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ORF (broadcaster)

Österreichischer Rundfunk (lit.: 'Austrian Broadcasting'; ORF, ) is an Austrian national public broadcaster. Funded from a combination of television licence fee revenue and limited on-air advertising, ORF is the dominant player in the Austrian broadcast media. Austria was the last country in continental Europe after Albania to allow nationwide private television broadcasting, although commercial TV channels from neighbouring Germany have been present in Austria on pay-TV and via terrestrial overspill since the 1980s.

History of broadcasting in Austria

The first unregulated test transmissions in Austria began on 1 April 1923 by Radio Hekaphon, run by the radio pioneer and enthusiast Oskar Czeija (1887–1958), who applied for a radio licence in 1921; first in his telephone factory in the Brigittenau district of Vienna, later in the nearby TGM technical college. On 2 September, it aired a first broadcast address by Austrian President Michael Hainisch (1858–1940). One year later, a powerful transmitter, designed by the German Telefunken company, was installed on the roof of the former War Ministry building in Ringstraße in central Vienna.

Radio Verkehrs AG
It was, however, the public Radio-Verkehrs-Aktiengesellschaft ('Radio Communication Company Ltd', RAVAG), a joint venture of the Austrian Federal Government, the City of Vienna and several bank companies, which, in February 1924, was awarded the concession to begin broadcasting, with Czeja as its director-general. Regular transmissions began on 1 October 1924 from provisional studios inside the War Ministry building that was to become known as Radio Wien (Welle 530). By the end of October 1924 it already had 30,000 listeners, and by January 1925 100,000. Relay transmitters, established across the country by 1934, ensured that all Austrians could listen to Radio Wien at a monthly fee of two schillings.

Radio programmes aimed at an educated audience, featuring classical music, literature, and lectures. The first outside broadcasts aired in 1925, transmitted from the Vienna State Opera and the Salzburg Festival. On the other hand, news broadcasts only played a minor part out of deference to the Austrian press and the 'neutralism' policy of the federal government (the July Revolt of 1927 was not even mentioned). Nevertheless, also regular sportscasts began in 1928 and in 1930 the Austrian legislative election was comprehensively covered. At that time, RAVAG registered about 500,000 listeners, having become a mass medium.

In the course of the abolition of the First Austrian Republic and the implementation of the Austrofascist Ständestaat by Chancellor Engelbert Dollfuß in 1934, the RAVAG studios were armed during the Austrian Civil War in February, as well as by the protagonists of the Nazi July Putsch, when several insurgents entered the studio and had Dollfuß's resignation announced (he actually was killed in his occupied Chancellery office). Dollfuß's successor Kurt Schuschnigg (1897–1977) had the demolished broadcasting centre replaced by the new Radiokulturhaus building (present-day Funkhaus Wien) near the Theresianum academy in Wieden, Vienna, designed by Clemens Holzmeister (1886–1983) and erected from 1935 to 1939. The Austrian government widely used RAVAG broadcasts for propaganda activities, defying massive cross-border Nazi propaganda broadcasts aired from German transmitters in the Munich region, but also promoted the live transmission of mass celebrations.

Reichssender Wien
With the Austrian Anschluss to Nazi Germany and the invasion of Wehrmacht troops in 1938, RAVAG was dissolved and replaced by Reichssender Wien subordinate to the national Reichs-Rundfunk-Gesellschaft network (Großdeutscher Rundfunk from 1939) in Berlin, where programmes were also produced from. One of the last RAVAG transmissions was Schuschnigg's farewell address on 11 March 1938 ('God Save Austria'). Only hours later, live broadcasts featured the cheering devotees of his Nazi successor Arthur Seyss-Inquart (1892–1946), the triumphant entry of Adolf Hitler in Linz the next day, and his speech on Heldenplatz in Vienna. In 1939, the former RAVAG transmission facilities were taken over by the German Reichspost.

In World War II, listening to Feindsender ('enemy radio stations') became a capital offence, however, such stations such as the Swiss Radio Beromünster as well as the German-language programmes of the BBC, Voice of America (VOA) and Vatican Radio, were widely used information sources. Reichssender Wien transmissions were important for strategic bombing alerts. The Funkhaus broadcasting centre itself was damaged by Allied bombs in January and February 1945, followed by the Red Army Vienna Offensive. Reichssender Wien last aired 6 April, before retiring Schutzstaffel troops blew up the Bisamberg transmitter.

Radio Wien
Following the Wehrmacht defeat, independent Austrian RAVAG radio broadcasting resumed in Allied-occupied Austria 24 April 1945, when it announced the formation of a provisional Austrian state government led by Karl Renner (1870–1950). A new Radio Wien station was founded, broadcasting from Funkhaus Wien by a provisional transmitter on the rooftop, once again under Oskar Czeija, who nevertheless was ousted shortly afterward on pressure by the Soviet military administration. As the Funkhaus was located in the Soviet occupation sector of Vienna, the Western Allies established their own radio stations like the Alpenland network on British-occupied territory, Radio Rot-Weiß-Rot on US-occupied territory, Sendegruppe West on French-occupied territory, as well as the American English-speaking 'Blue Danube' armed forces network (BDN; not to be confused with the later Blue Danube Radio) and the British Forces Network (BND), which became quite popular with younger Austrian listeners. The RAVAG/Radio Wien transmissions were limited to the Eastern Austrian Soviet occupation zone, and as the Cold War progressed was increasingly considered Communist propaganda broadcasting.

