Gobi – a desert in Mongolia and China
 * Badain Jaran Desert – a desert in China
 * Hami Desert – a desert in China
 * Tengger Desert – a desert in China
 * Taklamakan – a desert located in China
 * Gurbantünggüt Desert – a desert located in northwestern China
 * Kumtag Desert – a desert in northwestern China
 * Karapinar Desert – a desert in Southern Central Anatolia

Spain

 * Bardenas Reales – a semi-arid desert in Navarre, Spain (455 km2)
 * Cabo de Gata-Níjar Natural Park – an arid desert in Almeria, Spain (460 km2)
 * Monegros Desert – a semi-arid desert in Aragón, Spain
 * Tabernas Desert – an arid and semi-arid desert in Almería, Spain (280 km2)

Other European nations

 * Oltenian Sahara - a desert in Dolj County, Oltenia, Romania
 * Oleshky Sands – a sand desert in Kherson Oblast, Ukraine

North America

 * Chihuahua Desert – a desert in Mexico and the United States
 * Great Basin Desert
 * Black Rock Desert
 * Death Valley
 * Mojave Desert – a desert in the United States
 * Red Desert (Wyoming)
 * Sonoran Desert – a desert in the United States and Mexico
 * Colorado Desert
 * Gran Desierto de Altar
 * Thompson Plateau – a desert in Canada

Australia

 * Central Desert – a central Australian desert
 * Gibson Desert – a central Australian desert
 * Great Sandy Desert – a northwestern Australian desert
 * Great Victoria Desert – the biggest desert in Australia
 * Little Sandy Desert – a western Australian desert
 * Simpson Desert – a central Australian desert
 * Strzelecki Desert – a south-central Australian desert
 * Tanami Desert – a northern Australian desert

South America

 * Atacama Desert – a desert in Chile and Peru
 * La Guajira Desert – a desert in Colombia and Venezuela
 * Monte Desert – in Argentina, a smaller desert above the Patagonian Desert
 * Patagonian Desert – the largest desert in the Americas, located in Argentina
 * Sechura Desert – a desert located south of the Piura Region of Peru
 * Jalapão – a desert park in Tocantins, Brazil

Antarctic

 * Antarctic Desert – the largest desert in the world
 * McMurdo Dry Valleys – a series of extremely dry, snow-free valleys in Victoria Land
 * Meyer Desert – a small desert close to the South Pole

Arctic

 * Arctic Desert – the second largest "desert" in the world, though it consists of frozen ocean, land ice, and tundra, so (like the rest of this section) not a desert climate in any conventional sense
 * North American Arctic – a large tundra in Northern America
 * Greenland – mostly covered by land ice, like Antarctica
 * Russian Arctic – a large tundra in Russia

Pseudo-deserts
Some geographical features are referred to as "deserts", and this word may even feature in their names, despite not meeting any meteorological definitions for a desert.

 * Accona Desert – area of Siena, Italy.
 * Barreiro da Faneca – clayey expanse in the Azores.
 * Błędowska Desert – area of sands in Poland.
 * The Burren – limestone karst in County Clare, Republic of Ireland.
 * Carcross Desert – sand-dune system in Yukon, Canada.
 * Chara Sands – region of Siberia, Russia.
 * Deliblatska Peščara – sand expanse in Vojvodina, Serbia.
 * Desert of Maine – 40-acre expanse of glacial sand-dunes in Maine, United States.
 * Desert of Wales – a large, upland area of Wales.
 * Dunas dos Ingleses – sand-dune system in Brazil.
 * Dungeness – shingle expanse in South East England, United Kingdom, misleadingly nicknamed "Britain's only desert".
 * Highlands of Iceland – the interior plateau of Iceland;
 * Joaquina Beach – beach in Brazil.
 * Kaʻū Desert – an area of desertification in Hawaii, due to the acid rainfall caused by the nearby Kīlauea volcano.
 * Larzac – limestone karst plateau in the south of the Massif Central, France.
 * Lençóis Maranhenses National Park
 * Lieberose Desert - a desert on a former military training ground in southern Brandenburg, Germany
 * Melnik Desert Canyon – a canyon in Bulgaria.
 * Oltenian Sahara – area of desertification in Oltenia, Romania.
 * The Stone Desert – rock formation in Bulgaria.
 * Red Desert – desert-like region in South Africa.
 * Sand dunes of Lemnos – sand-dune expanse on Lemnos, Greece.
 * Sands of Đurđevac – sand-dune system in Croatia.
 * Sleeping Bear Dunes – lakeshore in Michigan, United States.
 * Słowiński National Park – sand-dune expanse in Poland.
 * Tottori Sand Dunes – sand-dune system in Tottori Prefecture, Japan.
 * Chad Basin National Park – desert park in northern Nigeria.

