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Piano Quintet (Shostakovich)

The Piano Quintet in G minor, Op. 57 is a five-movement composition for two violins, viola, cello, and piano by Dmitri Shostakovich. He composed it between July 13 and September 14, 1940. Sources conflict on where he began to compose it—the location is variously stated to be Shalovo, Kellomäki, or Moscow—but most agree that it was completed in Leningrad. It is the second of Shostakovich's two attempts at composing a piano quintet. His first dated from his student years, but was ultimately abandoned and repurposed in other compositions.

A suggestion from the Beethoven Quartet over dinner in 1938 led to the creation of the Piano Quintet. Originally, Shostakovich had conceived the work as a string quartet. However, according to Isaak Glikman, an arts critic and close friend, Shostakovich modified the instrumentation because he hoped that demand for his performances as pianist would result in increased opportunities for personal travel. According to the musicologist Richard Taruskin, Shostakovich modeled his Piano Quintet, including its key and use of Baroque musical forms, on Sergei Taneyev's. Over the years, a number of small alterations to the score were made, which are documented in the two recordings of the work that Shostakovich made with the Beethoven Quartet in 1940 and 1955.

The Piano Quintet's official premiere on November 23, 1940, at the Small Hall of the Moscow Conservatory was an immediate public success. Encores at this and subsequent concerts became so commonplace, that it quickly became a source of jokes for wags who referred to the work as a five-movement work with seven movements. Occasionally, audiences demanded encores of the entire work. Performances of the Piano Quintet took up so much of Shostakovich's time between late 1940 and mid-1941 that he had only enough time to compose a single work during that period.

Opinions were more mixed among Shostakovich's professional colleagues. Sergei Prokofiev and Alexander Goldenweiser both were ambivalent about the music's merits, while the musicologist Daniel Zhitomirsky defended the work against detractors who had simplistic expectations from Soviet music. Even before the Piano Quintet's official premiere, it had been nominated for the inaugural Stalin Prize, along with works by Prokofiev, Nikolai Myaskovsky, and Aram Khachaturian. After three rounds of voting by the prize committee—as well as an unsuccessful last-minute personal appeal to Joseph Stalin from a disgruntled CPSU member who sought to deny the work a prize—the March 16, 1941 issue of Pravda announced that the Piano Quintet won the Stalin Prize, first class. Its monetary award of 100,000 rubles attracted significant commentary from music critics in the United States after the work's stateside premiere in Carnegie Hall on April 29, 1941.

First attempt at a quintet
Shostakovich first attempted to compose a piano quintet during his student years. This earlier quintet was conceived in the early 1920s; by April 9, 1923, he completed its first movement and designated the work "op. 7". A subsequent movement, subtitled "Fantastic Scherzo", was also planned, but the idea of a piano quintet was soon abandoned. Instead, he developed the "Fantastic Scherzo" into the Scherzo for piano and orchestra, which kept the projected quintet's op. 7 assignation, while the remaining music was repurposed in the Piano Trio No. 1.

He also composed music for piano with string quartet in his score to the 1936 film, Girlfriends.

Partnership with the Beethoven Quartet
One of the most enduring professional and personal relationships Shostakovich had was that between him and the Beethoven Quartet. Of the composer's fifteen string quartets, the Beethoven Quartet premiered all but the first and last. Aside from the Piano Quintet, their members also participated in the premiere of the Piano Trio No. 2. Karina Balasanyan, a Russian musicologist, said that the closeness of their partnership, rare in music history, led the Beethoven Quartet to become "emissaries of [Shostakovich's] will".

On December 26, 1933, during their tenth season in existence, the Beethoven Quartet programmed music by Shostakovich for the first time: a joint performance with the Glière Quartet of the Two Pieces for String Octet. It was not until 1938, however, when they played the Moscow premiere of Shostakovich's String Quartet No. 1 that his music became a permanent part of their repertory.

Origins and composition
During a celebratory dinner in Moscow on November 16, 1938, that followed the local premiere of the String Quartet No. 1, the Beethoven Quartet suggested to Shostakovich the idea of composing a piano quintet. A few months later in 1939, Shostakovich replied in the affirmative to the Beethoven Quartet's first violinist, Dmitri Tsyganov (violinist): "I will certainly write a quintet and I will play it with you". Isaak Glikman, an arts critic and close friend of Shostakovich, related that the Piano Quintet had originally been planned as a string quartet, but that external considerations influenced the composer to alter the instrumentation:

"His explanation of the change [in instrumentation] was idiosyncratic, to say the least. According to him, his change of heart had not been dominated by artistic considerations at all, but purely practical concerns. 'Do you want to know why I wrote a piano part into the quartet? I did it so that I could play it myself and have a reason to go on tour to different towns and places. So now ... the Beethoven Quartet, who get to go everywhere, will have to take me with them, and I will get my chance to see the world as well!' We both laughed. 'You are not serious?', I said. Shostakovich replied: 'Absolutely! You are a dyed-in-the-wool stay-at-home, but I am a dyed-in-the-wool wanderer!'"

Shostakovich's official biographer, Sofia Khentova, said that Shostakovich was also moved to compose the Piano Quintet out of his desire to enrich the field of chamber music with elements of symphonic music.

Enthusiasm for the Piano Quintet notwithstanding, Shostakovich did not find the time to begin work on it until July 1940. He wrote to Vasily Shirinsky, the Beethoven Quartet's second violinist, that he started work on his new composition on July 13. In a subsequent letter to Shirinsky dated August 6, Shostakovich reiterated that he was looking forward to playing the work with the Beethoven Quartet soon, even though he had never played as part of a quintet before.

Sources agree on the timeframe of the composition, but not location. Gerard McBurney, Laurel Fay, Marina Raku, and Vera Zaitseva state that the Piano Quintet was begun in Shalovo (today part of the town of Luga) and completed in Leningrad. Derek C. Hulme cited Moscow as the location of composition. Khentova said that in July 1940, Shostakovich traveled from Gaspra in Crimea, where he completed his orchestration of Modest Mussorgsky's Boris Godunov, to vacation in the village of Kellomäki (present-day Komarovo). There, he rented a two-story cottage and settled in to work. With few residents and visitors, Shostakovich was able to compose the Piano Quintet in secluded surroundings without disturbances. He completed the score on September 14, 1940, in Leningrad and a copy for performance and publication was immediately prepared.

Shostakovich introduced the Beethoven Quartet to the Piano Quintet on September 17. He invited them, as well as the pianists Lev Oborin and Konstantin Igumnov, to listen to his playthrough of the work on the piano.

Preparations for the Piano Quintet's official premiere began on October 22 at a practice room in the Moscow Conservatory. Tsyganov recalled Shostakovich's method of collaborative rehearsal: "First, he played his new piece on the piano from the score; then he distributed the various parts to us, always requesting strongly that we not begin rehearsing without him". Rehearsals typically began late at night, usually around 11:00 p.m., and lasted until the following morning.

Structure
The Piano Quintet consists of five movements:

1. Prelude: Lento (♩ = 72) — Poco più mosso ( = 72) — Lento (♩ = 58) (attacca)

2. Fugue: Adagio (♩ = 84)

3. Scherzo: Allegretto ( = 84)

4. Intermezzo: Lento (♩ = 72) (attacca)

5. Finale: Allegretto ( = 96)

The musicologist Michael Mishra said that the structure of the Piano Quintet, with a pair of connected movements pivoting around a central scherzo, superficially resembled that of Gustav Mahler's Symphony No. 5, although he noted that Shostakovich did not imitate its distribution of weight. Richard Taruskin, another musicologist, posited that Shostakovich meant to "obviously" invoke the Piano Quintet of another Russian composer, Sergei Taneyev. He listed as evidence the fact that both quartets reference Baroque musical forms and share the same key. "Taneyev was the very model of an academic composer", he said, "and in emulating him via his Piano Quintet, Shostakovich was characterizing himself the same way, which as we know by now signaled a big change of direction". Each movement, according to Khentova, develops internal emotions within an overall symphonic structure.

A typical performance of the Piano Quintet lasts approximately 29 minutes.

Description
Shostakovich's Piano Quintet opens with a "Prelude": a construction in ternary form that fuses neo-Baroque and Romantic elements. The choice of title was not invoked out of convenience, but as a token of the composer's deep engagement with Baroque music. Mishra described the movement as "essentially a prolongation of the G tonic". He also likened the movement's close to a "grand cadential 'spinning out' of the sort frequently found at the end of a Bach prelude".

This is succeeded without pause by the "Fugue", the first of four that Shostakovich composed in the 1940s. Khentova characterized it as "philosophical", while Fay wrote that its "polyphonic mastery [was] worthy of Bach". A rising three-note figure that appeared in the closing measures of the "Prelude" resurges in the second measure of the "Fugue", making both movements an integrated unit that anticipates the 24 Preludes and Fugues. Both movements also forecast inflections that Shostakovich would later use in his Jewish-inspired works, such as the Piano Trio No. 2. As the movement builds to a climax, Shostakovich abandons the fugal form in favor of homophonic textures that make a more immediate emotive impact. Recitatives for piano, then cello follow suit, before the fugue resumes in stretto. Mishra wrote of the "Fugue":

"The form of this movement may be somewhat unusual, but it does serve a clear expressive goal—setting the inexorable momentum, texture, and procedures into a larger psychological profile that, with its central climax and gradual withering away, is less typically 'fugal' and more akin to a Shostakovich symphonic slow movement (that of the Fifth Symphony, for example)."

The "Scherzo", which has been described as a "fast ländler" and whose tempo establishes a loose relation to equivalent movements in the String Quartet No. 1 and Sixth Symphony, is the center of the Piano Quintet. Rhythms associated with Spanish dances, which feature regularly in Shostakovich's music, are incorporated into the trio.

Evocations of Baroque music return in the "Intermezzo", which at first gives the impression of a passacaglia before diverging from the procedures used in that musical form. Nevertheless, the music makes allusions to Henry Purcell, the "Air" from Bach's Orchestral Suite No. 3 in D major, and Edvard Grieg's Holberg Suite; the latter itself an homage to musical forms from the past.

Contrasting sharply with the preceding movements is the lighter tone of the "Finale". Mishra said that although its coda does not strive for the transcendence that typifies the work as a whole, the "Finale" can be heard as the first of a type of ending movement that Shostakovich would explore in his later works, "where predominantly lightweight material becomes sublimated in the coda to achieve an enigmatic, but highly poignant sense of resignation". Ian MacDonald, on the other hand, noted that emotionally and structurally the "Finale" was "as disjunctive as that of the Sixth Symphony".