Several other radio stations began broadcasting in the different occupation zones and radio became a popular medium among Austrians: in 1952 there were 1.5 million radio sets in Austrian homes. The Western Allies could operate their programmes nationwide from Vienna, with a significantly higher popularity rating than the outdated RAVAG transmissions. In 1955, the various regional stations were brought together as the Österreichisches Rundspruchwesen ('Austrian Broadcasting Entity') which later, in 1958, became the Österreichischer Rundfunk GmbH, forerunner of today's ORF.

Radio channels

 * Ö1 – ORF's cultural and principal news channel
 * Hitradio Ö3 – pop music channel
 * FM4 – channel for (alternative) youth culture

The former Ö2 has been replaced by nine regional channels (one for each Bundesland, or federal state):

 * Radio Burgenland
 * Radio Kärnten
 * Radio Niederösterreich
 * Radio Oberösterreich
 * Radio Salzburg
 * Radio Steiermark
 * Radio Tirol
 * Radio Vorarlberg
 * Radio Wien
 * Radio Slovenski

All of these radio channels are broadcast terrestrially on FM and via the digital service of the SES Astra satellites at 19.2° east.

All of ORF's domestic radio channels are also streamed over the internet. An extra 24-hour all-news channel is available exclusively via internet: this is Ö1 Inforadio which relays all of Ö1's news content and fills the 'gaps', during which Ö1 is transmitting music and cultural programmes, with additional news broadcasts.

A version of Ö1 is broadcast internationally via short wave (and satellite in Europe) as Ö1 International. Its schedule includes a small number of programmes in English and Spanish.

An additional service, Radio 1476, formerly broadcast on medium wave each evening from 18.00 until just after midnight. Its schedule was a mixture of items from Ö1, programmes for linguistic and cultural minorities, folk music, and special productions.

Television channels

 * ORF 1
 * ORF 2 (with regional programmes)
 * ORF 2 Europe
 * ORF III
 * ORF Sport +
 * 3sat (in association with ARD, ZDF and SRF)

The ORF television channels are broadcast terrestrially and via the SES Astra 1H satellite at 19.2° east. Via satellite ORF 1 and ORF2 are encrypted, allowing only Austrian residents who pay the Austrian television licence fee (GIS) to watch them. ORF2 Europe is unencrypted and receivable via satellite in Europe.

ORF is a supporter of the Hybrid Broadcast Broadband TV (HbbTV) initiative that is promoting and establishing an open European standard for hybrid set-top boxes for the reception of broadcast TV and broadband multimedia applications with a single user interface. From 6 March 1995 ORF broadcasts 24 hours a day.

Regional studios
The ORF has one regional studio in each state, where each state produces its own radio and state television, which is broadcast over ORF2. The regional studio in Tyrol, also produces regional television and radio for the German-speaking population of South Tyrol, Italy. Even though each state has its own studio, most ORF productions are heavily focused on Vienna, since most shows are made there.

Funding
The ORF is funded by a television license fee, which since 1998 has been administered by its subsidiary Gebühren Info Service (GIS). The amount payable differs by state. As of 2022, Styria has the highest annual television licence cost, at €343.80, and Salzburg and Burgenland have the highest annual radio licence cost, at €94.92. Annual fees from July 2022 are:

From January 2024, as part of reforms to the ORF tabled by the Nehammer Cabinet, the GIS organisation will be abolished and its associated TV licensing fee is expected to be replaced with a new compulsory ORF household tax, administered by ORF-Beitrags Service GmbH. As a result, some loopholes such as removing the antenna or tuner from television sets in order to declare them "GIS-Free" and hence exempt from the GIS fee (declared legal in a report to the Austrian Parliament in 2008, and confirmed as such by the Supreme Administrative Court of Austria in 2015, hence creating a market for selling regular and smart TVs without built-in antennas or tuners ) will be closed under the new system.

Major stars
Many of Austria's best known TV stars work for ORF. According to surveys the most prominent television presenter in the country is former alpine skier Armin Assinger who is the host of the Millionen-Show, Austria's version of Who Wants to Be a Millionaire?. Mirjam Weichselbraun, a former MTV presenter is co-host of Dancing Stars, Austria's edition of Dancing With the Stars. The most popular comedy show on ORF is Wir sind Kaiser ('We Are Emperor') with comedian Robert Palfrader playing Emperor Robert Heinrich I, inviting celebrity guests to make fun of them. The best known news anchors are talk show host Ingrid Thurnher who was given seven Romy awards as most popular presenter; Armin Wolf who is best known for his hard-hitting interviews on the late evening news show ZiB 2; and Gabi Waldner, moderator of the weekly political magazine Report.

