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Separate Baptists

The Separate Baptists are a group of Baptists originating in the 18th-century United States, primarily in the South, that grew out of the Great Awakening.

The Great Awakening was a religious revival and revitalization of piety among the Christian churches. It covered English-speaking countries and swept through the American colonies between the 1730s and the 1770s. Three important preachers of the times were Gilbert Tennent (1703–65), Jonathan Edwards (1703–58), and George Whitefield (1714–70). The Separate Baptists are most directly connected to Whitefield's influence. The first identifiable congregation of Separate Baptists was formed in Boston, Massachusetts. Whitefield preached in Boston in 1740. The pastor of the Baptist church disapproved of the revival excitement, while several members approved of it and became discontented with the pastor's ministry. They withdrew from the First Baptist Church and formed Second Baptist Church in 1743.

The Great Awakening served to both invigorate and divide churches. Many denominations divided into Old Lights — holding a low view of the revivalism, and sometimes directly opposing it — and New Lights — who enthusiastically embraced it. Many New Lights felt that the old ways had allowed too many unconverted church members, and by the end of the 1740s some of the New Lights believed the established churches could not be reformed from within and withdrew from them. A favorite verse among them was II Corinthians 6:17 — "Come out from among them, and be ye separate." This led to them being called Separate.

A growing body of Separate Baptists began in New England. They were zealous in evangelism and held to heart-felt religion. The most prominent New England pastor and congregation was Isaac Backus (1724–1808) and the church at Middleborough, Massachusetts. Backus was raised a Congregationalist and became a New Light (or Separatist) Congregational pastor in 1748. After conversion to Baptist views on the doctrine of baptism, Backus and others formed a Baptist congregation in 1756. Backus was very active in the fight for religious liberty in America. The Separate Baptists of New England were never truly a separate group from the Regular Baptists. It would remain for the Separate Baptists in the South to develop along distinct lines.

In 1745 Shubal Stearns (1706–71), a member of the Congregational church in Tolland, Connecticut, heard evangelist George Whitefield. Stearns was converted and adopted the Awakening's view of revival and conversion. Stearns' church became involved in a controversy over the proper subjects of baptism in 1751. Soon Stearns rejected infant baptism and sought baptism at the hands of Wait Palmer, Baptist minister of Stonington, Connecticut. By March, Shubal Stearns was ordained into the ministry by Palmer and Joshua Morse, the pastor of New London, Connecticut. The next twenty years of Stearns' remarkable ministry is inextricably intertwined with the rise and expansion of the Separate Baptists.

In 1754, Stearns moved south to Opequon, Virginia. Here he joined Daniel Marshall and wife Martha (Stearns' sister), who were already active in a Baptist church there. On November 22, 1755, Stearns and his party moved further south to Sandy Creek, in Guilford County, North Carolina. This party consisted of eight men and their wives, mostly relatives of Stearns. Stearns pastored at Sandy Creek until his death. From there, Separate Baptists spread in the South. The church quickly grew from 16 members to 606. Church members moved to other areas and started other churches. The Sandy Creek Association was formed in 1758. Morgan Edwards, Baptist minister and historian contemporary with Stearns, recorded that, "in 17 years, [Sandy Creek] has spread its branches westward as far as the great river Mississippi; southward as far as Georgia; eastward to the sea and Chesopeck [sic] Bay; and northward to the waters of the Pottowmack [sic]; it, in 17 years, is become mother, grandmother, and great grandmother to 42 churches, from which sprang 125 ministers."

For a time these Baptists remained somewhat distinct from the Regular Baptists. They were in the main in agreement with the Regulars, but holding to some minor points of difference. According to Edwards, "These are called Separates, not because they withdrew from the Regular-baptists but because they have hitherto declined any union with them. The faith and order of both are the same, except some trivial matters not sufficient to support a distinction, but less a disunion; for both avow the Century-Confession and the annexed discipline."

One distinction was in the number of ordinances or rites observed by the Separates. The nine rites were baptism, the Lord's supper, love feasts, laying on of hands, washing feet, anointing the sick, the right hand of fellowship, kiss of charity, and devoting children. Not all the churches practiced all nine of these, but most churches practiced more than the two ordinances generally held by the Regular Baptists — baptism and the Lord's supper.

With the exception of the Separate Baptists in Christ, the denominational name Separate Baptist disappeared in many areas of the country with the formal and informal agreements of union between the Regular Baptists and Separate Baptists, beginning in Virginia in 1787, in the Carolinas in 1789, and in Kentucky in 1797 & 1801. As recorded by Benedict, the conclusion of the terms of union in Virginia stated, "...we are united, and desire hereafter, that the names Regular and Separate be buried in oblivion; and that from henceforth, we shall be known by the name of the United Baptist Churches, in Virginia."

Descendants of the Separate Baptists include the Separate Baptists in Christ, Landmark Missionary Baptists, Primitive Baptists, Southern Baptists, United Baptists, and The General Association of Baptists.

Separate Baptists are particularly visible in Kentucky, where a member of the denomination, Vernie McGaha of Russell Springs, served in the state senate.

title: Separate Baptists


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Bruno Latour

Bruno Latour (22 June 1947 – 9 October 2022) was a French philosopher, anthropologist and sociologist. He was especially known for his work in the field of science and technology studies (STS). After teaching at the École des Mines de Paris (Centre de Sociologie de l'Innovation) from 1982 to 2006, he became professor at Sciences Po Paris (2006–2017), where he was the scientific director of the Sciences Po Medialab. He retired from several university activities in 2017. He was also a Centennial Professor at the London School of Economics.

Latour is best known for his books We Have Never Been Modern (1991; English translation, 1993), Laboratory Life (with Steve Woolgar, 1979) and Science in Action (1987). Although his studies of scientific practice were at one time associated with social constructionist approaches to the philosophy of science, Latour diverged significantly from such approaches. He was best known for withdrawing from the subjective/objective division and re-developing the approach to work in practice. Latour said in 2017 that he is interested in helping to rebuild trust in science and that some of the authority of science needs to be regained. Along with Michel Callon, Madeleine Akrich, and John Law, Latour is one of the primary developers of actor–network theory (ANT), a constructionist approach influenced by the ethnomethodology of Harold Garfinkel, the generative semiotics of Algirdas Julien Greimas, and (more recently) the sociology of Émile Durkheim's rival Gabriel Tarde.

Biography
Latour was related to a well-known family of winemakers from Burgundy known as Maison Louis Latour, but was not associated with the similarly named Château Latour estate in Bordeaux.

As a student, Latour originally focused on philosophy. In 1971–1972, he ranked second and then first (reçu second, premier) in the French national competitive exam agrégation/CAPES de philosophies. Latour went on to earn his PhD degree in philosophical theology at the University of Tours in 1975. His thesis title was Exégèse et ontologie: une analyse des textes de resurrection (Exegesis and Ontology: An Analysis of the Texts of Resurrection).

Latour developed an interest in anthropology, and undertook fieldwork in Ivory Coast, on behalf of ORSTOM, which resulted in a brief monograph on decolonization, race, and industrial relations. In the 1990s, he engaged in a series of dialogues with Michel Serres that were published as Eclaircissements (Conversations on Science, Culture and Time).

After spending more than twenty years (1982–2006) at the Centre de sociologie de l'innovation at the École des Mines in Paris, Latour moved in 2006 to Sciences Po, where he was the first occupant of a chair named for Gabriel Tarde. In recent years he also served as one of the curators of successful art exhibitions at the Zentrum für Kunst und Medientechnologie in Karlsruhe, Germany, including "Iconoclash" (2002) and "Making Things Public" (2005). In 2005, he also held the Spinoza Chair of Philosophy at the University of Amsterdam.

Latour's remained religious until the end of his life, reading the Bible "devotedly."

Latour died from pancreatic cancer on 9 October 2022, at the age of 75. His papers were contributed to the French National Archives and the Municipal Archives of Beaune.

Awards and honors
On 22 May 2008, Latour was awarded an honorary doctorate by the Université de Montréal on the occasion of an organizational communication conference held in honor of the work of James R. Taylor, on whom Latour has had an important influence. He held several other honorary doctorates, as well as France's Légion d'Honneur (2012).

Holberg Prize
On 13 March 2013, he was announced as the winner of the 2013 Holberg Prize. The prize committee stated that "Bruno Latour has undertaken an ambitious analysis and reinterpretation of modernity, and has challenged fundamental concepts such as the distinction between modern and pre-modern, nature and society, human and non-human." The committee states that "the impact of Latour's work is evident internationally and far beyond studies of the history of science, art history, history, philosophy, anthropology, geography, theology, literature and law."

A 2013 article in Aftenposten by Norwegian philosopher Jon Elster criticised the conferment to Latour, by saying "The question is, does he deserve the prize. ... If the statutes [of the award] had used new knowledge as a main criteria, instead of one of several, then he would be completely unqualified in my opinion."

Spinoza and Kyoto Prize
The Dutch "International Spinozaprijs Foundation" awarded the "Spinozalens 2020" to Bruno Latour on 24 November 2020. In 2021 he received the Kyoto Prize in the category "Thought and Ethics".

Laboratory Life
After his early career efforts, Latour shifted his research interests to focus on laboratory scientists. Latour rose in importance following the 1979 publication of Laboratory Life: the Social Construction of Scientific Facts with co-author Steve Woolgar. In the book, the authors undertake an ethnographic study of a neuroendocrinology research laboratory at the Salk Institute. This early work argued that naïve descriptions of the scientific method, in which theories stand or fall on the outcome of a single experiment, are inconsistent with actual laboratory practice.

In the laboratory, Latour and Woolgar observed that a typical experiment produces only inconclusive data that is attributed to failure of the apparatus or experimental method, and that a large part of scientific training involves learning how to make the subjective decision of what data to keep and what data to throw out. Latour and Woolgar argued that, for untrained observers, the entire process resembles not an unbiased search for truth and accuracy but a mechanism for ignoring data that contradicts scientific orthodoxy.

Latour and Woolgar produced a highly heterodox and controversial picture of the sciences. Drawing on the work of Gaston Bachelard, they advance the notion that the objects of scientific study are socially constructed within the laboratory—that they cannot be attributed with an existence outside of the instruments that measure them and the minds that interpret them. They view scientific activity as a system of beliefs, oral traditions and culturally specific practices—in short, science is reconstructed not as a procedure or as a set of principles but as a culture. Latour's 1987 book Science in Action: How to Follow Scientists and Engineers through Society is one of the key texts of the sociology of scientific knowledge in which he famously wrote his Second Principle as follows: "Scientist and engineers speak in the name of new allies that they have shaped and enrolled; representatives among other representatives, they add these unexpected resources to tip the balance of force in their favor."