title: List of deserts


text:
User talk:Jmeltzer

Hello "Jmeltzer" and welcome to Wikipedia. A few tips for you:

 * Peruse Welcome, newcomers and associated pages.
 * You can experiment in the Sandbox.
 * Sign talk page entries with ~, which is automatically converted to a name and date.
 * Ask questions on Village pump.
 * Happy wiki'ing, -- Infrogmation 19:09, 21 Nov 2003 (UTC)

title: User talk:Jmeltzer


text:
Talk:Symphonic poem

Untitled
Are the 'best-known' tone poems really those by R. Strauss?? I'd have thought that Sibelius 'Swan of Tunola', Mussorgski's 'Night on bare Mountain' and Debussy 'Prelude l'apres-midi' were better contenders ; besides Strauss' tone-poems are really quite turgid, and really only the over-played opening bars of 'Thus spake' qualify as  'best-known'.Norwikian 19:34, 21 Nov 2003 (UTC)

 * You're right, it's overly bold to say that Strauss' stuff in the best known - they might be, they might not be, it's not clear enough for us to say. I've edited it. --Camembert

 * I agree fully, especially if you consider the general populous -- 'Romeo and Juliet' is far and away the one that has the most well known melody, moreso than Thus Sprake I'd say. Though as a whole, I'd say 'The Moldau' is the top contender overall.

 * I heard a great John Williams concert last night and when "Close encounters of the third Kind" (1977) was played, I said to my husband, "I believe this is a Tone Poem (Program Music). Besides, John Williams mostly wrote for Spielberg films; this is a valid vote for Tone Poem. He wanted to write "space" film music and he did. ET was one of those "space" films.  So, Tone Poems are not altogether dead, I would say.RebeccArranger (talk) 13:05, 12 June 2015 (UTC)RebeccArranger

And this article could use some good hominization, especially in that paragraph with the list. Melodia Chaconne 9 July 2005 19:11 (UTC)

 * The paragraph should certainly be expanded to incorporate the "list" as examples, I'd hope, rather than being reduced to one of those uninterpreted and uninterpretable bulleted lists. Would that "hominize" it? --Wetman 8 July 2005 22:39 (UTC)

I just reworded the first two paragraphs of the article to fix clumsy sentence structures and the bizarrely wayward first paragraph; added a paragraph about the history of the symphonic poem after Liszt invented it (which curiously was not addressed before!), mentioned a bit of why it's important, and added some examples to the list. Also, I don't think we need such specific discussion of Strauss' Don Quixote; there's a separate article on it. Brianrein 20:12, 15 March 2007 (UTC)

Webber
Can anyone tell me who wrote this article? I'm looking for a knowedgable expert on symphonic poems. Thanks. Robgee9 18:16, 6 December 2006 (UTC)

Concert Overture
The article for concert overture is redirected to the symphonic poem. I do not think these are synonymous with each other.

 * Then why not contribute a paragraph here explaining how the concert overture evolved into a single-movement atmospheric piece for the concert hall in the hands of Liszt and was renamed by him "symphonic poem"? --Wetman 03:31, 21 April 2006 (UTC)

 * They are not synonymous with each other and probably should not share an article. I'm not expert enough to write an article on it, but the main difference is that Concert Overtures have a strong musical organization, and poems are much more free with their structure. —The preceding unsigned comment was added by 128.210.39.37 (talk) 17:50, 8 March 2007 (UTC).

Another quote from "The Enjoyment of Music" by Joseph Machlis and Kristine Forney shows that Concert Overture and Symphonic Poem/Tone Poem do not mean the same thing... "It (Symphonic Poem) differs from the concert overture in one important respect: whereas the concert overture generally retains one of the traditional Classical forms, the symphonic poem is much freer in its structure."