Logos
The ORF's first corporate logo, called the 'ORF eye', was designed by the Austrian illustrator and cartoonist Erich Sokol in 1968, who also served as ORF's chief graphics artist and later as art director from 1967 until 1992. The 'ORF eye' logo is often compared to the 'CBS Eye' logo used by the American commercial broadcaster CBS. In 1992, ORF commissioned the British graphic designer Neville Brody to design its current corporate logo, which was soon nicknamed the 'ORF bricks'. The 1968 'ORF eye' logo however continued to be used sporadically (for example on the title cards of Zeit im Bild) until it was completely phased out in 2011.

title: ORF (broadcaster)


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Honey (2003 film)

Honey is a 2003 American dance film directed by Billie Woodruff. It stars Jessica Alba, Mekhi Phifer, Romeo Miller, Joy Bryant, and David Moscow, with a cameo by Missy Elliott and featured performances by Tweet, Jadakiss, Ginuwine, and Blaque.

Plot
Honey Daniels works as a bartender, a record store clerk and a dance teacher at a NYC community center run by her mother. She wants to become a hip hop choreographer, though her mother presses her to teach ballet uptown.

Honey and her rival Katrina are recorded having a dance off. She and her friend Gina find brothers Benny and Raymond street dancing and invite them to her classes.

The dance-off video reaches video director Michael Ellis, who hires Honey as a backup dancer and later as a choreographer. Her career brings money and fame, but takes her away from the center and the neighborhood kids.

After Benny gets into a fight, Honey hires him as her assistant to keep him out of trouble. She convinces Michael to hire her students as dancers in Ginuwine's new video. Honey begins dating Raymond's barber Chaz, who inspires her to prioritize her happiness over fame. She puts down a deposit on an old store she can turn into a dance studio.

Michael insists Honey go with him to an "important meeting," causing her to cancel the birthday trip with Gina. The meeting turns out to be a networking party, where Michael drunkenly hits on her. She slaps him and leaves. Gina is furious to see a photo of Honey at the party. At the Ginuwine shoot, Michael fires Honey, replacing her with Katrina.

The kids are heartbroken. Benny returns to drug dealing, gets arrested and lands in juvy. Visiting him, Honey offers to help him only to be insulted and belittled. Before leaving, she asks Benny how often his gangster friends have visited him, which causes him to reconsider his life choices.

Gina eventually forgives Honey, and encourage her to trust in herself. As Honey's income dries up due to Michael's influence in the industry, she is unable to pay the remainder of the store's down payment, which will soon go back on the market. Honey decides to hold a dance benefit and newly-released Benny brings his dance friends to help, teaching them some moves he learned while in juvy.

Michael pushes Katrina as choreographer for a Missy Elliott video, but Missy prefers Honey. Michael begs Honey to come back, offering to buy her the studio. Honey rejects his offer, realizing that she is noticed by artists and can stand on her own feet.

Gina's bank manager asks arts donors to attend the benefit, which is a full house and everyone is enthusiastic about the performances. Honey's mother sees that the dance form her daughter loves can give her everything that ballet could. The bank manager assures Honey the building is fully funded.

Missy Elliott arrives as the benefit finishes, rushing in to meet Honey. She introduces Honey to the R&B group Blaque at her new dance studio, The Bronx Dance Center, to prepare their new video.

Cast

 * Jessica Alba as Honey Daniels, a hip-hop choreographer
 * Mekhi Phifer as Chaz, a barber, Honey's boyfriend
 * Romeo Miller (credited as Lil' Romeo) as Benny
 * Joy Bryant as Gina, Honey's best friend
 * David Moscow as Michael Ellis, a music producer
 * Lonette McKee as Mrs. Connie Daniels, Honey's mom
 * Zachary Isaiah Williams as Raymond, Benny's brother
 * Laurie Ann Gibson as Katrina, Honey's rival

A number of popular hip hop and R&B musicians, groups and producers play themselves in prominent cameos, including Missy Elliott, Jadakiss, Sheek Louch, Shawn Desman, Ginuwine, Rodney Jerkins, 3rd Storee, Tweet, and Blaque.

Production
The film is inspired by the life of choreographer Laurieann Gibson, who was the film's choreographer and appeared on screen as Katrina, the main character's rival. Singer/actress Aaliyah was reportedly originally cast as Honey, though the role was later recast to Jessica Alba due to Aaliyah's death in August 2001. However, in 2020, director Bille Woodruff debunked the rumor, stating: "That’s incorrect. It was supposed to be Beyoncé. That’s been widely reported but it’s incorrect, [Beyoncé] couldn’t do it because of her touring schedule for her first album Dangerously in Love."

Critical response
Honey was released to mostly negative reviews. Rotten Tomatoes gives the film a score of 21% based on reviews from 116 critics, with an average rating of 4.20/10. The critical consensus reads, "An attractive Jessica Alba and energetic dance numbers provide some lift to this corny and formulaic movie". Metacritic, based on 30 reviews, gives the film a score of 37 out of 100, signifying generally unfavorable reviews.