Some of Latour's position and findings in this era provoked vehement rebuttals. Gross and Leavitt argue that Latour's position becomes absurd when applied to non-scientific contexts: e.g., if a group of coworkers in a windowless room were debating whether or not it were raining outside and went outdoors to discover raindrops in the air and puddles on the soil, Latour's hypothesis would assert that the rain was socially constructed. Similarly, philosopher John Searle argues that Latour's "extreme social constructivist" position is seriously flawed on several points, and furthermore has inadvertently "comical results".

The Pasteurization of France
After a research project examining the sociology of primatologists, Latour followed up the themes in Laboratory Life with Les Microbes: guerre et paix (published in English as The Pasteurization of France in 1988). In it, he reviews the life and career of one of France's most famous scientists Louis Pasteur and his discovery of microbes, in the fashion of a political biography. Latour highlights the social forces at work in and around Pasteur's career and the uneven manner in which his theories were accepted. By providing more explicitly ideological explanations for the acceptance of Pasteur's work more easily in some quarters than in others, he seeks to undermine the notion that the acceptance and rejection of scientific theories is primarily, or even usually, a matter of experiment, evidence or reason.

Aramis, or The Love of Technology
Aramis, or The Love of Technology focuses on the history of an unsuccessful mass-transit project. Aramis PRT (personal rapid transit), a high tech automated subway, had been developed in France during the 70s and 80s and was supposed to be implemented as a personal rapid transit system in Paris. It combined the flexibility of an automobile with the efficiency of a subway. Aramis was to be an ideal urban transportation system based on private cars in constant motion and the elimination of unnecessary transfers. This new form of transportation was intended to be as secure and inexpensive as collective transportation. The proposed system had custom-designed motors, sensors, controls, digital electronics, software and a major installation in southern Paris. But in the end the project died in 1987. Latour argues that the technology failed not because any particular actor killed it, but because the actors failed to sustain it through negotiation and adaptation to a changing social situation. While investigating Aramis's demise, Latour delineates the tenets of actor-network theory. According to Latour's own description of the book, the work aims "at training readers in the booming field of technology studies and at experimenting in the many new literary forms that are necessary to handle mechanisms and automatisms without using the belief that they are mechanical or automatic."

We Have Never Been Modern
Latour's work Nous n'avons jamais été modernes : Essai d'anthropologie symétrique was first published in French in 1991, and then in English in 1993 as We Have Never Been Modern.

Latour encouraged the reader of this anthropology of science to re-think and re-evaluate our mental landscape. He evaluated the work of scientists and contemplated the contribution of the scientific method to knowledge and work, blurring the distinction across various fields and disciplines.

Latour argued that society has never really been modern and promoted nonmodernism (or amodernism) over postmodernism, modernism, or antimodernism. His stance was that we have never been modern and minor divisions alone separate Westerners now from other collectives. Latour viewed modernism as an era that believed it had annulled the entire past in its wake. He presented the antimodern reaction as defending such entities as spirit, rationality, liberty, society, God, or even the past. Postmoderns, according to Latour, also accepted the modernistic abstractions as if they were real. In contrast, the nonmodern approach reestablished symmetry between science and technology on the one hand and society on the other. Latour also referred to the impossibility of returning to premodernism because it precluded the large scale experimentation which was a benefit of modernism.

Latour attempted to prove through case studies the fallacy in the old object/subject and Nature/Society compacts of modernity, which can be traced back to Plato. He refused the concept of "out there" versus "in here". He rendered the object/subject distinction as simply unusable and charted a new approach towards knowledge, work, and circulating reference. Latour considered nonmoderns to be playing on a different field, one vastly different to that of post-moderns. He referred to it as much broader and much less polemical, a creation of an unknown territory, which he playfully referred to as the Middle Kingdom.

In 1998, historian of science Margaret C. Jacob argued that Latour's politicized account of the development of modernism in the 17th century is "a fanciful escape from modern Western history".

Pandora's Hope
Pandora's Hope (1999) marks a return to the themes Latour explored in Science in Action and We Have Never Been Modern. It uses independent but thematically linked essays and case studies to question the authority and reliability of scientific knowledge. Latour uses a narrative, anecdotal approach in a number of the essays, describing his work with pedologists in the Amazon rainforest, the development of the pasteurization process, and the research of French atomic scientists at the outbreak of the Second World War. Latour states that this specific, anecdotal approach to science studies is essential to gaining a full understanding of the discipline: "The only way to understand the reality of science studies is to follow what science studies do best, that is, paying close attention to the details of scientific practice" (p. 24). Some authors have criticized Latour's methodology, including Katherine Pandora, a history of science professor at the University of Oklahoma. In her review of Pandora's Hope, Katherine Pandora states: "[Latour's] writing can be stimulating, fresh and at times genuinely moving, but it can also display a distractingly mannered style in which a rococo zeal for compounding metaphors, examples, definitions and abstractions can frustrate even readers who approach his work with the best of intentions (notwithstanding the inclusion of a nine-page glossary of terms and liberal use of diagrams in an attempt to achieve the utmost clarity)". In addition to his epistemological concerns, Latour also explores the political dimension of science studies in Pandora's Hope. Two of the chapters draw on Plato's Gorgias as a means of investigating and highlighting the distinction between content and context. As Katherine Pandora states in her review: "It is hard not to be caught up in the author's obvious delight in deploying a classic work from antiquity to bring current concerns into sharper focus, following along as he manages to leave the reader with the impression that the protagonists Socrates and Callicles are not only in dialogue with each other but with Latour as well." Although Latour frames his discussion with a classical model, his examples of fraught political issues are all current and of continuing relevance: global warming, the spread of mad cow disease, and the carcinogenic effects of smoking are all mentioned at various points in Pandora's Hope. In Felix Stalder's article "Beyond constructivism: towards a realistic realism", he summarizes Latour's position on the political dimension of science studies as follows: "These scientific debates have been artificially kept open in order to render impossible any political action against these problems and those who profit from them".

"Why Has Critique Run Out of Steam?"
In a 2004 article, Latour questioned the fundamental premises on which he had based most of his career, asking, "Was I wrong to participate in the invention of this field known as science studies?" He undertakes a trenchant critique of his own field of study and, more generally, of social criticism in contemporary academia. He suggests that critique, as currently practiced, is bordering on irrelevancy. To maintain any vitality, Latour argues that social critiques require a drastic reappraisal: "our critical equipment deserves as much critical scrutiny as the Pentagon budget." (p. 231) To regain focus and credibility, Latour argues that social critiques must embrace empiricism, to insist on the "cultivation of a stubbornly realist attitude – to speak like William James". (p. 233)

Latour suggests that about 90 per cent of contemporary social criticism displays one of two approaches which he terms "the fact position and the fairy position." (p. 237) The fairy position is anti-fetishist, arguing that "objects of belief" (e.g., religion, arts) are merely concepts created by the projected wishes and desires of the "naive believer"; the "fact position" argues that individuals are dominated, often covertly and without their awareness, by external forces (e.g., economics, gender). (p. 238) "Do you see now why it feels so good to be a critical mind?" asks Latour: no matter which position you take, "You're always right!" (p. 238–239) Social critics tend to use anti-fetishism against ideas they personally reject; to use "an unrepentant positivist" approach for fields of study they consider valuable; all the while thinking as "a perfectly healthy sturdy realist for what you really cherish." (p. 241) These inconsistencies and double standards go largely unrecognized in social critique because "there is never any crossover between the two lists of objects in the fact position and the fairy position." (p. 241)

The practical result of these approaches being taught to millions of students in elite universities for several decades is a widespread and influential "critical barbarity" that has—like a malign virus created by a "mad scientist"—thus far proven impossible to control. Most troubling, Latour notes that critical ideas have been appropriated by those he describes as conspiracy theorists, including global warming deniers and the 9/11 Truth movement: "Maybe I am taking conspiracy theories too seriously, but I am worried to detect, in those mad mixtures of knee-jerk disbelief, punctilious demands for proofs, and free use of powerful explanation from the social neverland, many of the weapons of social critique." (p. 230)

The conclusion of the article is to argue for a positive framing of critique, to help understand how matters of concern can be supported rather than undermined: "The critic is not the one who lifts the rugs from under the feet of the naïve believers, but the one who offers the participants arenas in which to gather. The critic is not the one who alternates haphazardly between antifetishism and positivism like the drunk iconoclast drawn by Goya, but the one for whom, if something is constructed, then it means it is fragile and thus in great need of care and caution."

Latour's article has been highly influential within the field of postcritique, an intellectual movement within literary criticism and cultural studies that seeks to find new forms of reading and interpretation that go beyond the methods of critique, critical theory, and ideological criticism. The literary critic Rita Felski has named Latour as an important precursor to the project of postcritique.

Reassembling the Social
In Reassembling the Social (2005), Latour continues a reappraisal of his work, developing what he calls a "practical metaphysics", which calls "real" anything that an actor (one whom we are studying) claims as a source of motivation for action. So if someone says, "I was inspired by God to be charitable to my neighbors" we are obliged to recognize the "ontological weight" of their claim, rather than attempting to replace their belief in God's presence with "social stuff", like class, gender, imperialism, etc. Latour's nuanced metaphysics demands the existence of a plurality of worlds, and the willingness of the researcher to chart ever more. He argues that researchers must give up the hope of fitting their actors into a structure or framework, but Latour believes the benefits of this sacrifice far outweigh the downsides: "Their complex metaphysics would at least be respected, their recalcitrance recognized, their objections deployed, their multiplicity accepted."

For Latour, to talk about metaphysics or ontology—what really is—means paying close empirical attention to the various, contradictory institutions and ideas that bring people together and inspire them to act. Here is Latour's description of metaphysics: If we call metaphysics the discipline inspired by the philosophical tradition that purports to define the basic structure of the world, then empirical metaphysics is what the controversies over agencies lead to since they ceaselessly populate the world with new drives and, as ceaselessly, contest the existence of others. The question then becomes how to explore the actors' own metaphysics. A more traditional metaphysicist might object, arguing that this means there are multiple, contradictory realities, since there are "controversies over agencies" – since there is a plurality of contradictory ideas that people claim as a basis for action (God, nature, the state, sexual drives, personal ambition, and so on). This objection manifests the most important difference between traditional philosophical metaphysics and Latour's nuance: for Latour, there is no "basic structure of reality" or a single, self-consistent world. An unknowably large multiplicity of realities, or "worlds" in his terms, exists–one for each actor's sources of agency, inspirations for action. In this Latour is remarkably close to B.F. Skinner's position in Beyond Freedom and Dignity and the philosophy of Radical Behaviorism. Actors bring "the real" (metaphysics) into being. The task of the researcher is not to find one "basic structure" that explains agency, but to recognize "the metaphysical innovations proposed by ordinary actors". Mapping those metaphysical innovations involves a strong dedication to relativism, Latour argues. The relativist researcher "learns the actors' language," records what they say about what they do, and does not appeal to a higher "structure" to "explain" the actor's motivations. The relativist "takes seriously what [actors] are obstinately saying" and "follows the direction indicated by their fingers when they designate what 'makes them act'". The relativist recognizes the plurality of metaphysics that actors bring into being, and attempts to map them rather than reducing them to a single structure or explanation.