 * Just a minor hint: Most commonly, Franz Liszt is regarded as "inventor" of the genre of the "Symphonic Poem". Several of his "Symphonic Poems", for example "Tasso", "Les Preludes", "Orpheus" and "Prometheus" were actually composed as overtures. I am also remembering R. Wagner, who in a letter to Liszt called his own Tannhäuser-Overture "Symphonic Poem".80.144.127.43 (talk) 13:26, 29 June 2008 (UTC)

Suggested structure?
Actually, I was thinking of borrowing this skeleton from the New Grove:

 * 1) Intro paragraphs
 * 2) Origins
 * 3) Liszt
 * 4) The Czech lands (Smetana, Dvorak, etc.)
 * 5) Russia
 * 6) France
 * 7) Germany
 * 8) Other countries
 * 9) Bibliography
 * 10) External links (if any)
 * 11) References

I'm open to suggestions. This means a lot of effort expanding the article but the work itself seems pretty strightforward and would allow expansion by others. Jonyungk (talk) 04:32, 12 July 2008 (UTC)

Among this article's inadequacies...
...is the opening sentence. It reads:
 * "A symphonic poem or tone poem is a piece of orchestral music in one movement in which some extramusical program provides a narrative or illustrative element".

People may care to compare this with the opening sentence in the New Grove Second Edition:
 * "Symphonic poem: An orchestral form in which a poem or programme provides a narrative or illustrative basis."

See? The New Grove one makes sense; the wikipedia one is senseless (an 'element'? What the hell is an 'element'?).

Someone, in other words, merely lifted the first sentence from the New Grove without attribution -- and in trying to disguise their theft, turned the stolen object into meaningless, senseless rubbish... Pfistermeister (talk) 20:15, 9 June 2009 (UTC)

 * For the tone deaf, apparently, the narrative element might be the whole thing. "Extramusical" is the element that makes the Wikipedia sentence the winner!--Wetman (talk) 02:19, 10 June 2009 (UTC)--Wetman (talk) 02:19, 10 June 2009 (UTC)

 * Utterly ridiculous statement. For one thing, there's no way a 'programme' could be anything other than 'extramusical'. The plagiarised, inept wikipedia version is therefore tautological as well as senseless. Pfistermeister (talk) 07:37, 10 June 2009 (UTC)

Now now, children, manners please! Pfistermeister, if you don't like the sentence, (or other parts of the article) why not employ your wisdom in rewriting it? (Always bearing in mind of course WP:NPOV). Respectfully yours, --Smerus (talk) 11:52, 10 June 2009 (UTC)

I would disagree with Grove's designating the symphonic poem as a "form". It is a musical genre, which by its nature does not have to have a prescribed form (i.e., structure) -- although some symphonic poems have been analyzed as revealing some sort of sonata-allegro design. Mademoiselle Fifi (talk) 12:42, 10 June 2009 (UTC)

I agree this article on the whole, and especially the lead, needs a tremendous amount of work, but could we agree on something along these lines for the opening sentence:
 * A symphonic poem or tone poem is a piece of orchestral music in one principal self-contained section called a movement in which a program from a poem, a story or novel, a painting, or another source is illustrated or evoked.

It's a little clumsy but at least it spells out what a symphonic poem is and what it is supposed to do for someone who may not know what "extramusical", "programmatic" or a "movement" is. Jonyungk (talk) 20:59, 16 July 2009 (UTC)

Wiki Education assignment: Classic and Romantic Music History
— Assignment last updated by Kcruse03 (talk) 16:01, 27 February 2024 (UTC)

title: Talk:Symphonic poem


text:
The Offenders (1921 film)

The Offenders is a 1921 American melodrama film directed by Fenwicke L. Holmes. Margery Wilson, the co-star, reportedly co-directed this and two other films between 1921 and 1924.

The film is frequently mis-dated, either as being released in 1922 or 1924. Contemporary documentation states that it was made in the summer of 1921 and released that November. It was filmed in the town of Randolph, Vermont, with various locals acting as extras. Little else is known about the film, which is suspected to be lost.

What is known is limited to the archives kept in the Chandler Theatre in Randolph (which showed the movie) and the newspaper records of the day. At that time, the newspaper in Randolph was The Herald and Times, which is now just The Herald.

Plot
A girl is held at mercy of gang of crooks, her only friend being a "half-wit". A murder is committed and blame shifted to the girl.

The "half-wit" has seen the murder, but cannot remember. When he is cured, his testimony frees the girl.

Cast

 * Margery Wilson
 * Percy Helton

title: The Offenders (1921 film)