Later amendments

 * {| class="wikitable"

! style="background: Silver" |Tempo marking in the 1940 autograph score ! style="background: Silver" |Tempo marking in the 1956 published score ! style="background: Silver" |Tempo in Shostakovich's 1940 recording ! style="background: Silver" |Tempo in Shostakovich's 1955 recording ! colspan="4" align="center" |Prelude ! colspan="4" align="center" |Fugue ! colspan="4" align="center" |Scherzo ! colspan="4" align="center" |Intermezzo ! colspan="4" align="center" |Finale
 * ♩ = 58 — (rehearsal number 3) ♩ = 52
 * ♩ = 72 — (rehearsal number 3) ♩ = 72
 * ♩ = 53 — (rehearsal number 3) ♩ = 45
 * ♩ = 72 — (rehearsal number 3) ♩ = 61
 * ♩ = 72 — (rehearsal number 3) ♩ = 61
 * ♩ = 72
 * ♩ = 84
 * ♩ = 58
 * ♩ = 75
 * ♩ = 75
 * ♩ = 160
 * = 84
 * = 74
 * = 88
 * = 88
 * ♩ = 72
 * ♩ = 72
 * ♩ = 57
 * ♩ = 71
 * ♩ = 71
 * Moderato poco allegretto; = 72
 * Allegretto; = 96
 * = 86
 * = 96
 * }
 * }
 * }

A number of small alterations were made to the score of the Piano Quintet in the years immediately following its premiere. Valentin Berlinsky recalled that he and his fellow Borodin Quartet members were admonished by Shostakovich for slowing down through a particular passage in the "Prelude" during a 1947 rehearsal of the Piano Quintet. When they protested that a ritenuto was indicated in that passage, he walked up to them, brandished a pen, and crossed out the marking from each one of their parts.

The Borodin Quartet was also the instigator of a more significant modification, this time in the "Finale". Whether it was the result of an accident or direct suggestion is disputed, but it resulted in a portion of music which originally had the viola and cello playing in unison changed to an imitative dialogue.

Tempi were also modified between the original manuscript and the 1956 published edition, possibly to suit Shostakovich's own pianism, which inclined to very fast tempi, an aspect repeatedly criticized by his chamber music partners. These differences in tempi are documented in both of Shostakovich's commercial recordings of the Piano Quintet. As Tsyganov observed:

"Shostakovich was an unsurpassed performer of his own solo and chamber work, playing them, as a composer of genius, in his own unique way—his approach then became the ideal for all performers. It was impossible to differentiate his compositions from his interpretations, as was also the case for those of Medtner, Rachmaninoff, and Prokofiev."

Overall, the 1940 recording is often slower than the metronome markings indicated in the score; the musicologist Sofia Moshevich called it a "raw and still imperfect interpretive sketch". Shostakovich evinced a desire to press the tempo in a number of places, but was held back by the "safe" pace set by the Beethoven Quartet. By contrast, the fleet tempi of the 1955 recording, which Moshevich describes as "polished and refined", were subsequently incorporated into the 1956 published score.

Manuscripts
A preliminary sketch piano score of the first three movements and fair manuscript of the entire Piano Quintet survive. Sketches for the last two movements, however, are presumed lost. The extant sketches consist of four sheets of slightly yellowed music paper that bear the title "Rough Draft of the Quintet" and notations in purple ink. Tempi and ordinal numberings are only accorded therein to the "Fugue". Dating for the sketches of what would become the "Prelude" suggest that the movement was composed in a single day on July 16, 1940. A fragment for an early version of the "Scherzo" is crossed out in black and red pencil.

The fair copy of the Piano Quintet is notated with black ink on 38 sheets of 14-staff music paper that is slightly yellowed. A few errors are crossed out; there are also further markings in pencil and red and green inks. The score is stored in the archives of the Russian National Museum of Music.

Premieres
On November 23, 1940, the Piano Quintet's official premiere occurred at the Small Hall of the Moscow Conservatory; the performers were the Beethoven Quartet, with Shostakovich at the piano. Their performance was part of a ten-day festival of Soviet music.

Preceding that concert was an informal premiere in Leningrad on October 1 at the at the Leningrad branch of the Union of Soviet Composers. On that occasion, Shostakovich was joined by the Glazunov Quartet, the ensemble that had premiered his String Quartet No. 1. Another performance with the Beethoven Quartet and Shostakovich followed on November 12, that time in Moscow for the Stalin Prize committee.

The American premiere of the Piano Quintet, played by the Stuyvesant Quartet with pianist Vivian Rifkin, took place at Carnegie Hall in New York City on April 29, 1941. It was part of an all-Russian program sponsored by the American Russian Institute that also included performances by Vytautas Bacevičius, Andor Földes, Benny Goodman, and Paul Robeson.

First recordings
On December 10, 1940, between 1:30 a.m. and 7:30 a.m., the Beethoven Quartet and Shostakovich recorded the Piano Quintet at the House of Scientists (Moscow) in Moscow. Their recording, made on magnetic film, was intended solely for radio broadcast. It was not available commercially until it was issued on CD in 1993 by the Czech label Multisonic.

The first commercial recording of the Piano Quintet was a set of four 78 RPM discs made by the Stuyvesant Quartet and Vivian Rifkin for Columbia Records that was issued in February 1942.

Publication
Muzgiz published the first edition of the score in 1941, a photocopy of which was published by the Am-Rus Music Corporation for sale in North America. Subsequent editions were published by Edition Peters, Hans Sikorski Musikverlage, Muzyka, and DSCH Publishers.

Popularity in the Soviet Union
Tsyganov later said that the premiere "without exaggeration was a triumph"; the audience demanded encores of the last three movements. David Rabinovich, who wrote a biography on Shostakovich that was approved by the composer, was among the audience at the Piano Quintet's official premiere in 1940:

"One cannot forget the atmosphere that reigned in the [Small Hall] of the Moscow Conservatory during the premiere of the Quintet. It came at the end of a concert after three new quartets by three leading Soviet composers had been played. The audience was growing tired. But when the Beethoven Quartet, so well-known to Moscow music-lovers, appeared on the stage with Shostakovich himself, and when the first strains of the Quintet resounded, all workaday, dearly-beloved, and accustomed sensations disappeared without leaving a trace. Obviously something important was happening in the hall, something that was outside the scope of 'current' musical events."

After the concert, Shostakovich, who was very "very pale, very excited", visited his friend Marietta Shaginyan. "I have been so shaken by the success of the Quintet that I could not go home immediately after the concert", she recorded him saying in her diary. "Instead, I have been wandering the streets of Moscow—my soul filled with bliss".

Critics and audiences alike received the Piano Quintet enthusiastically; demand for performances from all over the Soviet Union was intense. Tickets for performances sold out before posters advertising the events could be set up. Audiences at the work's early performances often requested individual movements as encores; occasionally, they insisted that the entire work be repeated. Encores of the "Scherzo" and "Finale" were so commonplace that wags referred to the work as "a piece in five movements of which there are seven". Performances of the Piano Quintet occupied Shostakovich to the extent that in the period from its premiere until mid-1941, he was able to compose only a single work.

Within the Soviet musical establishment, occasional suspicion and hostility to Shostakovich's Piano Quintet mingled with general approval. One of the composers who publicly stated their ambivalent feelings was Sergei Prokofiev, whose remarks were published in the February 1941 issue of Sovyetskaya Muzyka. He commented favorably on the work's architectural clarity and balancing of instrumental voices. Of all the movements, Prokofiev held the "Fugue" as the "best and most interesting" in the Piano Quintet. "One has to hand it to Shostakovich: in his fugue, as far as the general impression it makes, there is an unusual amount that's new", he said. "I don't even know whether it's a good fugue from the technical standpoint. But musically it's good". Prokofiev interspersed his compliments with objections against the Piano Quintet's length, accusations that Shostakovich trafficked in clichéd mannerisms and sounded geriatric in spite of his youth, and insinuations that the work's rapturous reception with Soviet audiences betrayed their unsophistication. He concluded that the Piano Quintet was "a remarkable composition", but in the same closing sentence added that it "lacked momentum and climaxes".

A contrasting article by the musicologist Daniel Zhitomirsky was published in the same issue of Sovyetskaya Muzyka. Acknowledging that the Piano Quintet "aroused in certain musicians a spirit of opposition toward Shostakovich", he criticized the work's detractors for their simplistic expectations of Soviet music. He also addressed misgivings he heard from some of his colleagues concerning the work's "great and authentic feelings" being filtered "through a prism of thought":

"This type of art may of course provide the highest aesthetic enjoyment, but not always with blazing immediacy, nor will it be attainable at all levels of musical discernment. This last [point] is very important. Sometimes we tend to equate the idea of what is democratic (or belonging to the people) in art with what is immediately comprehensible. But from that standpoint many of the greatest achievements of human culture will seem antidemocratic, for far from all of them, even in our country, the most democratic in the world, are truly accessible (in the sense of being capable of complete inner assimilation) by a wide audience. Do we need this intellectual type of art? Of course we do: it is needed and deeply to be valued, as a particular artistic genre, alongside other genres, neither replacing them nor contradicting them."

Maximilian Steinberg, Shostakovich's former composition teacher, noted in his diary that the Piano Quintet was "an outstanding work of the Soviet chamber music literature" which throughout displayed "wonderful mastery".

Deliberations
After the Piano Quintet was first played for the Stalin Prize committee by the Beethoven Quartet and Shostakovich on November 12, 1940, another performance for members of the Union of Soviet Composers occurred on November 19. At the time, Shostakovich had not yet been as favored by the Soviet government as he would become after the 1942 premiere of his Symphony No. 7. Moreover, the committee was disinclined to place Shostakovich above older and established contenders. Consequently, in early deliberations the Piano Quintet was ranked below another prize nominee, the Symphony No. 21 by Nikolai Myaskovsky. Other first-round contenders included the Violin Concerto by Aram Khachaturian and the opera Semyon Kotko by Prokofiev.

Members of the music section of the prize committee included Myaskovsky, Alexander Goldenweiser, Yuri Shaporin, Isaak Dunayevsky, Samuil Samosud, and Mikhail Khrapchenko; the latter chairman of the Committee on Arts Affairs. Leading the panel was Reinhold Glière. Goldenweiser tempered his cautious praise of Shostakovich with criticism of the "Scherzo" and "Finale". He specifically drew attention to "deliberately grotesque passages" in the former that he negatively likened to the composer's earlier work prior to his 1936 censure. Another committee member, the painter Igor Grabar, refuted his colleague's criticisms:

"When I was listening to Shostakovich's Quintet, I had the feeling that I was not among contemporary composers, but among the great masters. I was completely shaken—no, I was crushed. I had the feeling that I was back in Mozart's time... This work is stamped with the seal of genius. How could we not give it a prize! At the dawn of my life, I was lucky enough to have known Tchaikovsky ... and at my life's sunset, I live in the time of Shostakovich."