In the science wars
Alan Sokal, in his Fashionable Nonsense, criticized Latour's relativism by referring to an article written by Latour in La Recherche in 1998. In his reaction to research showing that the pharaoh Ramses II probably died of tuberculosis, Latour thought "How could he pass away due to a bacillus discovered by Koch in 1882? ... Before Koch, the bacillus has no real existence." He says that it is as much of an anachronism as it would be to claim that the pharaoh died of machine-gun fire.

Latour noted that he had been asked "Do you believe in reality?", which caused a "quick and laughing answer". Reality, for Latour, is neither something we have to believe in nor do we have lost access to it in the first place. "''Do you believe in reality?' To ask such a question one has to become so distant from reality that the fear of losing it entirely becomes plausible—and this fear itself has an intellectual history [...] Only a mind put in the strangest position, looking at a world from inside out and linked to the outside by nothing but the tenuous connection of the gaze, will throb in the constant fear of losing reality; only such a bodiless observer will desperately look for some absolute life-supporting survival kit.'"According to Latour, the originality of science studies lies in demonstrating that facts are both real and constructed. The accusation of a postmodern hostility to science, thus, not only fails to recognize that science studies aims at a more robust understanding how science is done in practice, but also shows a fundamental misunderstanding of the methods and insights of science studies. In fact, Latour has emphatically problematized the rise of anti-scientific thinking and so-called "alternative facts" For Latour, the recent attacks against climate sciences and other disciplines demonstrate that there is a real war on science going on requiring a more intimate cooperation between science and science studies.

Books

 * Originally published 1979 in Los Angeles, by SAGE Publications
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.
 * Latour, Bruno (2024). How to Inhabit the Earth. Interviews with Nicolas Truong. Translated by Julie Rose. Cambridge, UK: Polity Press. ISBN 978-1-5095-5946-6.

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

title: Bruno Latour


text:
Cosgrove Hall Films

Cosgrove Hall Films was a British animation studio founded by Brian Cosgrove and Mark Hall, headquartered in Chorlton-cum-Hardy, Manchester. Cosgrove Hall was a major producer of children's television and animated programmes/films, which are still seen in over eighty countries. The company was wound down by its then owner, ITV plc, on 26 October 2009. It was mainly known for its series Danger Mouse, The Wind in the Willows and Count Duckula.

Stop Frame Productions
Brian Cosgrove and Mark Hall first met while both were students at Manchester College of Art and Design, which is now part of Manchester Metropolitan University. They later became co-workers at Granada Television, where they produced television graphics.

Hall left his job in 1969 and founded his own production company, Stop Frame Productions. Cosgrove joined the company shortly after its establishment. Their first projects, for Stop Frame, included public service films and television commercials for such companies as the TVTimes. From 1971 to 1972, the company released the animated series, The Magic Ball, which they created in a renovated shed located in the yard of Cosgrove's father-in-law. Hall directed two animated productions for Stop Frame, Captain Noah and His Floating Zoo, which was released in 1972, and the television series, Noddy, which aired in 1975. The company also produced opening credits and graphics for children's TV series such as Rainbow in 1972.

Stop Frame Productions halted production, and was closed in 1975.

Cosgrove Hall Productions
Following the closure of Stop Frame Productions, Cosgrove and Hall were able to find new work in animation, specifically due to their earlier work on the 1972 series Rainbow. The producer of Rainbow, Thames Television, an ITV franchisee, created a new subsidiary animation studio called Cosgrove Hall Productions in the following year, 1976. Thames hired and commissioned Cosgrove and Hall as lead animators to create new animated programmes, for this new studio, based on their earlier work with Rainbow. Another bit of Thames commissioned work was the title sequence for the 1974 feature film The Best Of Benny Hill for Thames Television and EMI Films. Thames Television also hired John Hambley as Cosgrove Hall Films' first executive producer. Its first series was Chorlton and the Wheelies, the lead role being named after the suburb of Manchester where the company was based (the other characters were placed on wheels as this made the stop-frame animation easier). The pop singer and musician Bernard Sumner worked for Cosgrove Hall from its founding until 1979 as a tracer.

Danger Mouse was one of the studio's earliest international successes. The studio made 161 episodes between 1981 and 1992. In each one, Danger Mouse, the world's greatest secret agent, and his well-meaning but useless sidekick, Penfold, outwit the evil Baron Silas Greenback and various scoundrels. In 1983, the studio made a 75-minute film, The Wind in the Willows, based on Kenneth Grahame's classic story of the same name. It won a BAFTA award and an international Emmy award. Subsequently, the studio made a 52-episode TV series based on the characters between 1984 and 1990. All the music and songs for the feature and series were written by Keith Hopwood, late of Herman's Hermits and Malcolm Rowe. The Stone Roses guitarist John Squire worked on this series. Count Duckula was a spoof on the Dracula legend; its title character is the world's only vegetarian vampire. He aspires to be rich and famous. Originally he was a villain/henchman recurring in the Danger Mouse series, but got his own spin-off series in 1988 that rapidly became one of Cosgrove Hall's most successful programmes, and a Cosgrove Hall staple to spin-off characters from each successive cartoon. Both shows also aired on Nickelodeon in the U.S. during the late 1980s, and were popular in the ratings for the channel. In 1989, the studio produced a full-length feature based on Roald Dahl's The BFG.

Truckers, the first book in The Bromeliad, was the studio's first collaboration with the best-selling author Terry Pratchett. The 1992 series follows the efforts of a group of nomes, whose spaceship crash-landed on Earth 15,000 years ago, to return home. However, Cosgrove Hall Productions' days became numbered as on the 31st of December, 1992, their financial backer and owner, Thames Television lost its ITV franchise and began divesting/closing its subsidiaries. The studio downgraded its operations following Thames' loss of ITV franchise, and eventually closed doors in 1993.

Cosgrove Hall Films
On 15 November 1993, Anglia Television and HBO announced the re-opening of Cosgrove Hall Productions, albeit as Cosgrove Hall Films. The studio would be 75% owned by Anglia and HBO's joint-venture Anglia Television Entertainment, while Cosgrove and Hall would hold the remaining 25%, with Anglia/HBO's distribution arm ITEL holding international distribution to projects produced by the studio. Cosgrove Hall Films' first two projects were new episodes of both Avenger Penguins and Noddy's Toyland Adventures (both of which began airing prior to the sudden shutdown and reopening). Nearer the end of the 1990's, ownership was placed under ITEL itself, with then-Anglia owners United News & Media purchasing HBO's stake in November 1999.

In 1997, Cosgrove Hall Films produced two series for Channel 4 based on Wyrd Sisters and Soul Music, two novels from Pratchett's Discworld series.

One of the studio's specialities was producing programmes for young children, such as Noddy's Toyland Adventures, Bill and Ben, and Andy Pandy for the BBC. The latter two series were based on classic characters from the 1950s. In the mid 2000s, Cosgrove Hall worked on a new version of Postman Pat. The studio also animated Ghosts of Albion, the BBC's first fully animated webcast. Website visitors could learn about the production and help to develop the story. Cosgrove Hall produced Scream of the Shalka, a Doctor Who animated story for the BBC website. In 2006, they animated the missing first and fourth episodes of the Doctor Who serial The Invasion for a DVD release.

In 2008, ITV started to overhaul the operations of Cosgrove Hall, which was in part to complete overhaul of its operations which started with the reduction  of ITV's own children's department in 2006. Toward the end of 2008, all except six staff were made redundant by ITV, and Cosgrove Hall moved 'in house' to the Granada Television Studios in Manchester, ending over 30 years of the studio in Chorlton, with many ex staff moving to Chapman Entertainment. ITV made a claim that Cosgrove had no work at the min but believed “It is on the verge of a commission that will lead to the next recruitment drive.” However the UK was going thought its deepest recession and ITV was not interested in investing in Cosgrove Hall, and a financial review decided that the company was no longer viable.

The company was again put under review by ITV plc in October 2009, being absorbed, and ceasing to exist a few months later. Cosgrove Hall was developing Theodore, a CGI-animated series, when ITV absorbed the company. Despite being absorbed, the company is still classified as an "Active" business on Companieshouse.

Legacy
The land occupied by Cosgrove Hall's studios, in Albany Road, Chorlton, adjacent to the town's telephone exchange, which had stood empty for two years, was finally sold in the summer of 2010 to a housing development company. The intention was to demolish the historic studios and build retirement flats. During 2012, the studios were eventually demolished as part of the above development. Urban explorers who visited the site during the demolition found and photographed some models and backgrounds used in previous productions. Coincidentally, during April of that year it was announced that during the past summer, prior to the death of Mark Hall, he and Brian Cosgrove had pitched the idea of resurrecting the brand to possible investors.

Brian Cosgrove became the executive producer at CHF Entertainment, (defunct 2019), as was Hall until his death. On 18 November 2011, Cosgrove Hall Films closed down due to Mark Hall’s death of cancer at the age of 75. CHF Entertainment had actively worked on a number of television series, including Pip Ahoy!, which was aimed at preschool children, and HeroGliffix, which was aimed at older children.