A. O. Scott of The New York Times was one of the critics to give the film a positive review, noting that it "brings out the wholesome, affirmative side of the hip-hop aesthetic without being overly preachy, although it will not impress anyone with its originality."

Box office
The film opened at #2 at the U.S. box office, earning US$12.9 million in its opening weekend, behind The Last Samurai. The final box office was $30.3 million in the U.S. and Canada and $31.9 million in other countries, for a total of $65.3 million worldwide.

Music
A soundtrack containing hip hop, R&B, funk and disco music was released on November 11, 2003 by Elektra Records. It peaked at #105 on the Billboard 200 and #47 on the Top R&B/Hip-Hop Albums charts.

Sequels
Bille Woodruff, the director of Honey, also directed three sequels, the theatrically released Honey 2 (2011) and two straight-to-video sequels Honey 3: Dare to Dance (2016) and Honey: Rise Up and Dance (2018), each with different casts.

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

title: Honey (2003 film)


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Tupolev Tu-107

The Tupolev Tu-107 was a prototype Soviet military transport aircraft developed from the Tupolev Tu-104. It featured a rear ramp loading door and was intended to carry light vehicles, artillery pieces, or up to 70 paratroopers. The fuselage was unpressurized, which meant that passengers would have to use oxygen masks. A single prototype was built and flown, but the aircraft was not put in production.

title: Tupolev Tu-107


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Tupolev Tu-110

The Tupolev Tu-110 (NATO reporting name: Cooker) was a jet airliner designed and built in the USSR, which saw its maiden flight in 1957.

Design and development
Realising that the export potential for the Tupolev Tu-104 was limited, the Council of Ministers issued directive No. 1511–846 on 12 August 1956, requiring the Tupolev Design Bureau to develop a four-engined version of the Tu-104, to enable the aircraft to safely cross large expanses of ocean, and improve safety on takeoff in case of engine failure.

The Tu-110 was a major redesign of the Tu-104, powered by four Lyulka AL-7 turbojets rated at 5,500 kgf (53.9 kN; 12,100 lbf) thrust each, with two staggered engines in the root of each extended centre-section. The first prototype was flown on 11 March 1957.

Production of the Tu-110 was authorised at the Kazan Aircraft Factory, with an initial order for ten aircraft, but only three aircraft were completed before the programme was terminated. The production aircraft featured extended-chord wings and enlarged baggage holds, as well as seating for up to 100 passengers in an all-tourist class seating arrangement.

All four aircraft were converted to Tu-110Bs with Soloviev D-20 turbofan engines, in an attempt to improve the performance of the aircraft, but to no avail. No further orders were forthcoming and the four Tu-110Bs were used for experimental work on avionics, missile systems and boundary layer control systems, remaining active into the 1970s.

Variants
Data from Tupolev Tu-104
 * Tu-110 – The sole prototype of the Tu-110 (CCCP-L5600).
 * Tu-110A – Production aircraft with doubled seating capacity (all economy class), increased capacity baggage holds, increased area flaps and increased MTOW of 87,200 kg (182,320 lb). Three aircraft were built (CCCP-L5511 – L5513)
 * Tu-110B – Experimental medium-haul versions converted from the prototype and three production aircraft, fitted with four Soloviev D-20 turbofan engines.
 * Tu-110L – The prototype aircraft modified with boundary layer control supplied with bleed air from the D-20 turbofan engines.
 * Tu-110D – A projected medium-haul airliner with four D-20 engines in paired nacelles on either side of the rear fuselage,
 * Tu-117 – A projected military transport version with a rear fuselage loading ramp and defensive tail turret.

title: Tupolev Tu-110


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Campaign for Social Democracy

The Campaign for Social Democracy was a minor political party which ran candidates in the February 1974 United Kingdom general election.

History
The party was formed in September 1973 by Dick Taverne, who had resigned from the Labour Party, after falling out with his Constituency Labour Party over the European Economic Community.

Taverne had formed the Democratic Labour Association in Lincoln and had been elected as an MP for Lincoln under that banner in a by-election in March, 1973. He formed the Campaign for Social Democracy as an attempt to build a radical non-doctrinaire social democratic movement, and at the February 1974 general election they stood four candidates against leading Labour left-wingers, including Tony Benn.

All candidates were unsuccessful, with the highest polling at 2.4% of the vote in their constituency. The campaign ended when the Labour Party won the October 1974 United Kingdom general election, making a split in the Labour Party less likely. Such a split did occur in the early-1980s, when leading moderate in the Labour Party formed the Social Democratic Party.