On the morning of November 25, a brief article by Alexander Shaverdyan published in Pravda praised the Piano Quintet as the "best work of 1940". Because of Shaverdyan's position as editor of Sovyetskoye Iskusstvo, his endorsement was interpreted by readers as representing the official opinion of the Committee on Arts Affairs and its chairman, Khrapchenko. Concerned that the article was intended to influence the results of the prize committee's first round of voting, which were scheduled to take place later that same day, Goldenweiser immediately contacted the editorial board of Pravda with his disapproval. Shostakovich's Piano Quintet lost to Myaskovsky's Symphony No. 21 by a single vote in the first round of voting. Reticence towards Shostakovich from the music section contrasted with the strong support he received from non-musicians in the prize committee.

Developments that transpired in other Stalin Prize categories at the end of 1940 resulted in the Politburo approving an expansion of the music section's prizes from one to five and permission for the prize committee to consider awards for works composed as far back as 1935. Ultimately, the music sections's allotment of prizes was increased to eight: three for first prize and five for second. The new rules not only permitted the retention of Shostakovich and Myaskovsky on the short list of nominees, but momentarily led to the consideration of the former's Symphony No. 5 instead of the Piano Quintet. This idea was quickly discarded because the committee believed that the later work better exemplified Shostakovich's musical reformation since 1936. Shostakovich and Myaskovsky tied in the second round of voting held on January 4, 1941.

Dissent
A conjectural threat to the Piano Quintet's fortunes came in the form of a letter addressed to Joseph Stalin, dated January 7, 1941. Its author, Moisei Grinberg, was a pianist and CPSU member born in Rostov-on-Don. Formerly the head of the State Committee on Music Institutions and editor-in-chief of Muzgiz, he was deposed from both positions during the Great Purges. He was thereafter allowed to remain a member of the CPSU, but in lower level employment. In 1941, he was the deputy artistic director of the Stanislavsky Opera Theatre and a junior editor at Sovyetskaya Muzyka. Therefore, according to the musicologist Marina Frolova-Walker, Grinberg "was no random malcontent": his letter was an attempt at personal rehabilitation and ingratiation with the authorities.

Grinberg protested to Stalin that "certain unhealthy tendencies" were emerging in Soviet music. One of the targets of his complaints was Shostakovich's Piano Quintet:

"...So much of [it] is contrived and there are so many abstract formal quests and so little of genuine beauty and strength ... [It] may stand out for its formal perfection, but this form is nourished by rationalism and the air of the hothouse, rather than by any living human energy. This is music that lacks any connection with the life of the People."

Rather than commending the neoclassicism that had made the work widely liked, Grinberg contented that this trait was proof of its "deeply Western orientation". No personal malice towards Shostakovich was intended, Grinberg said; he suggested that the Stalin Prize should go to his Symphony No. 5 instead. Professional nepotism and privileged seclusion from the general musical audience, Grinberg additionally suggested, resulted in the prize committee's unsatisfactory choices of candidates. He closed his letter with a plea for Stalin's personal supervision of Soviet music.

Existent evidence indicates that Grinberg's letter never reached Stalin, who likely never heard Shostakovich's Piano Quintet and customarily remained aloof from matters pertaining to music.

Award
The Piano Quintet was awarded a Stalin Prize, first class in the third and final round of voting; the results were publicly announced in Pravda on March 16, 1941. First class prizes were worth 100,000 rubles. Average monthly salaries for manual workers and heads of university departments at the time were 300 and 1,500 rubles respectively.

In the United States
American journalists in the wake of the stateside premiere of the Piano Quintet frequently commented on the monetary award the work earned with its Stalin Prize; the Pittsburgh Sun Telegraph called it "the most expensive piece of chamber music ever composed". In 1941, Howard Taubman of the New York Times estimated the sum at US$20,000 1941. "There are few, if any, compositions in history that have brought their composer as much at one swoop", he said in his review of the American premiere, before expressing skepticism of the work's monetary worth. Taubman, nevertheless, commended the music, which he said pursued similar stylistic territory as Shostakovich's Symphony No. 5, as "engaging" and "strong". He named the recording of the Piano Quintet made by the Stuyvesant Quartet and Rifkin as one of the best albums of 1942.

title: Piano Quintet (Shostakovich)


text:
Nǁng language

Nǁng or Nǁŋǃke, commonly known by the name of its only spoken dialect Nǀuu (Nǀhuki), is a moribund Tuu (Khoisan) language once spoken in South Africa. It is no longer spoken on a daily basis, as the speakers live in different villages. The ǀʼAuni name for the Nǀuu, ǂKhomani, is used by the South African government. As of June 2021, only one speaker of the Nǀuu dialect remains, the rest of the population having shifted to Khoekhoe and Afrikaans.

Classification and name
Nǁng belongs to the Tuu (Taa–ǃKwi) language family, with extinct ǂUngkue being its closest relative and Taa its closest living relative.

The two recent dialects are a western/northwestern one, to which Nǀuu (Nǀhuki) is sometimes restricted, and a nameless eastern dialect from the area of Langeberg. As of 2010, most remaining speakers spoke Nǀuu dialect, and this was the name Nǁng appeared under when it was rediscovered. However, two spoke the eastern dialect and rejected the label Nǀuu.

The easiest of the various names for English speakers to pronounce is Nǀuu. The letter that looks like a vertical bar (sometimes substituted with a slash) represents a dental click like the English interjection ''tsk! tsk! (tut! tut!) used to express pity or shame, but nasalized; "Nǀuu" is pronounced like noo, with a tsk!'' in the middle of the. The double-vertical-bar in "Nǁng" is a (single) lateral click, pronounced like the tchick! used to spur on a horse; the name is pronounced like the ng of sung with this click in it.

The word nǀuu is actually a verb, 'to speak a Bushman language', possibly from Khoekhoe. Nǀhuki is a deverbal, 'a Bushman language'. The people call themselves Nǁŋ-ǂe 'Nǁng people', and Westphal believes this may be the term recorded by Bleek and variously rendered in the literature as ǁNg ǃʼe, ǁn-ǃke, ǁŋ.ǃke.

The name Nǀusan is an ambiguous Khoekhoe exonym, and is used for several Tuu languages. Traill says that the ǀʼAuni call their language Nǀhuki, but others have recorded their name for their language as ǀʼAuo, and both Westphal and Köhler state that Nǀhuki (Nǀhuci, nǀɦuki) is a variety of Nǁng. It is possible the languages have gotten mixed up in the literature.

Doculects
Güldemann (2017) lists the following pre-democracy doculects as being Nǁng.

History
Nǁng prospered through the 19th century, but encroaching non-ǃKwi languages and acculturation threatened it, like most other Khoisan languages. The language was mainly displaced by Afrikaans and Nama, especially after speakers started migrating to towns in the 1930s and found themselves surrounded by non-Nǁng-speaking people. In 1973 their language was declared extinct, and the remaining Nǁnǂe ("ǂKhomani") were evicted from the Kalahari Gemsbok National Park.

In the 1990s, linguists located 101-year-old Elsie Vaalbooi, who could still speak Nǁng. Anthony Traill interviewed her in 1997. The South African San Institute soon became involved in the pursuit of information on the Nǁng language, and with the help of Vaalbooi they tracked down 25 other people scattered by the eviction who were able to speak or at least understand the language. Thabo Mbeki handed over 400 km2 of land to the Nǁnǂe in 1999, and 250 km2 of land within the park in 2002. Vaalbooi came up with the Nǁng motto of Sa ǁʼa ǃainsi uinsi "We move towards a better life" for her rehabilitated people. This was also adopted as the official motto for the Northern Cape Province. At the time there were twenty elderly speakers, eight of whom lived in the Western Cape province signed over to them. As of 2007, fewer than ten were still alive in South Africa, and a few more in Botswana; none live with another speaker, and their daily languages are Khoekhoe and Tswana, respectively. In 2013 there were three speakers in the Upington area and two in Olifantshoek (ǁʼAu), speaking the western and eastern dialects, respectively. In 2021 Simon Sauls died, leaving his sister, 88-year-old Katrina Esau, as the last speaker of the language. The younger generations of ǂKhomani are proud Nama speakers and have little affinity to Nǁng. Esau had opened a school with her granddaughter to teach the language to children, but it was vandalized during the COVID pandemic and abandoned.

Recent research on Nǁng led by Amanda Miller of Cornell University has helped describe the physics of its clicks, leading to a better understanding of click sounds in general.

Efforts to perpetuate the Nǁng language continue in 2017 and in 2021. The first children's book, !Qhoi n|a Tjhoi (Tortoise and Ostrich), was written by Katriena Esau, one of the two surviving speakers at the time, in May 2021. In October 2022, the Dutch NOS referred to Katrina Esau, or "Oma Katrina", as the last speaker of Nǀuu. She was teaching the language to a group of children, including her grandson and great-grandson, all speakers of Afrikaans.

Phonology
Nǁng has one of the more complex sound inventories of the world's languages. Most lexical words consist of a phonological foot with two moras (tone-bearing units). The first mora must start with a consonant (CV). The second mora may be a single vowel (V), a nasal consonant m or n (N), or one of a drastically reduced number of consonants plus a vowel (cV). That is, lexical roots, not counting sometimes lexicalized CV prefixes and suffixes, are typically CVcV, CVV, CVN, though there are also a few which are CV, as well as longer words of two phonological feet: CVCV, where the second C is not one of the reduced set of consonants but cannot be a click, CVCVN, CVVCV, CVNCV, CVVCVN, CVNCVN, CVcVCV, CVVCVcV. Grammatical words tend to be CV or V.

There are occasional exceptions to these patterns in ideophonic words such as 'Namaqua sandgrouse' (CVcVCVCVV + suffix) and historically reduplicated words with clicks such as  'to talk'.

Vowels
Like most languages in southern Africa, Nǁng has five vowel qualities. These may occur strident and nasalized. A word may have two adjacent vowels, which resemble a long vowel or diphthong.

The strident vowels are thought to have the phonation called harsh voice. They are strongly pharyngealized, and for some speakers involve low-frequency trilling that presumably involves the aryepiglottic fold. The four strident vowel qualities (there is no strident i) are rather different from the non-strident vowels, as is common when a vowel is pharyngealized.

Nǁng is the only Khoisan language known to have a strident front vowel,, though this is rare, occurring in only two known words, 'to fly' and  'loincloth'. The lack of a nasalized equivalent is thought to be an accidental gap or simply unattested due to the small number of known words.

The tone-bearing segment may be a syllabic nasal,, rather than a vowel, as in the name Nǁng.