Films and television specials

 * The Best Of Benny Hill (Thames Television for EMI Films, Titles, 1974)
 * The Talking Parcel (40 minutes, 1978)
 * Cinderella (40 minutes, 1979)
 * The Pied Piper of Hamelin (30 minutes, 1981)
 * The Wind in the Willows (79 minutes, 1983)
 * The Reluctant Dragon (30 minutes, 1987)
 * A Tale of Two Toads (60 minutes, 1989)
 * The BFG (91 minutes, 1989)
 * The Fool of the World and the Flying Ship (60 minutes, 1990)
 * On Christmas Eve (30 minutes, 1992)
 * Peter and the Wolf (45 minutes, 1995)
 * Father Christmas and the Missing Reindeer (25 minutes, 1998)

Short subjects

 * Ersatz (14 minutes, 1978)
 * The Sandman (10 minutes, 1991)
 * Welcome to the Discworld (8 minutes, 1996)
 * Blink (2001) (short film)
 * One Night (2001) (short film, directed by Brian Demoskoff)
 * The Trojan Horse (2001) (short film) (followed by Tindersticks: Dying Slowly)
 * BBC Children in Need - Small People (stop-motion segments for 1998 promo)
 * Mr Scruff (music video) (co-production with Four23Films)

1970s

 * The Magic Ball (Granada for ITV, 1971-1972)
 * Rainbow (Thames for ITV, 1972-1976) (animated sequences)
 * Captain Noah and His Floating Zoo (Granada for ITV, 1972)
 * Sally and Jake (Thames for ITV, 1973-1974)
 * Noddy (Thames for ITV, 1975)
 * Chorlton and the Wheelies (Thames for ITV, 1976-1979)
 * Jamie and the Magic Torch (Thames for ITV, 1976-1980)
 * Grandma Bricks of Swallow Street (animation made for Rainbow) (1976-1977)
 * The Kenny Everett Video Show (Thames for ITV, 1978-1981) (Captain Kremmen shorts)

1980s

 * Cockleshell Bay (Thames for ITV, 1980–1986)
 * Danger Mouse (Thames for ITV, 1981-1992)
 * The Wind in the Willows (Thames for ITV, 1984-1987)
 * Alias the Jester (Thames for ITV, 1985-1986)
 * Creepy Crawlies (ITV, 1987-1989)
 * Count Duckula (Thames/Central for ITV, 1988-1993)

1990s

 * Oh, Mr. Toad (Thames for ITV, 1990)
 * Victor & Hugo: Bunglers in Crime (Thames for ITV, 1991-1992)
 * Truckers (Thames for ITV, 1992)
 * Noddy's Toyland Adventures (Children's BBC, 1992-2000)
 * Avenger Penguins (Granada/Anglia for ITV, 1993–1994)
 * Opéra imaginaire (1993) ("Pêcheurs de perles" short)
 * The Mutinearlys (Children's BBC, 1994-1996) (co-production with BBC Enterprises)
 * Oakie Doke (Children's BBC, 1995-1996)
 * Fantomcat (Anglia for ITV, 1995-1996)
 * Sooty's Amazing Adventures (Meridian for ITV, 1996-1997)
 * The Enchanted World of Brambly Hedge (episodes 1-4) (Children's BBC, 1997) (co-production with HIT Entertainment)
 * Soul Music (Channel 4, 1997) (co-production with Carrington Productions International)
 * Wyrd Sisters (Channel 4, 1997) (co-production with Carrington Productions International)
 * Captain Star (HTV for ITV, 1997-1998) (co-production with Teletoon and Nickelodeon UK)
 * Enid Blyton's Enchanted Lands (Children's BBC, 1997-1998)
 * The Animal Shelf (Anglia for ITV, 1997–2000)
 * Father Christmas and the Missing Reindeer (1997) (TV special) (co-production with Millimages)
 * Rocky and the Dodos (Central for ITV, 1998-1999)
 * Lavender Castle (HTV for CITV, 1999) (co-production with Carrington Productions International and Gerry Anderson Productions)
 * Rotten Ralph (CBBC, 1999-2001) (co-production with Italtoons UK and Tooncan Enterprises Ltd)
 * The Foxbusters (Anglia for CITV, 1999-2000) (co-production with United Productions)
 * The Noddy Shop (PBS, 1999) (Series 2, additional Noddy animation in live-action scenes)
 * Timekeepers of the Millennium (development for a series produced by The Foundation for ITV in association with NMEC, 1999)

2000s

 * The Tales of Little Grey Rabbit (HTV for CITV, 2000)
 * Fetch the Vet (2000-2001) (co-production with Flextech Television)
 * Vampires, Pirates & Aliens (2000) (co-production with Millimages and France Animation)
 * Bill and Ben (2001-2002, Co-production with Ben Productions LLC and BBC Worldwide)
 * Andy Pandy (Remake, 2002, Co-production with Ben Productions LLC and BBC Worldwide)
 * Engie Benjy (2002-2004, Co-production with Granada Kids)
 * Albie (2002-2004, co-production with Granada Kids)
 * Adventurers: Masters of Time (2002) (co-production with SBAF Berlin Animation Film GmbH)
 * Little Robots (2003-2008) (co-production with Create TV and Film Limited)
 * Shadow of the Elves (2003) (co-production with SBAF Berlin Animation Film GmbH)
 * Postman Pat (Series 3-6, 2003–2008) (co-production with Entertainment Rights)
 * The Oddkinsons - A United Family (2003) (co-production with Manchester United Ltd)
 * Ghosts of Albion (BBCi, 2003) (webcast)
 * Sixty Second Lovestory (2003) (short film, directed by Brian Demoskoff)
 * Cosmorados (2003) (co-production with BBC Three's Animation Unit and BBC Talent)
 * Sorted (2004) (3 minute animated fill-ins made for the show, produced by Libra Television for Discovery Kids)
 * Pocoyo (Series 1, 2005) (co-production with Zinkia Entertainment and Granada Kids)
 * Blue Dog Blues (2005) (short film)
 * Fifi and the Flowertots (Nick Jr. and Milkshake!, 2005-2010) (co-production with Chapman Entertainment)
 * Kid Clones (2005) (co-production with Toon Factory Ltd and Agogo Media)
 * The Likeaballs (CBBC, 2006) (produced by Cosgrove House and Animated Adventures & Pictures)
 * Rupert Bear, Follow the Magic... (Milkshake!, 2006-2008) (co-production with Entertainment Rights and Express Newspapers)
 * Roary the Racing Car (Nick Jr. and Milkshake!, 2007-2010) co-production with Chapman Entertainment)
 * Eddie Retractorhead (Nickelodeon, 2008)
 * Rocket Boy and Toro (CBBC, 2008)
 * Postman Pat: Special Delivery Service (2008, series 1) (co-production with Entertainment Rights)
 * Theodore (2009-2010) (was about to be developed for ITV during their absorption with the company)

Pilots

 * Danger Mouse The Great Bone Idol (1979)(later redone into the episode of the same name in 1983)
 * Danger Mouse The Mystery of the Lost Chord (1980)(Also re-edited and re-dubbed, becoming Who Stole the Bagpipes? (episode 2 of season 1)08))

 * SuperTed (1975)
 * Trash (Nickelodeon, 1989)
 * The Crowville Chronicles (Nickelodeon, 1989)
 * The Mutinearlies (1993) (co-production with BBC Enterprises Ltd)
 * Mungie (1996) (co-production with BBC Animation Unit)
 * The Story of Odysseus (1996) (co-production with Carrington Productions International)
 * The Wot-a-Lots (later known as The Beeps) (directed by Sarah Ball) (1997)
 * Meet the Frankensteins (1998)
 * The Little Grey Men (written by Steve Walker) (1998)
 * Winnie the Pooh (1999) (pilot for a stop-motion direct-to-video version of the popular Disney adaption by Bridget Appleby)
 * Eloise (2000) (co-production with The itsy bitsy Entertainment Company and Cartoon Saloon)
 * Mouth and Trousers (2000)
 * The Thwarting of Baron Bolligrew (2001)
 * Porter and Daughter (2001) (Engie Benjy pilot, co-production with ITEL)
 * Junglekids (2001)
 * F1: Race for the Future (2001)
 * Saturday Night Livestock (2001)
 * The Inbreds (2002) (pilot for adult animated series, once launched an official website)
 * The Kittens (2002) (Failed pilot for an Atomic Kitten animated series)
 * Shelltown (2003)
 * CodeWarriors (2004) (co-produced with Granada)
 * The Rag Pack (2004) (co-production with VGI Entertainment)
 * The Slums (2004) (co-production with Streetplay Design Ltd)
 * Super Hero High (2004)
 * Harold's Planet (2004)
 * Beat Freaks (2004) (co-production with Spin Entertainment and Mainframe Entertainment)
 * The Wumblers (2005) (co-production with Peak Entertainment and The Silly Goose Company)
 * Octopus and Worm (2005)
 * The Carrotty Kid (2005) (once launched an official website)
 * Wobbly Horse (2005)
 * The Mystics (2005)
 * The Boy Who Kicked Pigs (2005)
 * Hamster in a Cage (2006)
 * A Break From The Old Routine (2007) (co-production with S4C)
 * My Neighbour is an Evil Genius (2007)
 * Roger to the Rescue (2007)
 * The Princess Bumblees (2007)
 * Squidge and the Hardnuts (2008)
 * Ruby to the Rescue (CBeebies, 2009) (co-production with Nelvana)

Other

 * I Love 1981 (2001) (Danger Mouse's interview animation for BBC documentary)
 * The Oddkinsons - A United Family (2003) (webcast, co-production with Manchester United)
 * Doctor Who (2003 - 2007) (Scream of the Shalka webcast, an animated reconstruction of The Invasion and the televised serial The Infinite Quest)
 * Ghosts of Albion (BBCi, 2003) (Legacy webcast)
 * Sorted (2004) (3-minute animated fill-ins for Libra Television and Discovery Kids UK)
 * Love on a Saturday Night (2004) (additional animated fill-in graphics for LWT)
 * Top 10 Conspiracy Theories (2004) (animated graphics for Liberty Bell and Channel 5)

title: Cosgrove Hall Films


text:
Karl Gutzkow

Karl Ferdinand Gutzkow (March 17, 1811 in Berlin – December 16, 1878 in Sachsenhausen) was a German writer notable in the Young Germany movement of the mid-19th century.

Life
Gutzkow was born of an extremely poor family, not proletarian, but of the lowest and most menial branch of state employees. His father held a clerkship in the war office in Berlin, and was pietistic and puritanical in his outlook and demands. Jacob Wittmer Hartmann speculates that Gutzkow's later agnosticism was probably a reaction against the excessive religiosity of his early surroundings. After completing his basic studies, beginning in 1829 Gutzkow studied theology and philosophy at the University of Berlin, where his teachers included Hegel and Schleiermacher.

While still a student, he began his literary career by the publication in 1831 of a periodical entitled Forum der Journalliteratur. This brought him to the notice of Wolfgang Menzel, who invited him to Stuttgart to assist in the editorship of the Literaturblatt. At the same time he continued his university studies at Jena, Heidelberg and Munich. In 1832 he published Briefe eines Narren an eine Närrin anonymously in Hamburg; and in 1833 his novel Maha-Guru, Geschichte eines Gottes, a fantastic and satirical romance set in Tibet, was issued in Stuttgart by the well known publishing house. In 1835 he went to Frankfurt, where he founded the Deutsche Revue. While Gutzkow started out as a collaborator of Wolfgang Menzel, he ended up his adversary.