Election results
The party's results were:

title: Campaign for Social Democracy


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Talk:Cricket in India

Improvements
All work on this greatly appreciated - as you can see it's incredibly weak on recent years. --ALargeElk 12:49, 19 Mar 2004 (UTC)
 * Good work, large elk ! Is it original ? Jay 18:02, 19 Mar 2004 (UTC)
 * It's largely based on "A Corner of a Foreign Field" by Ramachandra Guha - a 450 page book cut down to a few paragraphs.--ALargeElk 11:10, 20 Mar 2004 (UTC)

merge?
This page covers similar stuff to Indian cricket team. Shouldn't they be merged? jguk 2 July 2005 13:29 (UTC)
 * Definitely not. One should put the whole Indian game into context and the other should be a detailed history of the fortunes of the national team. These are clearly different topics. Calsicol 07:44, 15 July 2005 (UTC)

Domestic cricket
In the names of domestic cricket competitions it is mentioned as TEST and ODI in parenthesis whereas there competitions are of first-class and List-A format. So unless it is mentioned so intensionally, I belive it needs to be changed. Thank you. srini (talk) 05:02, 19 June 2015 (UTC)

--History of Cricket-- Hello. I think that in the section where it includes the History of Cricket in India, I think that is important to include that during the early 20th century and 19th century, India was under colonial rule by the British. As a result, the British were the ones who introduced cricket to Indians. I believe the history section needs a little more work because it is important to include the start. The hyperlink "History of cricket in India from 1918–19 to 1945" does not give much of a historical background. Aahmed20 (talk) 05:11, 9 December 2016 (UTC)[User: aahmed20]

External links modified
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Wiki Education assignment: India in Global Studies
— Assignment last updated by Adirrao (talk) 22:05, 17 May 2023 (UTC)

English
Cricket in india 2409:4061:6E4F:A9B6:18D7:9CA4:FB66:1AA1 (talk) 11:51, 18 March 2024 (UTC)

title: Talk:Cricket in India


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Gun dog

Gun dogs or bird dogs are types of hunting dogs developed to assist hunters in finding and retrieving game, typically various fowls that are shot down on the flight. The term hunting dog is broad and includes all breeds and skills of hunting canines, but "gun dogs" refers to canines that are trained to work alongside a loud firearm while hunting or retrieving game. Gun dogs are divided into three main categories: pointers and retrievers, setters and spaniels, and water dogs.

Types
There are several breeds used as gundogs with varying instinctive skill sets for each one. Gun dogs are divided into three primary types: retrievers, pointing breeds, and water dogs.

Method of work
Although classified according to method of work, gun dogs often have skills extending beyond the tasks outlined for their classification. Depending upon how they are trained, dogs may be useful in a variety of hunting situations. The methods described here are analogous to human-canine hunting going back tens of thousands of years.

Pointers and setters
Upon reaching the field, the handler often will cast or direct the dog in a wide circle. Experienced dogs will search the edges of the field knowing that birds are usually found there. This wide run helps to burn off the dog's initial exuberance and may help the dog establish its bearings and form a "background" upon which game smells will be processed. The dog then begins working back and forth, starting near the hunter and slowly ranging out. The dog repeats this process as the hunters move through the field. How far a handler allows the dog to range is a matter of personal preference. When a pair of dogs work as a team, one works close in while the other ranges out in larger circles. If either dog becomes birdy, the other dog works its way over to assist. Good bird dogs are alert to their handlers and to the disposition of other dogs in the field. They should readily comply if the handler casts them to an area of particular interest, such as a brush pile.

When game is detected, a dog freezes, either pointing or crouching. If other dogs are present, they also freeze, "honoring" the first dog's point. The pointing dog remains motionless until the hunters are in position. Handlers give the command whoa, instructing the dog to remain still. What happens next depends on the dog's training. Some trainers train the dog to stay motionless while the hunter steps forward and flushes the game. Other trainers direct the dog to flush the game with a command such as get it! Pointing dogs excel on covey type birds such as bobwhite, quail, and grouse as these birds will hold in position well, allowing the hunter to approach and get into position.

If a bird is downed, the dogs are instructed to search for and retrieve it with the command dead bird, or simply dead.

Water (flushing) dogs
When hunting upland game, flushing dogs (spaniels and retrievers) work much more closely with the hunter. Flushers will not cover the same amount of ground as a pointing dog as the flusher must be kept within shotgun distance. Flushing dogs are often used on birds that run from the hunter. On such birds as pheasant, an aggressive flush is necessary to spring the bird to wing. Flushing dogs excel on these types of bird because they do not point the birds, giving them little time for escape on the ground. Pointing breeds are used on such birds, but must be well trained to know when the bird pointed has moved.

Once a bird has been flushed, the dog will sit or "hup" to watch the flight of the bird and mark the fallen birds for retrieval. A dog which does this successfully is referred to as "steady to wing and shot". Steadiness is the hallmark of the finished spaniel.

When a bird is shot, the dog should mark where it fell and wait until given the command to retrieve. Once commanded, the dog will race to the point of fall, pick up the bird, and return it to the handler.

Retrievers
Retrievers are typically used when waterfowl hunting, although they can also be employed in hunting upland birds as well. Since a majority of waterfowl hunting employs the use of small boats in winter conditions, retrievers are expected to remain sitting calmly and quietly until sent to retrieve. As birds move into range, a well-trained retriever will watch and follow the handler's gun as he shoots, marking, and remembering each bird that is downed. This is called "marking off the gun", and the downed birds are called "marks". Retrievers often are expected to recall the location of many downed birds in one sitting before they retrieve game. Once the shooting has ceased, the handler commands the dog to retrieve each bird that has been downed. If a dog did not see the bird fall, a retriever takes direction from the handler, who can use hand and whistle signals to guide the dog to the unseen downed bird. This is called a "blind" retrieve. During a typical day of shooting, additional birds are frequently downed while the dog is performing a retrieve. Retrievers are taught to ignore these "diversions" until the current retrieve has been completed. Also at times multiple dogs are used on a hunt, and retrievers are also taught to "honor" another dog's retrieve by remaining calm and quiet while the other dog is working.