Only certain sequences of vowels may occur in a bimoraic foot, regardless of whether there is an intervening consonant. (That is, the permitted vowels are the same whether a word is CVcV or CVV.) If the first vowel is any variety (nasal, strident, etc.) of, then the second vowel must be identical. If the first vowel is, then the second may be anything but. If the first vowel is or, then the second may be either  or a vowel of the same height: that is, oa, oo, oe; ua, uu, ui. The vowels must be both oral or both nasal; nasal vowels cannot follow a nasal stop (though they may follow nasal clicks). Only the first vowel may be strident.

Front vowels can only follow the click types and  (the back-vowel constraint), with a single known exception,  'to go'. Front vowels and strident vowels may also not follow, whether an affricate release or a fricative, with the exception of three female kin terms where the second syllable is. As with the lack of strident front vowels, there are thus a small number of exceptions for these constraints with, but none with.

Tones
Nǁng moras may carry a high or low tone, /H/ or /L/. A typical lexical word consists of two moras, and so may have a high (HH), low (LL), rising (LH), or falling (HL) tone.

Monomoraic lexical roots, such as 'mouth', are high- rather than low-tone by a 5–1 margin. CVV and CVN roots are HH, HL, and LH with about equal frequency, with LL slightly less common. However, half of all CVcV roots are LH, making it markedly frequent, while only 5% are HL. In an additional CV foot the distribution of H and L is approximately equal; an additional CVN or CVcV foot may pattern like an initial foot, but they are too infrequent to be sure.

Consonants
The majority of Nǁng consonants are clicks. It was once thought that Khoisan languages distinguish velar and uvular clicks, but recent research into Nǁng, and reevaluation of the data on ǃXóõ, indicates that, for these languages at least, the distinction is one of pure clicks versus click–plosive contours.

"(?)" marks possible accidental gaps; these consonants might be expected based on their occurrence in neighboring languages with similar phonologies, but are expected to be rare, and may occur in Nǁng words that have not been recorded.

What were historically initial alveolar occlusives have become pre-palatal in lexical words. Among grammatical words in the western dialect there is a single exception, ná 'I'; in the eastern dialect even that has merged, for ɲá 'I'.

Only sonorants may occur as the medial consonant of a phonological foot. is only known from three words. The oral sonorants do not occur in initial position.

These are simple clicks. The traditional term "velaric" is something of a misnomer, for the rear articulation is further back than the velum, and indeed further back than Nǁng. Miller et al. prefer the term "lingual" for this airstream mechanism; they also reject the existence of click "accompaniments", using the IPA symbols to represent both points of articulation rather than solely the anterior articulation. Besides being motivated phonetically, this has the benefit of better illustrating the parallels between clicks and pulmonic consonants.

In the above rubric, the first element of the name is the forward articulation, and the second is the rear articulation.

These are airstream contour consonants, which start off with a lingual (velaric) airstream mechanism and finish with a pulmonic airstream (whereas affricates are manner contour consonants, starting as plosives and finishing as fricatives). Traditionally, these were considered to be uvular clicks, because the uvular or pharyngeal closure is audible, but in fact the rear closure of all Nǁng clicks is uvular or pharyngeal. (The distinction between uvular and pharyngeal is not represented here.) Effectively, in these clicks the release of the rear articulation is delayed, so that there is a double release burst, the forward (lingual) release followed by the rear (pulmonic) release.

These differ from the previous consonants in that the second, rear release is an ejective.

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

title: Nǁng language


text:
Baqubah

Baqubah (بَعْقُوبَة; BGN: Ba‘qūbah; also spelled Baquba and Baqouba) is the capital of Iraq's Diyala Governorate. The city is located some 50 km to the northeast of Baghdad, on the Diyala River. In 2003 it had an estimated population of some 280,000 people. Baqubah served as a way station between Baghdad and Khorasan on the medieval Khorasan Road. During the Abbasid Caliphate, it was known for its date and fruit orchards, irrigated by the Nahrawan Canal. It is now known as the centre of Iraq's commercial orange groves.

Demography and ethnography
Demographic composition of Baqubah has been a shifting phenomenon since the independence of Iraq. Consequently, the city served as a springboard for violence against the Shias in Baghdad and others, from 2003 to 2008 (see below for chronological detail). Then in 2014, it became a seat for the ISIS terrorists, raining violence against the Shia population once again. Following these events, the Iraqi Shia militias such as the Kata'ib Hezbollah, have exacted revenge on the Sunni population of the city and the countryside around it alike by killing thousands of families and forced migration and conversions. A stream of Shia settlers are arriving (or being directed to) settle in Baqubah and the neighborhood, in order to avoid a future repeat of the same by the Sunni majority. Both the western and eastern halves of the city straddling the Diyala River have now obtained large and grow Shia minorities, with the eastern half outpacing the other in this respect.

History
Baqubah's name originates from the Aramaic words "Bet" (house) and "aquba" (Guardian or Punishment) meaning "The house of Punishment/The Guardian's house". The city was used as a refugee camp for Assyrian refugees fleeing the Assyrian genocide. A refugee camp was set up outside the city, which accommodated between 40,000 and 50,000 refugees.

The camp set up by British mandate government in Iraq housed Assyrians and Armenians following the 1915 Genocide in the Ottoman Empire. The camp was ruled by military authority and the later Assyrians living in the camp were recruited to serve in the Iraq Levies Forces.

Medieval history
Baqubah was probably founded during the Sasanian period.

At the time of the Abbasid caliphate, Baqubah lay on the Nahrawan canal, at the end of the canal's Great Qātūl stage and the beginning of its Tāmarrā stage. Although the main road heading east to Khorasan from Baghdad bypassed Baqubah during this period, passing instead through the city of Jisr Nahrawan, it was Baqubah and not Jisr Nahrawan that was the capital of the Upper Nahrawan district.

However, the succeeding Seljuk sultans neglected to dredge the Nahrawan canal or otherwise maintain it, and by the time of Yaqut al-Hamawi in the early 1200s, the canal had completely silted up and the lands it had once watered had gone out of cultivation. By the 14th century, Hamdallah Mustawfi wrote that Jisr Nahrawan was in ruins, and the road to Khorasan now passed through Baqubah instead. Baqubah was the main town in the Tarīq-i-Khurāsān district, and it was surrounded by fertile orchards that produced large crops of oranges and pomelos.

In Yaqut's time, Baqubah was a flourishing town, with several public baths and mosques, as well as a market. The land around Baqubah was densely covered in irrigated orchards, whose dates and lemons were proverbial for their excellence.

Modern history
In the early 1800s, Baqubah was surrounded by date palm groves, as well as orchards producing lemons, pomegranates, and other fruits. In 1820, Baqubah is described as being home to 2,000 people, of whom almost half were Shi'ite. It had a bazaar and two small mosques.

In the early 1820s, though, the Kurdish army of Mohammad Ali Mirza, governor of Kermanshah, occupied Baqubah and destroyed much of it. A decade later, it was still in ruins. By 1845, the bazaar and one of the mosques were functioning again, and local agriculture was flourishing. By the early 1870s, the Ottoman civil administration had managed to restore stability to the region, and Baqubah became increasingly prosperous. Around the turn of the century, one European traveler described its connections to emerging networks of world commerce:

""The heart of the town is formed by a small bazaar with many fruits and vegetables, American coffee, Indian tea, French sugar and English textiles, in addition to the usual native products. But the bazaar is surrounded by a wide district of expansive gardens with characteristic gate-cottages, and at the eastern exit from the town there is a large and handsome caravansary that is full of Shi'ite pilgrims almost throughout the year.""

- Ernst Herzfeld, 1907

Recent history
During the course of the US-led occupation of Iraq, Baquba emerged as the scene of some of the heaviest guerrilla activity, along with the Sunni enclaves of Fallujah and Ramadi. It was the site of the heaviest fighting during the June 24, 2004, insurgent offensive. Al-Tawhid Wal-Jihad, led by Abu Musab al-Zarqawi, took responsibility for the attacks. In a setback for insurgents, Iraqi and U.S. officials confirmed on June 7, 2006, that Zarqawi had been killed in an airstrike and subsequent raid 8 km north of Baquba. During late 2006, however, Baqubah and majority of Diyala Governorate were reported to have come under Sunni insurgent control. On January 3, 2007 the previous Iraqi government in Baquba was reported to have fallen, leaving the city in the hands of insurgents fighting against the American led coalition in Operation Iraqi Freedom. During this time, the city was reportedly under the control of the Islamic State of Iraq.

In January 2007, it was reported that Sunni insurgents were able to kidnap the mayor and blow up his office, despite promises from American and Iraqi military officials that the situation in the city was "reassuring and under control". The city at its peak had over 460,000 residents, but a February 2007 report labeled the city a "ghost town" as residents either fled criminal and sectarian violence or remained in hiding at home.

On August 10, 2015 a suicide car bombing near Baqubah killed 30 and wounded 40 people. ISIS claimed responsibility for the attack.

Attacks during Iraq War
The following is a list of deadly attacks in the city including the death of al-Zarqawi and after.
 * July 9, 2003, SFC Dan "Gabe" Gabrielson of the 652nd Engineer Company (MRBC) was killed in an insurgent ambush.
 * July 26, 2003 SPC Jonathan Barnes, SGT Daniel Methvin, and SPC Wilfredo Perez were killed and another soldier was critically injured in a grenade attack from inside the Baqubah women and children's hospital they were guarding at the time.
 * August 11, 2003 SSG David Perry of the 649th MP Company was killed while inspecting a suspicious package outside Diyala Provincial Police Headquarters. The package was an Improvised Explosive Device (IED) in disguise. The 649th MPs were living at the police station and training Iraqi Police
 * November 20, 2003 Capt. George Wood was killed in action while on patrol in Baqubah, Iraq when his vehicle hit an explosive.
 * December 25, 2003, SSG Thomas Christensen and SSG Stephen Hattamer, of the 652nd Engineer Company (MRBC), were killed in a mortar attack on Camp Gabe on the outskirts of Baqubah.
 * December 26, 2003, Ssgt Michael Sutter, of 745th Ordinance Company of 79th Ord Battalion died while disarming two IEDs along the Diyalah canal, near Baqubah Police Hq garrisoned by the 649th MP company who were instrumental in the recovery of the soldier several days later.
 * March 10, 2004, SPC Bert Hoyer, of the 652nd Engineer Company (MRBC) was killed by an IED outside Camp Warhorse.

June 24, 2004, Capt. Christopher Cash and Spec.4 Daniel Desens Jr, of A Co 1-120th INF BN, North Carolina National Guard, were killed in action during attacks by a large well-coordinated insurgent force attempting to take key points around the city.