Also in 1835, his novel Wally die Zweiflerin appeared. News of the 1830 July Revolution at Paris had moved him deeply, and the general atmosphere of radicalism pervading Europe at that time, and perhaps more specifically a reading of the Life of Jesus by David Friedrich Strauss, influenced Gutzkow in the composition of this first novel, which exalts the agnosticism and emancipated views of the heroine, Wally. The work was directed specially against the institution of marriage and the belief in revelation. The book incorporates many ideas that Gutzkow had recently absorbed from French writers, notably Henri de Saint-Simon, particularly the latter's theory of the emancipation of the flesh.

Immediately after its publication, the writings of Gutzkow, together with those of Heinrich Heine, Heinrich Laube, Ludolf Wienbarg and Theodor Mundt, were banned by the German Federal Assembly in December 1835. This is usually taken as the starting point of the school known as Young Germany, literary reformers heralding the democratic upheaval of 1848. Whatever interest Gutzkow's novel might have attracted from its own merits was enhanced by the action of the German federal diet, which condemned Gutzkow to three months' imprisonment, decreed the suppression of all he had written or might yet write, and prohibited him from exercising the functions of editor within the German confederation.

During his term of imprisonment at Mannheim, Gutzkow wrote his treatise Zur Philosophie der Geschichte (1836). On obtaining his freedom he returned to Frankfurt, whence he went in 1837 to Hamburg. Here he inaugurated a new epoch of his literary activity by bringing out his tragedy Richard Savage (1839), which immediately made the round of all the German theatres. Of his numerous other plays, the majority by c. 1910 were neglected; but a few had obtained an established place in the repertory of the German theatre, especially the comedies Zopf und Schwert (1844), Das Urbild des Tartüffe (1847), Der Königsleutnant (1849) and the blank verse tragedy, Uriel Acosta (1847). In 1847, Gutzkow went to Dresden, where he succeeded Tieck as literary adviser to the court theatre. Meanwhile, he had not neglected the novel. Seraphine (1838) was followed by Blasedow und seine Söhne, a satire on the educational theories of the time. Between 1850 and 1852 appeared Die Ritter vom Geiste, which may be regarded as the starting point for the modern German social novel. Der Zauberer von Rom is a powerful study of Roman Catholic life in southern Germany.

After the success of Die Ritter vom Geiste, Gutzkow founded a journal on the model of Dickens' Household Words, entitled Unterhaltungen am häuslichen Herd, which first appeared in 1852 and continued until 1862. In 1864 he had an epileptic seizure, and his theatrical powers began to diminish. To this period belong the historical novels Hohenschwangau (1868) and Fritz Ellrodt (1872), Lebensbilder (1870–1872), consisting of autobiographic sketches, and Die Söhne Pestalozzis (1870), with a plot founded on the story of Kaspar Hauser. After another epileptic episode Gutzkow journeyed to Italy in 1873, taking up residence in the country near Heidelberg on his return before moving again to Frankfurt, where he died on 16 December 1878.

With his play Uriel Acosta and other works, Gutzkow stood up for the emancipation of the Jews; this play would later become the first classic play to be translated into Yiddish, and become a longtime standard of Yiddish theater. Gutzkow was never a revolutionary, and he became more conservative with age. He was one of the first Germans who tried to make a living by writing. His strong controversial purpose obscured his artistic genius, but his work profoundly influenced the popular thought of c. 1910 Germany, and gives one of the best pictures we have of the intellectual life and the social struggle of his generation and nation.

Adaptations
His comedy in 5 acts Zopf und Schwert (1844) received two adaptations; in 1926 Aafa-Film made the movie Sword and Shield, and Edmund Nick used it for his operetta Über alles siegt die Liebe (Love Conquers Everything, 1940), libretto by.

title: Karl Gutzkow


text:
Namche Bazaar

Namche Bazaar (also Namche Bazar, Nemche Bazaar or Namche Baza; नाम्चे बजार ) is a town (formally Namche Village Development Committee) in Khumbu Pasanglhamu Rural Municipality in Solukhumbu District of Province No. 1 in northeastern Nepal. It is located within the Khumbu area at 3440 m at its low point, populating the sides of a hill. Most Sherpa in the tourism business hail from the Namche area. Namche is the main trading center and hub for the Khumbu region.

At the 2001 census, it had a population of 1,647 people living in 397 individual households.

Geography
Immediately west of Namche is Kongde Ri at 6187 m and to the east is Thamserku at 6623 m.

Transport
On a hill overlooking Namche Bazaar is the Syangboche Airport (3,750 m / 12,303 ft). It is no longer used for passenger flights, though Russian helicopters make occasional cargo flights. The nearest open airport is Tenzing–Hillary Airport, located 13 km south of the town.

Tourism
Namche Bazaar is popular with trekkers in the Khumbu region, especially for altitude acclimatization, and is the gateway to the high Himalaya. The town has a number of lodgings and stores catering to the needs of visitors as well as a number of internet cafés. There are German bakeries, little cafes and many restaurants. There is also an Irish pub, said to be the highest and most remote Irish pub in the world. A popular local meal is yak steak.

On Saturday mornings, a weekly market is held in the centre of the village. There may also be a daily Tibet market where clothing and cheap Chinese consumer goods tend to be the main articles for sale.

Namche has electricity from the nearby Thame-Namche hydropower plant (600 kW), opened in October 1995 near Thame.

Climate
Namche has either a relatively cold dry-winter subtropical highland climate (Köppen climate classification Cwb) or an unusually mild dry-winter warm-summer humid continental climate (Köppen climate classification Dwb), depending on if you use the 0 °C isotherm or the −3 °C isotherm. The city features pleasant, wet summers and chilly, dry winters mainly affected by its altitude and the summer monsoon season. The average precipitation is 1110 mm, and the average temperature is 6.1 °C.

Pop culture references
"Namche Bazaar" is the name of a song by Nathan Rogers on his album The Gauntlet. The song was inspired by the mixing of culture along the silk road.

title: Namche Bazaar


text:
Sforno (family)

Sforno is the name of a prominent Jewish Italian family, many members of which distinguished themselves as rabbis and scholars. The most prominent of these were the following:

Hananeel ben Jacob Sforno
Scholar of Talmud. He lived at Bologna in the fifteenth and sixteenth centuries, and was the brother of Obadiah Sforno, who mentions him in the introduction to his commentary on the Pentateuch. Obadiah also writes that Hananeel was a financier, and at one point, supported Obadiah financially. A responsum of Hananeel's was inserted by Shabbethai Baer in his Beer Eshek.

Israel Sforno
Talmudist; lived at Viadano in the sixteenth century. A halakhic decision of his is quoted in a manuscript collection of 260 responsa of the Italian rabbis (No. 235).

Jacob ben Obadiah Sforno
Venetian scholar of the sixteenth and seventeenth centuries. Shabbethai Bass, and, after him, Wolf, attributed to Jacob a work entitled Iggeret ha-Ṭe'amim (Venice, 1600), containing mystic explanations of the accents. The correctness of the ascription is, however, doubted by Steinschneider, who believes that this work is identical with one of the same title by Aaron Abraham ben Baruch.

Nissim Isaac ben Judah Sforno
A rabbi at Mantua in the sixteenth century. He was the author of an epistle on the Kuzari. A responsum (legal novella) of his is quoted in the above-mentioned collection.

Obadiah ben Israel Sforno
Venetian Talmudist of the sixteenth and seventeenth centuries. He edited Menahem Azariah di Fano's Yemin Adonai Romemah (Venice, n.d.); and a responsum of his is inserted in Di Fano's collection of Responsa (Venice, n.d., p. 83).

Obadiah ben Jacob Sforno
Italian exegete, philosopher, and physician; born at Cesena about 1475; died at Bologna in 1550. See the main article on him, Obadiah ben Jacob Sforno.

Osheah ben Nissim Isaac Sforno
Rabbi at Mantua in the first half of the seventeenth century. A religious poem of his was inserted by Joseph Jedidiah Karmi in his Kenaf Renanim.

Solomon Shmaya ben Nissim Isaac Sforno
Rabbi at Asti, later at Venice; died in 1617. Several responsa of his were inserted by Jacob Heilbronner in his Naḥalat Ya'aḳob (Padua, 1622). Solomon left in manuscript commentaries on Psalms, Proverbs, Job, Daniel, the Megillot, Ezra, Nehemiah, and Chronicles. He edited the Cuzari with the commentary of Judah Moscato (Venice, 1594). On his death a funeral sermon was pronounced by Leon of Modena, who lauded him in the highest terms.

title: Sforno (family)


text:
Jamie and the Magic Torch

Jamie and the Magic Torch is a British children's television series made by Cosgrove Hall Productions for Thames Television and shown on the ITV network, running from 1977 to 1979.

The series was written and narrated by Brian Trueman, who later wrote shows such as Danger Mouse and Count Duckula for Cosgrove Hall.

Premise
The programme is based around the young boy of the title and his torch. When shone on the floor, the torch opens up a hole into a fun fantasy dimension called Cuckoo Land.

The beginning of each episode has Jamie's mother tucking him into bed at night and saying, "Sleep well, Jamie." Then from under his bed, his pet Old English Sheepdog, Wordsworth, appears, holding the torch in his mouth. Jamie takes the torch and shines it on the floor, opening up a portal to Cuckoo Land (in which Wordsworth always gets stuck). The portal manifests itself as a helter skelter.

When they reach the end of the slide, they fly out into Cuckoo Land from the bottom of a tree trunk, and land on a trampoline. All of this is accompanied by a song, written by Joe Griffiths. Once in Cuckoo Land, the fun begins.

Characters in Cuckoo Land

 * Mr. Boo, who flies around in his 'submachine', obsessed with counting things.
 * Officer Gotcha, who rides a unicycle and eats truncheons.
 * Strumpers Plunkett, who plays melodies on his trumpet nose.
 * Wellibob the cat, who does everything backwards and speaks with a Glaswegian accent.
 * Jo-Jo Help the unhelpful handyman.
 * Nutmeg the ragdoll, whose magical pocket can produce all kinds of items.
 * The Yoo-hoo Bird, who plays tricks on and runs from Officer Gotcha.
 * Bullybundy, the show business rabbit with oversized feet.
 * Arthur, a robot (series 3 only).

VHS releases
The first two series have also been released on DVD, In 2024, all 3 series of the show were finally released on DVD & Blu-Ray.

title: Jamie and the Magic Torch


text: Talk:Antiseptic

title: Talk:Antiseptic


text: User talk:82.82.125.120

title: User talk:82.82.125.120


text:
Saint Serf

Saint Serf or Serbán (Servanus) (c. 500) is a saint of Scotland. Serf was venerated in western Fife. He is called the apostle of Orkney, with less historical plausibility. Saint Serf is connected with Saint Mungo's Church near Simonburn, Northumberland (off the Bellingham Road, north of Chollerford). His feast day is 1 July.