List of gundog breeds

 * Barbet
 * Bracco Italiano
 * Braque du Bourbonnais
 * Brittany
 * Burgos Pointer
 * Drentsche Patrijshond
 * Cesky Fousek
 * Corded Poodle
 * German Longhaired Pointer
 * German Shorthaired Pointer
 * German Spaniel
 * German Wirehaired Pointer
 * Hungarian Wirehaired Vizsla
 * Kooikerhondje
 * Lagotto Romagnolo
 * Large Münsterländer
 * Pointer
 * Portuguese Water Dog
 * Portuguese Pointer
 * Pudelpointer
 * Chesapeake Bay Retriever
 * Curly Coated Retriever
 * Flat-Coated Retriever
 * Golden Retriever
 * Labrador Retriever
 * Nova Scotia Duck Tolling Retriever
 * English Setter
 * Gordon Setter
 * Irish Setter
 * Irish Red and White Setter
 * Small Münsterländer
 * American Cocker Spaniel
 * American Water Spaniel
 * Boykin Spaniel
 * Clumber Spaniel
 * English Cocker Spaniel
 * English Springer Spaniel
 * Field Spaniel
 * Irish Water Spaniel
 * Sussex Spaniel
 * Welsh Springer Spaniel
 * Spanish Water Dog
 * Spinone Italiano
 * Stichelhaar
 * Standard Poodle
 * Vizsla
 * Weimaraner
 * Wirehaired Pointing Griffon
 * Wirehaired Vizsla

Kennel club classification
When competing in conformation shows most kennel clubs, including The Kennel Club group pedigree gun dog breeds together in their own gun dog group, whilst some such as the American Kennel Club group them in a sporting group.

title: Gun dog


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William Giauque

William Francis Giauque (May 12, 1895 – March 28, 1982) was a Canadian-born American chemist and Nobel laureate recognized in 1949 for his studies in the properties of matter at temperatures close to absolute zero. He spent virtually all of his educational and professional career at the University of California, Berkeley.

Biography
William Francis Giauque was born in Niagara Falls, Ontario, on May 12, 1895.

His father, William Tecumseh Giauque, was an American citizen, and so William Francis Giauque was conferred American citizenship despite being born in Canada, allowing him to attend public grammar schools in Michigan. In 1908, his father died, and he returned to Canada for his secondary education. After completing a two-year business course at the Niagara Falls Collegiate Institute, he searched for work in the field of electrical engineering, and eventually found employment at the Hooker Electrochemical Company in Niagara Falls, New York. He decided to become a chemical engineer through his experience there.

After two years of employment, he entered the College of Chemistry of the University of California, Berkeley, where he received a Bachelor of Science degree with honors in 1920. He entered graduate school at Berkeley, becoming a University Fellow (1920–1921) and a James M. Goewey Fellow (1921–1922). He received the Ph.D. degree in chemistry with a minor in physics in 1922.

Giauque was elected a member of the United States National Academy of Sciences in 1936, a member of the American Philosophical Society in 1940, and the American Academy of Arts and Sciences in 1950.

Research
Although he began university study with an interest in becoming an engineer, he soon developed an interest in research under the influence of Professor Gilbert N. Lewis. Due to his outstanding performance as a student, he became an instructor of chemistry at Berkeley in 1922 and after passing through various grades of professorship, he became a full professor of chemistry in 1934. He retired in 1962.

Absolute zero
He became interested in the third law of thermodynamics as a field of research during his experimental research for his Ph.D. research under Professor George Ernest Gibson comparing the relative entropies of glycerine crystals and glass.

The principal objective of his researches was to demonstrate through range of appropriate tests that the third law of thermodynamics is a basic natural law. In 1926, he proposed a method for observing temperatures considerably below 1 Kelvin (1 K is −457.87 °F or −272.15 °C). His work with D.P. MacDougall between 1933 and 1935 successfully employed them.

He developed a magnetic refrigeration device of his own design in order to achieve this outcome, getting closer to absolute zero than many scientists had thought possible. This trailblazing work, apart from proving one of the fundamental laws of nature led to stronger steel, better gasoline and more efficient processes in a range of industries.

His research and that of his students included a large number of entropy determinations from low temperature measurements, particularly on condensed gases. The entropies and other thermodynamic properties of many gases were also determined from quantum statistics and molecular energy levels available from band spectra as well as other sources.

His correlated investigations of the entropy of oxygen with Herrick L. Johnston, led to the discovery of oxygen isotopes 17 and 18 in the Earth's atmosphere and showed that physicists and chemists had been using different scales of atomic weight for years without recognising it.