 * April 8–13, 2004: Mahdi Militia and Ansar al-Sunnah attempt to overtake the city. American tanks and Bradleys patrol the streets and Artillery and Air Force bombs dropped inside the city limits.
 * June 8, 2004. United States Army Captain Humayun Khan ran towards a taxi that was speedily approaching the guard post he was inspecting. Its driver detonated a bomb before the taxi could hit the post or a nearby mess hall, where hundreds of soldiers were eating breakfast. Khan was posthumously awarded the Bronze Star and Purple Heart.
 * June 7, 2006: A U.S. airstrike kills Abu Musab al-Zarqawi, the former leader of Al-Qaeda in Iraq, near Baqubah, northeast of Baghdad.
 * June 26, 2006: At least 25 people are killed in a bicycle bombing in the city, according to police.
 * October 3, 2006: In a string of deadly attacks, gunmen open fire on a Shia family fleeing the city, killing five of them. Ten others are killed in shooting and bombing incidents, and 10 bodies are found in the city, the apparent victims of sectarian slayings.
 * October 26, 2006: Insurgents ambush a police unit, killing 24 policemen and one civilian. Eight insurgents are killed in subsequent fighting with police and U.S. troops, the military says.
 * November 12, 2006: Fifty bodies are found dumped behind the offices of the provincial electric company, according to the Iraqi army's provincial public affairs office.
 * November 29, 2006: Fighting between police and insurgents after an attack on Baqubah's police headquarters shuts down the city, closing the university, schools and most stores, and clearing the streets of everyone, except a few who scurry about to stock up on food. At least 55 militants are killed in clashes in the preceding days, according to anonymous police sources.
 * November 30, 2006: The U.S. military says Iraqi forces find 28 bodies in a mass grave south of Baqubah, following days of heavy fighting that killed scores of people in and around the city.
 * December 2, 2006: U.S. and Iraqi forces begin an offensive in the city in response to fighting that raged for a week between Sunni insurgents and police. Ahmed Fuad, a senior morgue official, said the morgue received 102 bodies in the previous two weeks.
 * December 3, 2006: Some 16 bodies – apparent victims of sectarian death squads – are found.
 * December 29, 2006: Ten bodies showing signs of torture are found dumped on the streets of the city, police and morgue officials say.
 * August 6, 2007: A bomb detonates in a house, killing 3 US soldiers, 1 of whom was Kareem Rashad Sultan Khan.
 * June 22, 2008: A female suicide bomber detonated a powerful explosive device outside a government outpost and courthouse. 15 were killed in the blast.
 * July 15, 2008: Two suicide bombers target army recruits, killing 35 and injuring 50. See: 15 July 2008 Baquba bombings
 * October 8, 2008: A female suicide bomber detonates at the central court house, killing nine (including five Iraqi soldiers) and wounding 17.
 * October 16, 2008: A mortar attack occurred. Three rockets fired into FOB (Forward operating base) Warhorse from nearby Baqubah kill 2 US Army soldiers, PFC Cody J. Eggleston, and PFC Heath K. Pickard. Both were awarded the Alaska Decoration of Honor. They both were assigned to 1st Platoon, C-CO, 1st Battalion, 5th Infantry Regiment, 1st Brigade Combat Team, 25th Infantry Division, Fort Wainwright, Alaska.
 * March 3, 2010: Suicide attacks killed at least 31 people and injured dozens more in three separate suicide bombings. The third explosion attacked the city's main hospital, where the victims of the first two attacks were being treated.
 * June 14, 2011: A team of six gunmen and suicide bombers dressed in police uniforms attacked Diyala provincial council's offices in the center of Baqubah. The assault began about 9:20 a.m. with a suicide car bomb attack at the gates of the Diyala provincial council's headquarters. As police officers and Iraq Security Forces (advised by US Army Special Forces) rushed to the scene, other militants attacked a second checkpoint, one detonating a suicide vest and the others spraying guards and civilians with gunfire. Four civilians and three police officers reported killed. Five of the attackers were also killed, and one was captured.

Operation Arrowhead Ripper
On June 19, 2007, U.S. forces launched a large-scale operation against Sunni militants in Baquba. The offensive, Operation Arrowhead Ripper, involved approximately 10,000 coalition soldiers.

Lingering legacy of Ba'ath Party and Saddam Hussein
Along with the city of Fallujah, Baqubah has kept the names of monuments and mosques named after some of the most controversial officers and campaigns of the Baath Party. For example, still today, a large mosque named after Adnan Khairallah is found in the city. There is also an Izzat Ibrahim mosque in Baqubah (and another one in its satellite town of Buhriz), named likewise after a high officer of Saddam Hussein. Furthermore, Baqubah also hosts a mosque named the Anfal mosque, which echoes the name of the Anfal Campaign, which involved the mass killing of the Kurds under the supervision of Adnan Khairallah. These, like other Baath Party-related names, are controversial among Iraqi Shia and Kurds who lost so many lives to the abuses of the Ba'ath Party, Saddam Hussein and military/security figures like Adnan Khayrullah and Izzat Ibrahim.

Climate
Baqubah has a hot desert climate (BWh) in the Köppen–Geiger climate classification system. In winter there is more rainfall than in summer. The average annual temperature in Baqubah is 22.8 °C. About 186 mm of precipitation falls annually.

Transport
Baqubah is connected by highway to Baghdad and Mandali.

title: Baqubah


text:
Adstock

For the municipality in Quebec, see Adstock, Quebec

Adstock is a village and civil parish about 2.5 mi northwest of Winslow and 3 mi southeast of Buckingham in the Aylesbury Vale district of Buckinghamshire. The 2001 Census recorded a parish population of 415 reducing to 363 at the 2011 Census.

There are remains of a Roman road in the village.

In the divisions of England that took place between AD 613 and 1017, Buckinghamshire was divided into eight hundreds. The manor of Adstock originally formed part of the Votesdune Hundred, then merged into the Ashendon Hundred and was finally absorbed into the Buckingham Hundred. At that time it was surrounded by the Bernwood, one of the most important Royal Forests. At the end of the 10th century, Adstock formed a portion of the Lands of Godwine, Earl of Kent and his second wife Gytha Thorkelsdóttir.

After the Norman conquest of England, its name was recorded in the Domesday Book of 1086 as Edestoche which is Old English and means Eadda's Farm. Nearby Addington was named after the same person.

In the mid to late 11th century the manor of Adstock was given by William the Conqueror to his illegitimate son William Peverel, who was listed as its owner in 1086. This suggests that the manor was of some value, or that its previous owner was of some prominence in Anglo Saxon society.

The village received a charter to establish itself as a town briefly in 1665 so that a market could be held there. This was due to the majority of the people from the two local towns of Winslow and Buckingham being infected with bubonic plague. The charter was removed, however, in 1685 and Adstock was reinstated as a village rather than a town.

The parish church, which dates from the 12th century, is dedicated to St Cecilia. The roof is dated 1597, and the church underwent further major restoration during the Victorian era. There are two bells (the lightest of which dates back from about 1440) in the church and one Sanctus

Adstock had an outstation from the Bletchley Park codebreaking establishment, where some of the Bombes used to decode German Enigma messages in World War Two were located.

title: Adstock


text:
WEWS-TV

WEWS-TV (channel 5) is a television station in Cleveland, Ohio, United States, affiliated with ABC. It has been owned by the E. W. Scripps Company since its inception in 1946, making it one of three stations that have been built and signed on by Scripps (alongside company flagship WCPO-TV in Cincinnati and WMC-TV in Memphis, the latter of which was sold in 1993). WEWS-TV's studios are located on Euclid Avenue (near I-90) in Downtown Cleveland, and its transmitter is located in suburban Parma.

History
The station first signed on the air on December 17, 1947, as the first television station in Ohio, and the 16th overall in the United States. The call letters denote the initials of the parent company's founder, Edward Willis Scripps. The station is the oldest in Cleveland to maintain the same channel position (as an analog broadcaster), ownership and call letters since its sign-on. A few weeks before WEWS-TV's sign-on, Scripps launched WEWS-FM 102.1 (the frequency is now occupied by WDOK) as an outlet for WEWS-TV personalities to gain on-air experience before the launch of the television station. Channel 5's first broadcast was of a Christmas pageant run by the station's corporate cousin, The Cleveland Press. Its staff included capable producers Jim Breslin and Betty Cope, who would later become president of WVIZ (channel 25).

WEWS originally operated as a CBS affiliate, with secondary ABC and DuMont affiliations; it shared the secondary ABC affiliation with WXEL-TV (now WJW-TV, channel 8). WEWS lost the CBS affiliation to WJW-TV in 1955 after that station's then-owner, Storer Broadcasting, used its influence with CBS to land the affiliation; ABC then became channel 5's primary network. The station later lost the DuMont affiliation when that network ceased operations in 1956. WEWS was also an affiliate of the short-lived Paramount Television Network; the station was one of the network's strongest affiliates, airing such Paramount programs as Time For Beany, Hollywood Reel, and Frosty Frolics. WEWS also aired two NBC programs, both of which had been preempted by Westinghouse-owned NBC affiliate KYW-TV (now WKYC): the network's evening newscast The Huntley-Brinkley Report, during the 1959–1960 season; and The Tonight Show, with hosts Jack Paar and later Johnny Carson, from October 1957 to February 1966.

In 1977, WEWS-TV went before the U.S. Supreme Court for recording and broadcasting the entire human cannonball act of Hugo Zacchini. He performed his circus routine at the Geauga County Fair in Burton, Ohio, and the station did not compensate him, as was required by Ohio law. In Zacchini v. Scripps-Howard Broadcasting Co., the U.S. Supreme Court ruled that the First Amendment did not shield WEWS from liability from common law copyright claims.

On May 23, 1994, as part of an overall deal in which network parent News Corporation also purchased a 20% equity interest in the group, New World Communications signed a long-term affiliation agreement with Fox to switch thirteen television stations that New World owned or was acquiring from a Big Three network, including WJW-TV, to Fox. The deal was motivated by the National Football League (NFL)'s awarding of the rights to the National Football Conference (NFC) television package to Fox on December 18, 1993, in which the conference's broadcast television rights moved to the network effective with the 1994 NFL season, ending a 38-year relationship with CBS. As Fox was seen at the time on lower-profile UHF station WOIO (channel 19), CBS immediately targeted WEWS, as well as sister station WXYZ-TV in Detroit as its new affiliates in those markets. On June 16, however, Scripps signed a long-term deal with ABC that would keep WEWS-TV and WXYZ-TV as affiliates of the network; Scripps also agreed to affiliate WMAR-TV in Baltimore, KNXV-TV in Phoenix, and WFTS-TV in Tampa with ABC in the deal.

Dual network affiliates
From 1955 until December 31, 1996, WEWS held a distinction of being one of two primary ABC affiliates for the Cleveland market. WAKR-TV (channel 49) began operations on June 7, 1953, as a primary ABC affiliate, two years prior to WEWS joining the network. WAKR-TV's ties to ABC dated back to when radio adjunct WAKR signed on in 1940 as an NBC Blue/Blue Network affiliate and were incentivized by ABC's merger with United Paramount Theaters. For the network's part, they were engaged in a push to sign up as many affiliates as possible to compensate for NBC, CBS and Dumont having stronger affiliate bases.