Legends
David Hugh Farmer wrote that the legend of Serf is "a farrago of wild impossibilities" stating that Serf was the son of Eliud, King of Canaan, and his wife Alphia, daughter of a King of Arabia. Childless for a long time, they at last had two sons: the second was Serf. Serf came to Rome, carrying with him such a reputation for sanctity that he was elected and served as Pope for seven years.

He travelled to Gaul and Britain after vacating the Holy See, returning to Scotland. There, he met Adomnán, Abbot of Iona, who showed him an island in Loch Leven (later called St Serf's Inch). At the time, this island was part of the Pictish kingdom of Fib (Fife). Serf founded the eponymous St Serf's Inch Priory on the island, where he remained seven years. The priory was a community of Augustinian canons. It was founded from St. Andrews Cathedral Priory at the initiation of King David I of Scotland in 1150. From the 15th century onwards the priory began to be referred to as "Portmoak". After more than four centuries of Augustinian monastic life, the first Protestant king of Scots, James VI of Scotland, granted the priory to St Leonard's College, St Andrews. Today, there are only a small amount of remains left of the priory.

The centre of his ministry (and possibly of his activity) was Culross, which according to tradition, was founded by the saint. At Dunning, in Strathearn, he is said to have slain a dragon with his pastoral staff.

"Finally, after many miracles, after divine virtues, after founding many churches, [Saint Serf], having given his peace to the brethren, yielded up his spirit in his cell at Dunning, on the first day of the Kalends of July; and his disciples and the people of the province take his body to Cuilenross [Culross], and there, with psalms and hymns and canticles, he was honourably buried."

Serf and Mungo

Saint Serf is said to have been a contemporary of Saint Mungo, also known as Saint Kentigern, though he could not have lived at the same time as both Adomnán and Mungo.

A legend states that when the British princess (and future saint) Theneva (Thenaw) became pregnant before marriage, her family threw her from a cliff. She survived the fall unharmed, and was soon met by an unmanned boat. She knew she had no home to go to, so she boarded the boat; it sailed her across the Firth of Forth to land at Culross where she was cared for by Saint Serf; he became foster-father of her son, Saint Kentigern (Saint Mungo).

Another legend states that Mungo restored a pet robin of Serf's to life. The bird had been killed by some of his classmates who had planned to blame him for its death.

Churches
Saint Serf is a relatively common dedication for churches in Fife, Edinburgh and Central Scotland.

The name also attaches to schools in the area.

title: Saint Serf


text:
Union Baptists

Union Baptists is a Baptist Christian denomination in United States.

History
It trace their origin to the American Civil War, or war between the northern and southern United States. Baptist churches and associations, especially in border states, were rent asunder by this national conflict. Tensions over secession, war and reconstruction, as well as the fact that Primitive Baptists did not allow members to hold membership in secret societies, combined to incubate the Union Baptists. Many pro-Union Primitive Baptists joined Union Leagues, and were expelled from their churches and associations. The Mountain Union Association, formed in 1867 at Silas Creek church near Lansing, North Carolina, was the first "Union" Baptist association. The Mountain Union Association was instrumental in helping former slaves organize the New Covenant Association of Wilkes County in 1868.

This distinction, at least in name, has persisted in the Appalachias, and some churches and associations still consider themselves "Union Baptists". There seems to be no doctrinal distinction between Union Baptists and Regular Baptists. The Union Baptists mirror many traits of other Appalachian primivistic sects, such as feet washing, river baptisms, and impromptu chanted sermons. But they are also less Calvinistic and more evangelical than groups such as Primitive Baptists and Old Regular Baptists, and promote Sunday Schools and revivals. Most of the churches do not use musical instruments (though some do), and singing is strictly congregational. The old practice of lining hymns is reserved for use preceding communion and feet washing.

Three associations - Original Mountain Union, Primitive and Union - have about 3300 members in 36 churches. The geographical distribution of these churches is in 8 counties in Maryland, North Carolina, Pennsylvania, and Virginia.

There are no known surviving distinct groups of "Union" Baptists in other border states.

title: Union Baptists


text:
Talk:Rock candy

Merger proposal
I propose that Misri be merged into Rock candy. I think that the content in the article can easily be explained in the context of this article, and the this article is of a reasonable size that the merging of Misri will not cause any problems as far as article size or undue weight is concerned. Rishabh Tatiraju (talk) 10:22, 9 February 2014 (UTC)

Rock Candy Rules!
Rock candy is so good. That is because it is made from pure sugar! I know how to make rock candy. GO on my talk page if you want to know what it is made of. My username is jlg23hershy! GO now! Check it out!Jlg23hershy (talk) 23:58, 3 May 2008 (UTC)

There is also a Rock (candy) already, i note. -- Morwen 22:44, 10 November 2003

oh yes, these 2 need to be merged (or the UK information moved out of Rock Candy). Does anyone know whether US rock candy is the same as UK rock? It doesn't sound like it from the description.... seglea at
 * it sounds like the same substance - ie solid crystallised sugar, just packaged rather differently in the uk. Morwen 07:40, 11 Nov 2003 (UTC)

Not sure about that - which one have you eaten? British rock is hard when you first bite it but then gets very chewy (if I remember rightly, must be 30 years since I ate any). And it doesn't have any visible crystals. Also it is virtually always flavoured with peppermint. I've never had US rock candy so have no idea whether any of this applies. seglea at 0752utc on 031111

 * the uk one. hmm. Morwen 07:59, 11 Nov 2003 (UTC)

I've also had (in the US) a third kind of rock candy, which was licorice-flavored jelly beans that were colored and shaped to look like little smooth gray rocks. I think it was meant to be a sort of pun on the name "rock candy". I guess these are often called "candy rocks" to differentiate them: http://frankysattic.home.comcast.net/rockcandy.html

Candy as Cash
I removed the following from the article:

''It was also used in Thailand as money, for it was easily accessed and distributed. You could bet the candy on many things, and bet pieces or pounds.''

This seems dubious to me since currency is normally something that is minted by the government or some large organization. Using something that could be made in bulk at someone's home doesn't sound like an adequate means of currency. I've moved the comment here until someone can come up with a source for this claim. Dismas |(talk) 20:28, 26 October 2007 (UTC)

 * At one time salt was used as currency in Africa and was worth more than gold in Europe. I don't think it's that far fetched if sugar was hard to come by and valuable, since a date is not given.  One would assume that this is in ancient times around 500 BCE when the first sugar extraction methods were being used in SE asia. See sugarcane. However the statement still rings sour to me and I agree it needs a citation.63.197.134.209 (talk) 23:56, 5 December 2007 (UTC)

rock candy is made of smal particel the make you tastebads taste good

i dont know were realy stated so dont worrie about it

Rock Candy's True History
'It all started back in HongKong where they use to eat the Rock Candy in their coffee. It was discovered by Autumn Chang Rock Usibania. She discovered Rock Candy(rock sugar) when she got tierd of using plain old confesioner sugar cubes, she wanted rock solid cubes so that it lasted longer. So what she did was she used a string and wet it and rolled it in pure cane sugar. She than pured water mixture,that included sugar in a glass jar. She then let it form into Rock Candy. She then invited her friends over to test it and they all liked it. And now it is now a local coffee item in Hong Kong China.'-- Trust me this is true.98.100.6.11 (talk) 19:10, 20 May 2009 (UTC)

Áúṭùṃň Ćĥáňģ Řôĉķ Űşíœáňîá

Kompeito
Does kompeito count as rock candy?

It could maybe go in a 'see also' section. —Preceding unsigned comment added by 124.171.117.18 (talk) 02:50, 30 July 2009 (UTC) Hi — Preceding unsigned comment added by 96.250.69.232 (talk) 01:40, 5 April 2013 (UTC)

Assessment comment
Substituted at 04:45, 30 April 2016 (UTC)

title: Talk:Rock candy


text:
Tommy Sexton

Thomas Sexton (July 3, 1957 – December 13, 1993) was a Canadian comedian. Born in St. John's, Newfoundland, he was the youngest member of the CODCO comedy troupe.

Educated in St. John's, he was an honours student before quitting after Grade 10 to pursue an acting career in Toronto. After briefly working on a children's touring theatre show, he landed his first television role in the drama series Police Surgeon. Sexton and colleague Diane Olsen subsequently wrote Cod on a Stick, a comedic play which launched CODCO.

In 1975, Sexton took a brief sabbatical from CODCO to study at the Toronto Dance Theatre. He subsequently returned, working on other shows with CODCO and subsequently touring with colleague Greg Malone in two co-written works, The Wonderful Grand Band and Two Foolish to Talk About. In 1985 and 1986, Sexton and Malone wrote and performed in a series of television specials for the CBC, called The S and M Comic Book, which in turn led to CODCO landing its own series in 1987.

After CODCO's run concluded in 1993, Sexton and Malone wrote and starred in a CBC television special, The National Doubt, satirizing the constitutional debates of the early 1990s. Sexton subsequently wrote a semi-autobiographical film, Adult Children of Alcoholics: The Musical, which was in production in November 1993 when Sexton, who was openly gay, fell ill due to complications from AIDS. He died on December 13 of that year.

Malone subsequently campaigned for HIV and AIDS education in Sexton's memory. His sister, filmmaker Mary Sexton, produced a documentary film about him, Tommy...A Family Portrait, in 2001. Along with Malone and their CODCO co-star Andy Jones, Sexton was a posthumous recipient of the Earle Grey Award, the lifetime achievement award of Canadian television's Gemini Awards, in 2002.

The Tommy Sexton Centre, a new assisted housing complex for people living with HIV and AIDS, was opened in St. John's in 2006. In 2009, several drag queens in the city put together "Ravishing in Red", a tribute show to Sexton, as a fundraiser for the Sexton Centre. One performer, Betty "Boo" Kakke, singled him out as Newfoundland's "clown prince".

Sexton's mother, Sara Sexton, became a major figure in HIV/AIDS awareness in Newfoundland and Labrador following her son's death. Sara Sexton was announced as an inductee to the Order of Newfoundland and Labrador in 2013, and was inducted in February 2014. Sara Sexton died on February 28, 2020.

title: Tommy Sexton


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Daily Express

The Daily Express is a national daily United Kingdom middle-market newspaper printed in tabloid format. Published in London, it is the flagship of Express Newspapers, owned by publisher Reach plc. It was first published as a broadsheet in 1900 by Sir Arthur Pearson. Its sister paper, the Sunday Express, was launched in 1918. In June 2022, it had an average daily circulation of 201,608.