Personal life
In 1932, Giauque married Dr. Muriel Frances Ashley and they had two sons. He died on March 28, 1982, in Berkeley, California.

title: William Giauque


text:
Andrew Vicari

Andrew Vicari (born Andrea Antonio Giovanni Vaccari; 20 April 1932 – 3 October 2016) was a Welsh painter working in France, who established a career painting portraits of prominent people. Despite being largely unknown in his own country, Vicari was Britain's richest living painter, and at one time Britain's 18th richest person.

Early life
Vicari was born in Port Talbot, Wales, in 1932 to Italian parents, Vittorio Vaccari ('tobacconist and confectioner'), and his wife, Italini Bertani, from Parma. He was evacuated to Aberdare during World War II. He later attended Neath Grammar School for Boys. Aged 12 he won the Gold Medal for Painting at the Wales National Eisteddfod. Between 1950 and 1952 he studied painting at the Slade School of Fine Art at University College London (UCL) under William Coldstream and occasionally Lucian Freud as teachers. He had initially been refused a place at the Slade and was only admitted when someone dropped out.

Career
After only two years, in 1952, Vicari left the Slade without completing his diploma course and went to Florence. He stayed there and in Rome for two years before returning 'penniless' to the UK. He then began working in London as a portrait painter and in 1961 a large show of his work was put on in the former Debenhams showroom near Leicester Square financed by the band leader and impresario Jack Hylton. Eschewing modern trends, he remained a figurative artist working in oil. His work is appreciated worldwide, especially in the Middle East where three museums are solely dedicated to his work.

In 1974, Vicari was appointed as the official painter to the King and Government of Saudi Arabia. In the following decades, he painted many portraits of the Saudi royal family as well as scenes of Riyadh and Bedouin life. It is largely due to this patronage that Vicari owed his financial success and in 2011 earned him the title "The Rembrandt of Riyadh" from The New York Times. In 2001, he sold a collection of 125 paintings of the First Gulf War to Prince Khaled for £17 million.

Personal life
Vicari lived and worked at his studio outside Nice, France, although he also owned apartments in Riyadh and Monte Carlo.

In 2006 his fortune was valued at £92 million by the Sunday Times Rich List. In October 2014, however, it was reported that Vicari had filed for bankruptcy and had been in poor health.

Vicari died at Morriston Hospital, Swansea on 3 October 2016 at the age of 84.

title: Andrew Vicari


text:
Matt Salinger

Matthew Douglas Salinger (born February 13, 1960) is an American actor. He is known for his appearances in the films Revenge of the Nerds and Captain America.

Early life
Salinger was born February 13, 1960, in Windsor, Vermont, the son of author J. D. Salinger and psychologist Alison Claire Douglas. Salinger's maternal grandfather was British art critic Robert Langton Douglas. He has a sister, Margaret Salinger. His father was of paternal Lithuanian-Jewish descent.

Salinger attended North Country School in Keene, New York for junior high school. Salinger graduated from Phillips Academy Andover and attended Princeton University before graduating from Columbia University with a degree in art history and drama.

Career
Salinger made his film debut in 1984's Revenge of the Nerds. He played Captain America in the 1990 film Captain America.

Salinger subsequently appeared in films including What Dreams May Come and episodes of Law & Order: Special Victims Unit and 24.

Salinger has produced several independent films, including Let the Devil Wear Black and Mojave Moon.

Salinger made his Broadway debut in 1985, in Bill C. Davis's short-lived Dancing in the End Zone,  performing at the Ritz Theater alongside veteran actresses Pat Carroll and Dorothy Lyman. In 2000, he produced the off-Broadway play The Syringa Tree,  which won a Drama Desk Award, the Drama League Award, the Outer Critic's Circle Award,  and the Village Voice Obie Award for Best Play of the Year in 2001.

Unpublished works by J. D. Salinger
J. D. Salinger continued to write throughout his life, although he did not publish any works after 1965. His widow, Colleen O'Neill, and Matt Salinger prepared this work for publication after his death, announcing in 2019 that "all of what he wrote will at some point be shared", but that it was a big job and not yet ready.

Personal life
Salinger married jewelry designer Betsy Jane Becker in 1985. They live in Fairfield County, Connecticut, and have sons Gannon and Avery.

In contrast to his sister, Margaret, who wrote a 1999 memoir about her childhood titled Dream Catcher, Salinger is a devoted protector of his father's privacy. A few weeks after Margaret's book was published, Salinger wrote a letter to The New York Observer, disparaging his sister's "gothic tales of our supposed childhood."

title: Matt Salinger


text:
Dick Taverne

Dick Taverne, Baron Taverne, (born 18 October 1928) is a British politician and life peer who served as Member of Parliament (MP) for Lincoln from 1962 to 1974. A member of the Liberal Democrats, he was a Labour MP until his deselection in 1972, following which he resigned his seat and won the subsequent by-election in 1973 as a Democratic Labour candidate.