WAKR-TV's launch was delayed for several years: originally intended as a VHF license on a channel 11 allocation assigned to Akron, that allocation was removed as a result of the FCC's 1952 Sixth Report and Order in favor of two UHF allocations, one of which was not considered operable at the time. The station largely lost money in its early years and relied on profits from WAKR to remain solvent even after it moved from channel 49 to channel 23 in 1967. The ABC-TV schedule began to be carried in pattern by WAKR-TV with minimal deviations starting with the 1963–64 television season and carried Good Morning America in its entirety for the market as WEWS opted out for The Morning Exchange at 8 am, a distinction that ended in September 1994. When founding owner Summit Radio/Group One Broadcasting sold off their radio assets in 1986, the TV station was renamed WAKC.

After nearly 40 years of continuous ownership by Summit/Group One, WAKC was sold to ValueVision in late 1993; ABC immediately renewed their affiliation after the sale closed, forcing the home shopping programmer into operating the station as a conventional network affiliate. Following consummation of a subsequent sale to Paxson Communications, the station's entire news department was fired outright on February 28, 1996, and all ABC programming was dropped that December 31. Paxson ultimately used the renamed WVPX-TV as a charter affiliate for the Pax TV network—a direct antecedent of Ion Television—which launched on August 31, 1998. Due to Scripps' purchase of Paxson's successor company Ion Media in September 2020, WVPX was divested to Inyo Broadcast Holdings but has retained affiliations with Ion and other digital subchannel networks operated by Scripps subsidiary Katz Broadcasting.

Among WAKR-TV/WAKC's most notable alumni are two long-tenured WEWS staffers: Ted Henry, who began his career at WAKR-AM-TV as a reporter, and Mark Johnson, who worked at WAKC as a weatherman prior to joining WEWS in 1993 as a meteorologist.

Syndicated and network
WEWS carried the 90-minute ABC premiere of The Edge of Night on December 1, 1975. On December 3, it started Edge at 10 a.m. on a one-day delay, and then later pushed up to 10:30 to make way for the national syndication of the talk show Donahue. Edge was dropped in April 1977 when ABC expanded All My Children to one hour and revised the daytime lineup.

In 1969, the station gained some national attention for airing only the first half of Turn-On, because they stated it did not return to the show after the first commercial break, which guest host Tim Conway said was after "15 minutes" but the station claimed had happened after 10 minutes. The rest of the time slot was the emergency procedure, a black screen with live organ music that had not been used in over 20 years. The station's spokesman claimed that the station's switchboard was "lit up" with protest calls, and general manager Donald Perris derided Turn-On as being "in excessive poor taste." The station sent Perris sent to ABC president Elton Rule an angry telegram: "If your naughty little boys have to write dirty words on the walls, please don't use our walls. Turn-On is turned off, as far as WEWS is concerned."

In 2004, all the Scripps-owned ABC stations preempted a showing of Saving Private Ryan.

On May 23, 2010, WEWS-TV's broadcast of the series finale of Lost was almost completely interrupted and rendered unwatchable by a number of technical difficulties with the station's digital signal. This caused numerous viewer complaints, leading the station to issue numerous apologies both on-air and on its website.

From the mid-1980s until 2011, WEWS was the Cleveland outlet for popular syndicated programs such as The Oprah Winfrey Show, Wheel of Fortune, Jeopardy!, and Live with Regis and Kathie Lee/Kelly, and throughout that time frame, there was little change in the daytime lineup, as those programs consistently drew good ratings.

In 2011, Oprah Winfrey ended her show after a successful 25-year run. To fill the void, WEWS put The Dr. Oz Show (an Oprah spin-off hosted by Cleveland native Dr. Mehmet Oz), which was airing at 10 am, in the 4 p.m. time slot., and in subsequent years aired various other programs in that slot until settling in with a 4 p.m. newscast in fall 2018. (Dr. Oz ended up moving to WJW until the show ended its run in 2022 due to Oz's commitments to running for the United States Senate.)

On September 14, 2012, the station dropped both Wheel and Jeopardy! after airing both shows for almost three decades, replacing them with The List and Let's Ask America, two more internally produced shows from Scripps. The reason behind the removal of the two hit game shows was because Scripps was looking to stray away from shows that carried a high cost to air on their stations, and instead air shows where Scripps was able to control advertisement, and as a result, are much cheaper to air on their stations. Both game shows ended up moving to WOIO.

Let's Ask America would eventually be canceled in 2015, and WEWS would replace it with the long running celebrity gossip program Access Hollywood. The station also acquired Katie Couric's new talk show and placed it at 3 p.m. following General Hospital's shift to 2 pm, a move that many other ABC affiliates also made. Couric's show would be canceled two years later, and WEWS has aired various other syndicated programs in that time slot ever since. At present, only the program now known as Live with Kelly and Mark continues to air on channel 5 from the original stable of hit syndicated shows.

On June 26, 2023, following the cancellation of The List, WEWS began airing The Debrief, a nightly newscast airing at 7 p.m. originating from and simulcast on Scripps News—a sister network of WEWS, as part of a plan by Scripps to integrate Scripps News programming on their main network affiliates as a way to promote Scripps News and increase the network's exposure.

Local programming
In its early days as an ABC affiliate, the station produced its own shows in the afternoon, as ABC offered little daytime network programming. Among the local programs offered during the 1950s and 1960s included news analysis from Dorothy Fuldheim, children's programs featuring the "Uncle Jake" character played by Gene Carroll and the "Captain Penny" character played by Ron Penfound, and exercise programs with Paige Palmer. Alice Weston had one of the first live television cooking shows, and Barbara Plummer was "Miss Barbara" for a generation of young viewers on the local version of Romper Room. The most popular show was The Gene Carroll Show, a program that showcased Cleveland area talent which aired Sundays at noon beginning in 1948 and ran well into the 1970s. WEWS also offered a 90-minute afternoon variety show The One O'Clock Club weekdays hosted by Fuldheim and Bill Gordon. The program was so popular that competitor KYW-TV was prompted to organize a competing variety show which was the beginning of The Mike Douglas Show.

During the late 1960s and early 1970s, WEWS produced several programs that eventually entered into national syndication. The first program was Upbeat. Considered by some to be one of the most significant early rock-and-roll variety television shows, Upbeat featured a live audience, a group of dancers and lip-synched (but occasionally live) performances by popular acts of the era. The program began locally as The Big 5 Show, and the name was changed to Upbeat when it went national, altogether running from 1964 to 1971. Among the program's hosts was Don Webster, who later doubled as the station's lead weather forecaster. At its peak, Upbeat was seen in over 100 television markets. Artists who appeared on Upbeat included Aretha Franklin, The Beatles, The Supremes, Simon and Garfunkel, Otis Redding and Stevie Wonder. In fact, Redding's final appearance ever came on the show's December 9, 1967, episode. The next afternoon, his twin-engine airplane crashed in the icy waters of Lake Monona in Madison, Wisconsin, killing all but one of the eight passengers on board.

Another show seen throughout the country was Polka Varieties, an hour-long polka music program that ran locally on Sundays at 1 p.m. from 1956 into the early 1980s, and was syndicated during its later years to 30 television markets. The program featured various popular bands that played Slovenian-style polka, Polish, Italian and Bohemian-style music. "America's Polka King", Frank Yankovic, was the original band to perform on the show. Other bands included Richie Vadnal, George Staiduhar, Markic-Zagger, and Hank Haller. Original host Tom Fletcher was replaced by Paul Wilcox, whose presence became an indelible part of the show. Uttering the well-known show-opening phrase, "From America's Polka Capital of Cleveland, Ohio, this is Polka Varieties, now in its ___ year on the air!" were several famous voices associated with the station over the years, including Cort Stanton, Ralph Gunderman, and David Mark. Black on Black, which examined issues of importance to African American communities, was syndicated to several markets.

From the early 1970s until July 1, 2011, WEWS was Cleveland's television outlet for the Ohio Lottery. On June 2, 2011, NBC affiliate WKYC (channel 3) announced that the station had acquired the rights to air the lottery drawings, as well as its Saturday night game show Cash Explosion. After two years on channel 3, WEWS re-assumed the local television lottery rights on July 1, 2013.

The Morning Exchange
One program in particular, The Morning Exchange, which ran from 1972 to 1999, changed the face of morning television. It was the first morning show to use a "living room" set, and the first to establish the now familiar concept of news and weather updates at the top and bottom of the hour. During its peak in the 1970s, nearly 70% of all television households in Cleveland were tuned to the program. The format also served as a template for ABC's Good Morning America.

From 1975 to 1978, WEWS completely preempted both AM America and Good Morning America in favor of continuing with The Morning Exchange, and from 1978 to 1994, the station aired only the first hour of Good Morning America, before cutting to The Morning Exchange, but it was changed by the end of 1994.

Sports programming
WEWS-TV has a long history of covering Cleveland sports teams both produced in-house by the station or through ABC's network coverage. From 2015 to present, channel 5 is the official station for the NFL's Cleveland Browns, airing all non-network preseason games as well as year-round team centered programming.

WEWS has aired two MLB World Series during the station's existence: it broadcast the Cleveland Indians' home games in the 1948 World Series against the Boston Braves, as well as the 1995 World Series in which the Indians lost to the Atlanta Braves. During the 1995 World Series, the local broadcast was split with WKYC-TV due to the ABC/NBC-shared Baseball Network. WEWS also aired select Indians games as part of ABC's MLB broadcast contract from 1976 to 1989.

All Cleveland Cavaliers games that air through ABC's NBA broadcast rights are aired on channel 5; the team's 2016 NBA Finals victory (which gave the city its first major sports championship in 52 years) aired on WEWS-TV.

News operation
WEWS presently broadcasts $39 1/2$ hours of locally produced newscasts each week (with $6 1/2$ hours each weekday, four hours on Saturdays and three hours on Sundays). In addition, the station produces the sports highlight and discussion program News 5 Sports Sunday, which airs Sunday nights following its 11 p.m. newscast.

Early news coverage
WEWS started covering news events soon after it went on air. The winter after it signed on, Cleveland experienced a blizzard, and for the first time WEWS had provided extended coverage for hours. During the early and mid-1950s, channel 5's first newscasts and weather reports were delivered by Tom Field. In 1959, Dorothy Fuldheim—who had been with the station before it even first signed on—began to formulate her own newscast. Fuldheim centered her newscast around her interviews, a general overview of the news, and her commentaries (the very opinionated Fuldheim frequently inserted her own opinions about the stories). Fuldheim was the first female in the United States to have her own television news analysis program.