Under the ownership of Lord Beaverbrook, the Express rose to become the newspaper with the largest circulation in the world, going from 2 million in the 1930s to 4 million in the 1940s. It was acquired by Richard Desmond's company Northern & Shell in 2000. Hugh Whittow was the editor from February 2011 until he retired in March 2018. In February 2018 Trinity Mirror acquired the Daily Express, and other publishing assets of Northern & Shell, in a deal worth £126.7 million. To coincide with the purchase the Trinity Mirror group changed the name of the company to Reach. Hugh Whittow resigned as editor and Gary Jones took over as editor-in-chief soon after the purchase.

The paper's editorial stances have often been seen as aligned to Euroscepticism and supportive of the UK Independence Party (UKIP), and other right-wing factions including the European Research Group (ERG) of the Conservative Party.

History
The Daily Express was founded in 1900 by Sir Arthur Pearson, with the first issue appearing on 24 April 1900. Pearson lost his sight to glaucoma in 1913, and sold the title to the future Lord Beaverbrook in 1916.

The Express was one of the first papers to place news instead of advertisements on its front page, and carried gossip, sport, and women's features. It was also the first in Britain to have a crossword puzzle.

It began printing in Manchester in 1927. In 1931 it moved its London headquarters to 120 Fleet Street, a specially commissioned Art Deco building. Under Beaverbrook, the paper set newspaper sales records several times throughout the 1930s. Its success was partly due to aggressive marketing campaign and a circulation war with other populist newspapers. Arthur Christiansen became editor in October 1933. Under his direction sales climbed from two million in 1936 to four million in 1949. He retired in 1957. The paper also featured Alfred Bestall's Rupert Bear cartoon and satirical cartoons by Carl Giles which it began publishing in the 1940s. On 24 March 1933, a front-page headline, "Judea Declares War on Germany" (because of the Anti-Nazi boycott of 1933), was published.

During the late 1930s, the paper advocated the appeasement policies of Neville Chamberlain's National Government, due to the influence of Lord Beaverbrook. On 7 August 1939, the front-page headline was "NO WAR THIS YEAR". Less than a month later, Britain and France were at war with Nazi Germany following its invasion of Poland. The front page, floating in dirty water, later featured in In Which We Serve.

The ruralist and fascist author Henry Williamson wrote for the paper on many occasions over a span of half a century. He also wrote for the Sunday Express at the beginning of his career.

In 1938, the publication moved to the Daily Express Building, Manchester (nicknamed the "Black Lubyianka"), designed by Owen Williams on the same site in Great Ancoats Street. It opened a similar building in Glasgow in 1936 in Albion Street. Glasgow printing ended in 1974 and Manchester in 1989 on the company's own presses. Johnston Press has a five-year deal, begun in March 2015, to print the northern editions of the Daily Express, Daily Star, Sunday Express and the Daily Star Sunday at its Dinnington site in Sheffield. The Scottish edition is printed by facsimile in Glasgow by contract printers, the London editions at Westferry Printers.

In March 1962, Beaverbrook was attacked in the House of Commons for running "a sustained vendetta" against the British Royal Family in the Express titles. In the same month, the Duke of Edinburgh described the Express as "a bloody awful newspaper. It is full of lies, scandal and imagination. It is a vicious paper." At the height of Beaverbrook's control, in 1948, he told a Royal Commission on the press that he ran his papers "purely for the purpose of making propaganda". The arrival of television, and the public's changing interests, took their toll on circulation, and following Beaverbrook's death in 1964, the paper's circulation declined for several years. During this period, the Express, practically alone among mainstream newspapers, was vehemently opposed to entry into what became the European Economic Community.

Partially as a result of the rejuvenation of the Daily Mail under David English and the emergence of The Sun under Rupert Murdoch and editorship of Larry Lamb, average daily sales of the Express dropped below four million in 1967, below three million in 1975, and below two million in 1984. The Daily Express switched from broadsheet to tabloid in 1977 (the Mail having done so six years earlier), and was bought by the construction company Trafalgar House in the same year. Its publishing company, Beaverbrook Newspapers, was renamed Express Newspapers. In 1982, Trafalgar House spun off its publishing interests to a new company, Fleet Holdings, under Lord Matthews, but this succumbed to a hostile takeover by United Newspapers in 1985. Under United, the Express titles moved from Fleet Street to Blackfriars Road in 1989.

Express Newspapers was sold to publisher Richard Desmond in 2000, and the names of the newspapers reverted to Daily Express and Sunday Express. In 2004, the newspaper moved to its present location on Lower Thames Street in the City of London.

On 31 October 2005, UK Media Group Entertainment Rights secured majority interest from the Daily Express for Rupert Bear. They paid £6 million for a 66.6% control of the character. The Express retains minority interest of one-third plus the right to publish Rupert Bear stories in certain Express publications.

Richard Desmond era
In 2000, Express Newspapers was bought by Richard Desmond, publisher of celebrity magazine OK!, for £125 million. Controversy surrounded the deal since Desmond also owned softcore pornography magazines. As a result, many staff left, including editor Rosie Boycott and columnist Peter Hitchens. Hitchens moved to The Mail on Sunday, saying working for the new owner was a moral conflict of interest since he had always attacked the pornographic magazines that Desmond published. Despite their divergent politics, Desmond respected Hitchens.

In 2007, Express Newspapers left the National Publishers Association due to unpaid fees. Since payments to the NPA fund the Press Complaints Commission, it is possible that the Express and its sister papers could cease being regulated by the PCC. The chairman of the Press Standards Board of Finance, which manages PCC funds, described Express Newspapers as a "rogue publisher".

The Express group lost prominent libel cases in 2008–2009; it paid damages to people involved in the Madeleine McCann case (see below), a member of the Muslim Council of Britain, footballer Marco Materazzi, and sports agent Willie McKay. The losses led the media commentator Roy Greenslade to conclude that Express Newspapers (which also publishes the Star titles) paid more in libel damages over that period than any other newspaper group. Although most of the individual amounts paid were not disclosed, the total damages were recorded at £1,570,000. Greenslade characterised Desmond as a "rogue proprietor".

In late 2008, Express Newspapers began cutting 80 jobs to reduce costs by £2.5 million; however, too few staff were willing to take voluntary redundancy. In early 2008, a previous cost-cutting exercise triggered the first 24-hour national press strike in the UK for 18 years. In late August 2009 came plans for a further 70 redundancies, affecting journalists across Express Newspapers (including the Daily and Sunday Express, the Daily Star, and the Daily Star Sunday).

In August 2009, the Advertising Standards Authority criticised the company for advertorials as features alongside adverts for the same products. The ASA noted that the pieces were "always and uniquely favourable to the product featured in the ads and contained claims that have been or were likely to be prohibited in advertisements".

In January 2010, the Daily Express was censured by the Advertising Standards Authority over a front-page promotion for "free" fireworks. This led to comment that the Express has become "the Ryanair of Fleet Street", in that it is a "frequent offender" which pays little heed to the ASA's criticisms.

In May 2010, Desmond announced a commitment of £100 million over five years to buy new equipment for the printing plants, beginning with the immediate purchase of four new presses, amid industry rumours that he was going to establish a printing plant at Luton.

On 31 December 2010, the Express, with all the media titles in Desmond's Northern & Shell group, were excluded from the Press Complaints Commission after withholding payment. Lord Black, chairman of PressBof, the PCC's parent organisation, called this "a deeply regrettable decision". According to Press Gazette, in December 2016 circulation figures showed gross sales of the Daily Mail were 1,491,264 compared to 391,626 for the Daily Express.

The full run of the Daily Express has been digitised and is available at UK Press Online.

In September 2017, Daily Mirror publisher Trinity Mirror announced its interest in buying all of Express Newspapers from Desmond. The Financial Times called it potentially the biggest change in the British newspaper industry for a decade.

Reach era
In February 2018, Trinity Mirror acquired the Daily Express, and other publishing assets of Northern & Shell, in a deal worth £126.7 million. To coincide with the purchase the Trinity Mirror group changed its name to Reach. Hugh Whittow resigned as editor and Gary Jones took over as editor-in-chief soon after the purchase.

The Daily Express endorsed Liz Truss in the July–September 2022 Conservative Party leadership election.

Sunday Express

The printing press of the Sunday Express was first started by Lady Diana Manners on 29 December 1918. It was edited by Michael Booker from 2018 to 2021 when he left for GB News. Its circulation in December 2022 was 153,377.

John Bodkin Adams
Suspected serial killer John Bodkin Adams was arrested in 1956, accused of murdering up to 400 wealthy patients in Eastbourne. The press, "egged on by police leaks, unanimously declared Adams guilty," except for Percy Hoskins, chief crime reporter for the Express. Hoskins was adamant that Adams was a naive doctor prosecuted by an overzealous detective, Herbert Hannam, whom Hoskins disliked from previous cases. The Express, under Hoskins's direction, was the only major paper to defend Adams, causing Lord Beaverbrook to question Hoskins's stance.

Adams was cleared in 1957 of the murder of Edith Alice Morrell (a second count was withdrawn controversially). After the case, Beaverbrook phoned Hoskins and said: "Two people were acquitted today", meaning Hoskins as well. The Express carried an exclusive interview with Adams, whom Hoskins interviewed in a safe house away from other newspapers. According to archives released in 2003, Adams was thought by police to have killed 163 patients.

Dunblane
On 8 March 2009, the Scottish edition of the Sunday Express published a front-page article critical of survivors of the 1996 Dunblane massacre, entitled "Anniversary Shame of Dunblane Survivors". The article criticised the 18-year-old survivors for posting "shocking blogs and photographs of themselves on the internet", revealing that they drank alcohol, made rude gestures and talked about their sex lives. The article provoked complaints, leading to a front-page apology a fortnight later. The Press Complaints Commission described the article as a "serious error of judgement" and said, "Although the editor had taken steps to resolve the complaint, and rightly published an apology, the breach of the Code was so serious that no apology could remedy it".

Diana, Princess of Wales
The Daily Express gained a reputation for printing conspiracy theories about the death of Diana, Princess of Wales as front-page news. The Independent and The Guardian in 2006 both published a selection of then recent Express headlines on the topic. This practice was satirised in Private Eye as the Diana Express or the Di'ly Express, and has been attributed to Desmond's friendship with regular Eye target Mohamed Fayed. The articles regularly quoted Fayed with the newspaper describing its campaign as "Our relentless crusade for the truth". In 2006 and 2007, these front-page stories consistently appeared on Mondays, and ended only when the paper focused instead on the Madeleine McCann story (see below).