Eyewitness News
27-year-old John Hambrick took over as lead anchor on WEWS' evening newscasts on Christmas Day in 1967, with Fuldheim staying on as a commentator. Don Webster presented the weather and Gib Shanley was the sports anchor. In 1968, WEWS changed the format of its newscasts slightly to a version of Eyewitness News. In 1970, Dave Patterson joined Hambrick on the early newscast and then became co-anchor on the 11 p.m. newscast in 1971. Ted Henry, who joined WEWS in 1972 as a behind-the-scenes producer, got his start on the air later in 1975 as a weekend weatherman. In later years, Henry would admit that he, not knowing the slightest thing about forecasting, basically copied his forecasts from a Detroit radio station.

That same year, Bill Jacocks—said to be Cleveland's first full-time African-American anchorman —joined WEWS. Jacocks started as assistant public affairs director, and became weekend anchor in January 1975. For a solid decade (until 1985) Jacocks remained the one constant weekend anchor while many co-anchors came and went. Among those doing their first Cleveland co-anchor stints with Jacocks were Tim Taylor and Wilma Smith (both of whom, coincidentally, would later anchor together at rival WJW).

Hambrick and Patterson continued to anchor the newscasts together until Hambrick left for KABC-TV in Los Angeles in 1975. At that time, Ted Henry became the weekend anchor, and then a year later in 1976, co-anchor on the weekday evening newscasts with Patterson. Henry continued as the lead anchor until his retirement on May 20, 2009. This era marked the start of dominance for the WEWS news programs that lasted until well into the 1980s. In 1977, weekend co-anchor Tim Taylor left WEWS to become a weeknight anchor at WJW-TV. Fuldheim's role decreased as she only presented her interviews and commentaries, but still appeared on the air three times a day until retiring in July 1984 at the age of 91.

WEWS was the first Cleveland TV station to use a news helicopter, introducing "Chopper 5" in 1978. At the time, a cameraman sat partially outside the helicopter door to film the story being covered. TV 5 has used helicopters (on and off) ever since, including the current "Air Tracker 5"—which was introduced in 2016.

The WEWS news department underwent another major change in 1982. Previously, the 5–6 p.m. slot was occupied by The Afternoon Exchange, the afternoon companion to The Morning Exchange. That year, the program adopted a new format, and was renamed Live on Five. The broadcast was originally hosted by Wilma Smith and Don Webster, and retained many elements from The Afternoon Exchange, such as interviews, movie reviews, health reports, and some cooking segments. Added to the mix were news updates from Ted Henry.

In 1985, longtime sports director Gib Shanley—who attained national notoriety six years earlier when he burned an Iranian flag live on the air during a sportscast in the wake of the Iran hostage crisis—left the station, and was replaced by Nev Chandler, who became a noted sportscaster in his own right.

News Channel 5
In 1991, WEWS dropped the long-standing Eyewitness News branding, adopting News Channel 5 as a universal branding for newscasts and station promotion. The new branding helped emphasize a format developed by the station the year prior, when WEWS positioned itself as "Cleveland's (Live) 24 Hour NewsSource". Providing news headlines to viewers at times when the station was not carrying regularly scheduled, long-form newscasts, the "24-Hour News Source" concept saw WEWS produce news updates running 30 seconds in length at or near the top of each hour and brief weather updates every half-hour during local commercial break inserts within syndicated and ABC network programs, in addition to the existing half-hourly updates it aired during Good Morning America. The concept would be adopted by network-affiliated television stations in other markets during the early 1990s, as a convenient means for stations to provide news coverage when syndicated or network programming aired. WEWS discontinued production of these hourly updates in 1998.

In 1994, longtime anchor Wilma Smith left the station to sign with rival WJW-TV. The same year, longtime sports director Nev Chandler died of cancer.

1995 saw a modification to the long-running "Circle 5", tilting it at an angle. At this time, a major promotional campaign was launched for the station, "Give Me 5", as it faced competition from WJW (then-recently having switched to Fox), WKYC (rebuilding themselves after years of being used as NBC's farm team), and WOIO (which had just launched their own news department, in partnership with WUAB). This included a two-minute promotional video featuring James Ingram, Carly Simon and Andrea McArdle, along with numerous athletes, as well as both station personalities and ABC personalities from Cleveland. Edd Kalehoff produced the promo, as well as a comprehensive music package for the station's newscasts and other programming.

"On Your Side" era
In 1998, WEWS adopted "On Your Side" as its slogan (which it currently still uses). More noticeable, however, was the discontinuance of the station's longtime "Circle 5" logo. That year, WEWS also became the first television station in Cleveland to launch a website—NewsNet5. In 1999, longtime station weather forecaster Don Webster retired from the station after 35 years. In 2000, longtime sports anchor/sports director Matt Underwood left to become an announcer for the Cleveland Indians.

On January 7, 2007, WEWS became the third Cleveland television station to begin broadcasting newscasts in high-definition. At present, all locally produced portions of the station's newscasts, including live remote field footage, are presented in HD. It was also around this time that channel 5 introduced the modified version of the classic "Circle 5" logo that was used until 2016. Sister station WPTV also uses the classic "Circle 5" logo. On May 21, 2009, Ted Henry retired as the primary news anchor at channel 5, after holding the post for 33 years. Henry is the longest serving news anchor in Cleveland television history.

In November 2010, WEWS became the first Cleveland television station to follow a growing national trend in starting its weekday morning newscasts at 4:30 a.m.

In June 2023, WEWS—along with other Scripps owned stations—began incorporating national stories from Scripps News into their newscasts, as well as airing Scripps News' nightly newscast The Debrief in the 7 p.m. hour.

News 5 era
On September 26, 2016, the station retired the NewsChannel 5 name for its newscasts, becoming simply News 5. At the same time, the station began using a graphic identity similar to that of British television network Channel 5 (which used a similar logo from February 2011 to February 2016).

In 2017, longtime WEWS anchors Leon Bibb and Lee Jordan both announced their retirements from the station. Bibb had served as an anchor/reporter at the station since 1995 (coming over from WKYC where he had spent 16 years previous), while Jordan started at WEWS in 1987 as a co-host of The Morning Exchange before becoming an evening news anchor in 1993. To honor their tenures at the station, WEWS renamed their newsroom the Leon Bibb Newsroom, and their main studio the Lee Jordan News Studio.

Honors
Two plaques outside the WEWS building commemorate the station's historical contributions. The Ohio Historical Society placed a marker right outside TV 5's building, specifically noting Dorothy Fuldheim's career at the station. The second marker (located on the wall leading up to the front door of the station) is from the Rock and Roll Hall of Fame, honoring the station (along with producer Herman Spero and host Don Webster) as being the home of the popular music series Upbeat! and that program's contributions to Rock and Roll's history.

Notable current on-air staff

 * Rob Powers – anchor

Notable alumni

 * Ernie Anderson
 * Leon Bibb (now at WKYC as senior reporter and commentator)
 * Nev Chandler
 * Liz Claman
 * Joel Daly (later at WLS-TV in Chicago)
 * Dick Feagler
 * Dorothy Fuldheim
 * John Hambrick
 * Ted Henry
 * Chris Hernandez
 * Bill Jorgensen
 * Paige Palmer
 * Michael Reghi
 * Michael Settonni
 * Gib Shanley (later at WUAB)
 * Wilma Smith (later at WJW)
 * Robin Swoboda
 * Tim Taylor (later at WJW)
 * Matt Underwood
 * Don Webster

Subchannels
The station's signal is multiplexed:

On May 26, 2011, it was announced that WEWS (along with other Scripps stations around the country) had signed a deal to carry the Live Well Network on their digital subchannels. the network began to be carried on digital subchannel 5.2 on September 5, 2011. The subchannel is also currently available on select northeast Ohio cable providers.

Live Well Network announced they would be going off the air in April 2015, and as a result 5.2 switched to the classic TV network Cozi TV at 10 a.m. on April 8. The comedy network Laff debuted on the newly activated 5.3 subchannel a week later. 5.3 was activated on April 7 and ran continuous promos for the network's launch prior to the official premiere date. On April 14, 2017, WEWS discontinued COZI on 5.2 and replaced it with Grit.

On March 1, 2021, 5.5 was activated, airing HSN programming. A year and a half later in September 2022, 5.6 was activated, airing QVC programming.

Analog-to-digital conversion
WEWS-TV shut down its analog signal, over VHF channel 5, on June 12, 2009, the official date on which full-power television stations in the United States transitioned from analog to digital broadcasts under federal mandate. The station's digital signal continued to broadcast on its pre-transition UHF channel 15, using virtual channel 5.

title: WEWS-TV


text:
Konsojaya Trading Company

The Konsojaya Trading Company was a shell company cofounded by Jemaah Islamiyah leader Riduan Isamuddin, better known as "Hambali", and his Malaysian Chinese wife, Noralwizah Lee Abdullah in June 1994. The company was based in Kuala Lumpur, Malaysia.

An Afghan named Wali Khan Amin Shah was one of the board of directors of the company. He also owned half (3,000) of the company's 6,000 shares. Another member of the board of directors was Afghan Mehdat Abdul Salam Shabana, who owned the other half of the company's shares. Another member was 30-year-old Hemeid H. Algamdi, a citizen of Jeddah, Saudi Arabia. Yemeni Amein Mohamed was the managing director of Konsojaya. A company profile that was circulated to suppliers and customers stated that he was the former marketing director of a Pakistan-based supplying agent for a company in Jeddah.

Konsojaya stated in its incorporation papers that it was an "import/export" company that shipped palm oil to Afghanistan from Malaysia. The organisation also dealt with the export of Sudanese honey. Its "principal objective" was to import and export products found in the Asia/Pacific region (East Asia, Southeast Asia, and Oceania) to Afghanistan, Saudi Arabia, Bahrain, and Sudan.

A man named Khalid Shaikh Mohammed, who was staying in Manila, Philippines, often travelled to several places, including Brazil, to promote Konsojaya.

Konsojaya actually funneled money and material assistance to several regional militant Islamic plots. The organisation also funneled money to an account owned by Omar Abu Omar, an employee of the International Relations and Information Centre, an organisation run by Mohammed Jamal Khalifa, who is married to one of Osama bin Laden's sisters. The money would then be siphoned into an account under the name of "Adam Salih", an alias of Ramzi Yousef, who was at the time planning Manila-based Operation Bojinka, an attack that would have destroyed eleven airliners.

Manila police discovered Operation Bojinka after an apartment fire led police to a suspect on January 6 and the morning of January 7, 1995.

According to corporate records in Kuala Lumpur, Konsojaya no longer exists.

title: Konsojaya Trading Company


text:
Limp Richerds

Limp Richerds were an American hardcore punk rock band from Federal Way, Washington which briefly featured Mark Arm and Steve Turner (later of Mudhoney and Green River) in one of their many lineups. They formed around 1981, but ceased to be a serious band in 1984, and finally split in 1987. The original lineup was Dave Middleton (vocals), Ross Guffy (percussion), Charles Quain (guitar), and Greg Billings (bass). The band was centered on the vocals and songwriting of Dave Middleton.

Discography

 * "Bob Hope's USO El Salvador Show 1983" on the Public Doesn't Exist cassette compilation
 * "Death to Ivars" and "Non-Conformity Sox (live)" on the What Syndrome cassette compilation
 * "My Dad Forgot His Rubber and I Was the Result" on the Sub Pop 9 cassette compilation
 * split '7"' with A Rancid Vat (fake 7" single that came with a cassette of material by both bands)

title: Limp Richerds


text:
David Thomas (musician)

David Lynn Thomas (born 1953 ) is an American singer, songwriter and musician, now based in the UK. He was one of the founding members of the short-lived proto-punkers Rocket from the Tombs (1974–1975), in which he played under the moniker "Crocus Behemoth," and of post-punk group Pere Ubu (1975–present, intermittently). He has also released several solo albums. Though primarily a singer, he sometimes plays melodeon, trombone, musette, guitar or other instruments.

Thomas has a distinctive, high pitched voice; Emerson Dameron described Thomas's singing as "James Stewart trapped in an oboe", and Greil Marcus writes, "Mr Thomas's voice is that of a man muttering in a crowd. You think he's talking to himself until you realize he's talking to you."

Biography
Thomas was an early member of Rocket from the Tombs, which disbanded after about a year. Along with Rocket from the Tombs guitarist Peter Laughner he then formed Pere Ubu, which was originally active from 1975 to 1982.

Afterwards, Thomas worked with a variety of musicians including guitarists Richard Thompson and Philip Moxham, and Henry Cow alumni bassonist/oboist Lindsay Cooper and drummer Chris Cutler. Initially, his solo recordings eschewed Pere Ubu's "rock" focus. Lindsay Cooper's bassoon was often prominent, and, when Richard Thompson's guitar was not featured, the guitar would be absent (such as the entirety of 1985's More Places Forever). Thomas's lyrics became increasingly whimsical, and birds became a common theme:

 * Somewhere along the line, I wrote a song that had birds in it. And then by pure coincidence, another. Some critic asked, "Why all these songs about birds?" And I said to myself, "You think that's a lot of songs about birds?!? I'll show you a lot of songs about birds!" So, for a while, I stuck birds in everywhere I could.

Eventually, several former members of Pere Ubu gravitated into Thomas's group, and by the time of 1987's Blame the Messenger, were sporting a sound distinctly similar to the former band. This fact along with other considerations led directly into the official reformation of Pere Ubu in 1987, and the group has remained active to the present day.

Thomas appears to have been at one point a Jehovah's Witness, an affiliation that has been reflected lyrically in the final song of Pere Ubu's 1979 album New Picnic Time, originally titled "Jehovah's Kingdom Come!" However, in subsequent releases of the album, the song has been re-titled "Hand A Face A Feeling" and then "Kingdom Come"; in the albums' lyric sheet, maintained by Thomas on Pere Ubu's official website, the titular line has been changed to "God's Kingdom Come"; the song itself has been re-mixed to remove references to Jehovah.

Current solo career
Thomas's solo activities were diminished, though not extinguished, by the reformation of Pere Ubu. Throughout the 1980s, Thomas maintained a rotating trio dubbed the Accordion Club, which at various times included John Kirkpatrick, Chris Cutler, Garo Yellin, and Ira Kaplan. While these groupings tended to share a repertoire with Pere Ubu, the focus was smaller. Thomas stated: "I often use the same songs in both projects ... I can explore the stories behind the songs. I can extend/expand/interpolate those stories." Though the Accordion Club never recorded any albums, two songs appeared on Rē Records Quarterly Vol.2 No.1, and it led to the formation of Thomas's current "solo" project, the Two Pale Boys. Devoted to "spontaneous song generation", they feature Keith Moliné on guitar and Andy Diagram on "trumpet through electronics;" both make frequent use of MIDI, giving them a broader tonal palette than might be expected from two instruments. In addition to singing Thomas frequently plays melodeon. Says Thomas:

"Pere Ubu is a big rock experience, often overwhelming in its power and intensity of dataflow. It's a Hollywood blockbuster on a cinemascopic screen. Projects like the [Two Pale Boys] are intended as indy arthouse films."

Thomas typically has a large number of ongoing projects at any one time. He has performed in theatrical productions, including several productions by Hal Willner, and a London West End production of Shockheaded Peter. He has delivered his lecture "The Geography of Sound in the Magnetic Age" at Clark University and UCLA, among other venues. He has staged his "improvisational opera" Mirror Man at venues in Europe and North America, featuring at various times contributions from many of his previous collaborators, as well as Linda Thompson, Bob Holman, Robert Kidney, Van Dyke Parks, Frank Black, George Wendt, and Syd Straw. In 2010 he performed with the backing of Australian band The Holy Soul.

Most recently he has alternated recording and performances primarily between Pere Ubu, David Thomas and Two Pale Boys, and the reunited Rocket from the Tombs.

With Pere Ubu

 * See Pere Ubu Discography

David Thomas & the Pedestrians

 * The Sound of the Sand & Other Songs of the Pedestrian (1981)
 * Variations on a Theme (1983)
 * More Places Forever (1985)

David Thomas & His Legs

 * Winter Comes Home (1982) (live -disavowed by Thomas in Monster liner notes)

David Thomas & the Wooden Birds

 * Monster Walks the Winter Lake (1986)
 * Blame the Messenger (1987)

David Thomas & Foreigners

 * Bay City (2000)

David Thomas & Two Pale Boys

 * Erewhon (1996)
 * Meadville (1997)
 * Mirror Man (1999) (as part of The Pale Orchestra)
 * Surf's Up!! (2001)
 * 18 Monkeys on a Dead Man's Chest (2004)

With Unknown Instructors

 * The Master's Voice (2007)

David Thomas and P.O. Jørgens

 * Live Free or Diet (CD, LP 2017)

EPs

 * Vocal Performances (1981)

Compilations

 * Monster (1997)

Contributions

 * "Dan Dan" & "Drunken Sailor" on Hal Willner's Rogue's Gallery: Pirate Ballads, Sea Songs, and Chanteys
 * "The Pigeons, Mr. McKenzie" on the Hat Shoes' Differently Desperate (LP/CD 1992)
 * "You've Lost That Lovin' Feelin'" and "Paris Blues" on Jackie Leven's Defending Ancient Springs (CD 2000)
 * "My Spanish Dad" and "Rainy Day Bergen Woman" on Jackie Leven's Creatures Of Light & Darkness (CD 2001)
 * "Live (The Meeting Of Remarkable Men)" Jackie Leven with Ian Rankin (DVD 2004)
 * "Red Apple Boy" on The Book of Knots' Train Eater (CD, 2007)

title: David Thomas (musician)


text:
Cures, Sabinum

Cures was an ancient Sabine town between the left bank of the Tiber and the Via Salaria, about 26 miles from Rome, in central Italy. Its remains are located in the modern commune of Fara Sabina. According to legend, it was from Cures that Titus Tatius led to the Quirinal the Sabine settlers, from whom, after their union with the settlers on the Palatine, the whole Roman people took the name Quirites. Another legend, related by Dionysius, connects the foundation of Cures with the worship of the Sabine god Quirinus, whence Quirites.

It was also renowned as the birthplace of Ancient Rome's second king Numa Pompilius. According to Livy, Numa Pompilius resided in Cures immediately prior to his election as king.

Its importance among the Sabines at an early period is indicated by the fact that its territory is often called simply ager Sabinus. At the beginning of the imperial period, it is spoken of as an unimportant place, but seems to have risen to greater prosperity in the 2nd century. Pliny notices the Curenses as one of the municipal towns of the Sabines; and numerous inscriptions of Imperial date speak of its magistrates, its municipal senate (ordo), etc., whence we may infer that it continued to be a tolerably flourishing town as late as the 4th century. In these inscriptions it is uniformly termed Cures Sabini, an epithet probably indicating the claim set up by the people to be the metropolis of the Sabines. It appears as the seat of a bishop in the 5th century, after the establishment of Christianity. The bishops assumed the title of Curium Sabinorum, and sometimes even that of Episcopus Sabinensis. The town seems to have been destroyed by the Lombards in 589 AD. An epistle of Pope Gregory I states that in 593 the site was already desolate.

The site consists of a hill with two summits, round the base of which runs the Fosso Corese: the western summit was occupied by the necropolis, the eastern by the citadel, and the lower ground between the two by the city itself. Excavations from 1874 up until 1877 revealed a temple, forum, baths, etc.

title: Cures, Sabinum


text:
Owlswick

Owlswick is a hamlet in Buckinghamshire, England, about 3 miles E of Thame and 4 miles SSE of Aylesbury. It is part of the civil parish of Longwick-cum-Ilmer and is in the ecclesiastical parish of Monks Risborough.

The name appears in a document of about 1200 as Ulveswike, meaning the dairy farm of Ulf, which was a Danish personal name. The district is well to the south of the Danelaw, but a man of Danish origin may have come south and settled here.

The hamlet was not mentioned in Domesday Book in 1086 because it formed part of the manor of Monks Risborough. It was later subinfeudated (i.e. granted as a feudal sub-manor) to a military subtenant and was held by knight-service by the 13th century. It continued as a separate sub-manor, paying a quit-rent to the manor of Monks Risborough until copyhold tenure was abolished in 1925.

title: Owlswick


text:
Anthony Traill (college provost)

Anthony Traill (1 November 1838 – 15 October 1914) was an Irish academic who served as the 33rd Provost of Trinity College Dublin from 1904 to 1914.

Traill was born Ballylough, County Antrim, in 1838. He matriculated at Trinity College Dublin, where he was elected a Scholar in 1858. He became a fellow in 1865, and while at college he accumulated degrees in engineering, law, and medicine.

Although he was most famous for the position he would acquire later in life, Traill was actively involved in politics during the 1870s and 1880s. He was an Ulster Unionist, and sided with the landlords during the debate over land tenure reform. In 1884, he was appointed High Sheriff of Antrim. He also became the chairman of the world's first electric tramway, Portrush, founded with his brother William. The Portrush electric tramway ran from Portrush to Bushmills from its inception in 1883 (with Traill as chairman) until 1947.

In April 1901, he was appointed Commissioner of National Education in Ireland.

In 1904, Traill was appointed Provost of Trinity College Dublin. During his hold of the office, he carried out many internal reforms. Traill refused to change the University's constitutional position at any time in his Provostship despite pressure. He remained the Provost until he died, at the Provost's House, in 1914.

title: Anthony Traill (college provost)