Even on 7 July 2006, the anniversary of the London bombings (used by most other newspapers to publish commemorations) the front page was given over to Diana. This tendency was also mocked on Have I Got News for You when on 6 November 2006, the day other papers reported the death sentence given to Saddam Hussein on their front pages, the Express led with "SPIES COVER UP DIANA 'MURDER'".

According to The Independent "The Diana stories appear on Mondays because Sunday is often a quiet day." In February and March 2010, the paper returned to featuring Diana stories on the front page on Mondays.

In September 2013, following an allegation raised by the estranged wife of an SAS operative, the Daily Express returned to running daily Princess Diana cover stories.

Madeleine McCann
In the second half of 2007 the Daily Express gave a large coverage to the disappearance of Madeleine McCann. From 3 August 2007 to 10 November 2007, the Express dedicated at least part of the next 100 front pages to her. Of those, 82 used the headline to feature the details of the disappearance (often stylised by "MADELEINE" in red block capitals, plus a picture of the child).

Though the family initially said some journalists may have "overstepped their mark" they acknowledged the benefits in keeping the case in the public eye, but said coverage needed to be toned down since daily headlines were not necessarily helpful. In March 2008, the McCanns launched a libel suit against the Daily Express and the Daily Star, as well as their Sunday equivalents, following their coverage. The action concerned more than 100 stories across the four newspapers, which accused the McCanns of causing and covering up their daughter's death. Express Newspapers pulled all references to Madeleine from its websites.

In a settlement at the High Court of Justice, the newspapers ran a front-page apology to the McCanns on 19 March 2008, another apology on the front of the Sunday editions of 23 March and a statement of apology at the High Court. The newspapers also agreed to pay costs and damages, which the McCanns said they would use to fund the search for their daughter. Guardian media commentator Roy Greenslade said it was "unprecedented" for four major newspapers to offer front-page apologies but also said it was more than warranted given that the papers had committed "a substantial libel" that shamed the British press. Craig Silverman of Regret the Error, a blog that reports media errors, argued that given how many of the stories appeared on the front page, anything less than a front-page apology would have been "unacceptable."

In its apology, the Express said "a number of articles in the newspaper have suggested that the couple caused the death of their missing daughter Madeleine and then covered it up. We acknowledge that there is no evidence whatsoever to support this theory and that Kate and Gerry are completely innocent of any involvement in their daughter's disappearance." This was followed in October by an apology and payout (forwarded to the fund again) to a group who had become known as the "Tapas Seven" in relation to the case.

Accusations of xenophobia and hate speech
In 2013, the paper launched a "crusade" against new European Union rules on migrants from Bulgaria and Romania, inviting readers to sign a petition against lifting restrictions on immigration. The front page on Thursday 31 October declared: "Britain is full and fed up. Today join your Daily Express Crusade to stop new flood of Romanian and Bulgarian migrants". The Aberystwyth University Student Union announced a ban on the sale of the paper. This ban was overturned in March 2016, following a student vote. UKIP Leader Nigel Farage declared that he had signed the "Crusade" petition, and urged others to do the same. Romanian politician Cătălin Ivan expressed "outrage" at the campaign.

In a statement released by The Office of the United Nations High Commissioner for Human Rights (OHCHR) on 24 April 2015, the tabloid's name was mentioned in an accusation of producing hate speech, initially referring to an article in The Sun: "...To give just one glimpse of the scale of the problem, back in 2003 the Daily Express ran 22 negative front pages stories about asylum seekers and refugees in a single 31-day period" ... "..the High Commissioner noted that Article 20 of the ICCPR, as well as elements relating to hate speech in the International Convention on the Elimination of All Forms of Racial Discrimination* (both of which have been ratified by the UK, as well as by all other EU countries), were rooted in the desire to outlaw the type of anti-Semitic and other racially based hate speech used by the Nazi media during the 1930s".

Appearing in April 2018 before Parliament's Home Affairs Select Committee, which was investigating the treatment of minority groups in print media, Daily Express editor Gary Jones said that he would be looking to change the tone of the paper. Jones said that he had found past pages of the newspaper "downright offensive," adding that they made him feel "very uncomfortable" and contributed to an "Islamophobic sentiment" in the media.

Daily Express

 * Arthur Pearson (April 1900 – 1901)
 * Bertram Fletcher Robinson (July 1900 – May 1904)
 * R. D. Blumenfeld (1904–1929)
 * Beverley Baxter (1929 – October 1933)
 * Arthur Christiansen (1933 – August 1957)
 * Edward Pickering (1957–1961)
 * Robert Edwards (acting) (November 1961 – February 1962)
 * Roger Wood (1962 – May 1963)
 * Robert Edwards (1963 – July 1965)
 * Derek Marks (1965 – April 1971)
 * Ian McColl (1971 – October 1974)
 * Alastair Burnet (1974 – March 1976)
 * Roy Wright (1976 – August 1977)
 * Derek Jameson (1977 – June 1980)
 * Arthur Firth (1980 – October 1981)
 * Christopher Ward (1981 – April 1983)
 * Sir Larry Lamb (1983 – April 1986)
 * Sir Nicholas Lloyd (1986 – November 1995)
 * Richard Addis (November 1995 – May 1998)
 * Rosie Boycott (May 1998 – January 2001)
 * Chris Williams (January 2001 – December 2003)
 * Peter Hill (December 2003 – February 2011)
 * Hugh Whittow (2011 – March 2018)
 * Gary Jones (2018–present)

Sunday Express

 * 1920: James Douglas
 * 1928: James Douglas and John Gordon
 * 1931: John Gordon
 * 1952: Harold Keeble
 * 1954: John Junor
 * 1986: Robin Esser
 * 1989: Robin Morgan
 * 1991: Eve Pollard
 * 1994: Brian Hitchen
 * 1995: Sue Douglas
 * 1996: Richard Addis
 * 1998: Amanda Platell
 * 1999: Michael Pilgrim
 * 2001: Martin Townsend
 * 2018: Michael Booker

Current

 * Jasmine Birtles, has a daily column and writes regularly for The Independent
 * Vanessa Feltz, columnist and journalist
 * Frederick Forsyth, novelist, journalist and political commentator
 * Adam Helliker, journalist and columnist
 * Lucy Johnston, journalist and health editor
 * Leo McKinstry, journalist, historian and author
 * Ross Clark, journalist and author
 * Richard and Judy, (Richard Madeley and Judy Finnigan), columnists
 * Ann Widdecombe, writer and former politician
 * Dean Dunham, consumer law columnist

Past

 * Bertram Fletcher Robinson, journalist, chief war correspondent, day editor and editor
 * H. V. Morton, journalist and travel writer
 * J. B. Morton, better known as Beachcomber
 * Basil Cardew
 * Sefton Delmer
 * G. E. R. Gedye
 * William Hickey
 * Peter Hitchens
 * Sheila Hutchins, cookery editor
 * Andrew Marr
 * Jenni Murray
 * Charles Gordon McClure (1885–1933), also known as Dyke White, cartoonist
 * Veronica Papworth
 * Yvonne Ridley
 * Jean Rook
 * Michael Watts ('Inspector Watts')
 * Dame Barbara Cartland

Political allegiance
With the exception of the 2001 general election when it backed the Labour Party, and the 2015 general election when it backed the UK Independence Party, the newspaper has declared its support for the Conservative Party at every general election since World War II. In 2011, when the newspaper first endorsed UKIP, it became one of the first media outlets in the United Kingdom to demand a withdrawal from the European Union.

"Crusade for Freedom"
"Crusade for Freedom" was the newspaper's own campaign to give the people of the United Kingdom the opportunity to add their names to a petition addressed to the Prime Minister of the United Kingdom in favour of Britain's withdrawal from the European Union. Each edition of the 8 January 2011 issue had four cut-out vouchers where readers could sign the pledge and send them to the paper's HQ where the petition was being compiled; there were also further editions with the same voucher included. The campaign attracted the support of many celebrities including sportsman/TV personality Ian Botham. as well as J D Wetherspoon chairman Tim Martin, who both gave interviews for 8 January's special edition of the paper. The first week of the campaign saw a response of around 370,000 signatures being received (just over 50% of daily readership or around 0.6% of the UK population).

title: Daily Express


text:
Old ale

Old ale is a form of strong ale. The term is commonly applied to dark, malty beers in England, generally above 5% ABV, and also to dark ales of any strength in Australia. It is sometimes associated with stock ale or, archaically, keeping ale, in which the beer is held at the brewery. In modern times, the line has blurred between Old Ale and Barley wine.

History
Historically, old ales served as a complement to mild ales, and in pubs of the era typically the landlord would serve the customer a blend of the sharper stock ale with the fruitier, sweeter mild ale to the customer's taste. In London especially, the aged ale would take on a tart note from a secondary fermentation with Brettanomyces yeast which was present either in the pitching yeast or in the wooden equipment. Because of the time required for the aging process, some investors would buy mild ale from brewers, age it into old ale, and sell it at the higher price. Eventually, brewers began to keep some beer behind at the brewery, age it themselves and sell it to the pubs. In some cases old ale was a blend of young and old. The "stock ale" was the brewery's very aged ale and was used to inject an "old" quality, and perhaps acidity to the blend.

Burton Ale
In London especially, Burton was a synonym for old ale.

Winter warmer
A winter warmer is a dark, malty-sweet strong ale that is brewed in the winter months. The average alcohol by volume ranges from 6% to 8%, and some reach 10% or more. Christmas beer is a type of winter warmer, similarly strong in alcohol and usually spiced. Mac's Brewery in Hertford have brewed a Christmas beer known as Bootwarmer since 1995, and an old ale called Stronghart since the 1850s.

Variations

Some brewers will make a strong old ale for bottling. Some of these can mature for several years after bottling, and may or may not be bottle-conditioned.

The "October" keeping ales are thought to have formed the basis for India pale ales shipped by the British East India Company.

Another historic version was so-called "majority ale", a strong ale brewed on or around the birth of a child, and intended to be drunk on the child's twenty-first birthday.

Some old ales blended older vintages with fresh beer in vats, on the solera system. Burton Ale brewed by the Ballantine brewery (Newark, New Jersey) was such a beer, and kept in production as a gift item for distributors and VIPs up until the closing of the brewery in 1972. The only surviving representatives are Greene King 5X and The Bruery's anniversary ales. Sour old ales fermented with Brettanomyces yeast were popular in 19th-century Britain. The style is now associated more with Belgian brewing, for instance Oud bruin and Rodenbach Grand Cru, although there is one surviving British example, Gales Prize Old Ale.

A number of breweries, particularly in Sussex, produce a weaker style of old ale with some resemblance to a mild ale. Examples include King and Barnes (later W. J King) (4.5% ABV) and Harveys (4.3% ABV) These are typically consumed on draught dispense.

title: Old ale