Taverne's 1973 victory in Lincoln was short-lived; despite retaining his seat at the February 1974 general election, Labour regained the seat at the October 1974 general election, by the future cabinet minister Margaret Beckett. However, his success opened the possibility of a realignment on the left of British politics, which took shape in 1981 as the Social Democratic Party (SDP), which Taverne joined. He later joined the Liberal Democrats when the SDP merged with the Liberal Party. He has sat as a Liberal Democrat life peer since 1996.

Career
Educated at Charterhouse School, and then Balliol College, Oxford, he graduated in Philosophy and Ancient History, qualified as a barrister in 1954 and became a Queen's Counsel (QC) in 1965.

Taverne unsuccessfully contested Putney as the Labour Party candidate at the 1959 general election, and was elected as the Member of Parliament (MP) for Lincoln at a by-election in March 1962. Under Harold Wilson's premiership in the 1960s, he served as a Home Office Minister from 1966 to 1968, Minister of State at the Treasury from 1968 to 1969 and then as Financial Secretary to the Treasury from 1969 to 1970. In 1970, he helped to launch the Institute for Fiscal Studies, now an influential independent think tank and was the first Director, later chairman.

In 1972, Taverne was deselected by the Lincoln Constituency Labour Party, who disagreed with his pro-European Economic Community views. He then resigned from the Labour Party and from Parliament, and formed the Lincoln Democratic Labour Association. He was re-elected as an Independent Democratic Labour candidate at a by-election in March 1973, and held the seat at the February 1974 general election.

Taverne lost his seat in Parliament at the October 1974 general election. but he continued to remain active with the Democratic Labour Association until it folded after the 1979 general election. He was a leading social democratic thinker, publishing The Future of the Left: Lincoln and After in 1974.

When the Social Democratic Party (SDP) was formed in the early 1980s, he joined them, serving on their national committee from 1981 until 1987. He stood as an SDP candidate in the 1982 Peckham by-election, coming second with 32% of the vote, and in the 1983 general election, he stood in Dulwich, coming third with 22%. When the SDP merged with the Liberal Party he joined the new Liberal Democrats, serving on its Federal Policy Committee from 1989 until 1990. On 5 February 1996 he was created a life peer as Baron Taverne, of Pimlico in the City of Westminster, and sits in the House of Lords as a Liberal Democrat. In May 2006 he was an unsuccessful candidate for the Liberal Democrats in local elections to Westminster City Council in the Marylebone High Street ward.

Taverne was elected President of the Research Defence Society in 2004. He was a member of the House of Lords Committee on the Use of Animals in Scientific Procedures, and is currently a member of the Science and Technology Committee of the House of Lords. He is the author of The March of Unreason, published by Oxford University Press in March 2005.

Personal life and other activity
In 1955, he married Janice Hennessey, a scientist. He became interested in science and public policy, and in 2002 founded Sense about Science, a charity with the objective of advancing public understanding of science and the evidence-based approach to scientific issues.

He is an Honorary Associate of the National Secular Society and a Distinguished Supporter of Humanists UK, as well as a vice-chair of the All Party Parliamentary Humanist Group. He is a former member of the Steering Committee of the Bilderberg Group. He won the Science Writers' Award as Parliamentary Science Communicator of the Year 2005. He is a listed member of Republic, the campaign for abolishing the monarchy.

On 15 September 2010, Taverne, along with 54 other public figures, signed an open letter published in The Guardian, stating their opposition to Pope Benedict XVI's state visit to the UK.

Taverne was interviewed in 2012 as part of The History of Parliament's oral history project.

In 2014 Taverne published his memoir, Against the Tide.

title: Dick Taverne


text:
French Somaliland

French Somaliland (Côte française des Somalis; Xeebta Soomaaliyeed ee Faransiiska) was a French colony in the Horn of Africa. It existed between 1884 and 1967, at which became the French Territory of the Afars and the Issas. The Republic of Djibouti is its legal successor state.

History
French Somaliland was formally established in 1896 when the Issa and Afar each signed a treaty with the French, but iterations of what would eventually become French Somaliland existed for few decades prior to the official formation. On March 11, 1862, a treaty signed by Afar Sultan Raieta Dini Ahmet in Paris ceded the territory of Obock for 10,000 thalaris, around 55,000 francs. Later on, that treaty was used by Captain Alphonse Fleuriot de Langle to colonize the south of the Bay of Tadjoura. On March 25, 1885, the French signed a treaty with the Gadabuursi, effectively making them a protectorate of France. On March 26, 1885, the French signed another treaty with the Issa making the latter a protectorate under the French. No money changed hands and the Somalis did not sign away any of their land rights; the agreement was meant to protect their land from outsiders with the help of the French. However, after the French sailors of the Le Pingouin vessel were mysteriously killed in Ambado in 1886, the French first blamed the British, then the Somalis, using the incident to lay claim to the entire southern territory.

An attempt by Russian adventurer Nikolay Ivanovitch Achinov to establish a settlement at Sagallo in 1889 was promptly thwarted by French forces after just one month.

The construction of the Imperial Ethiopian Railway west into Ethiopia turned the port of Djibouti into a boomtown of 15,000 at a time when Harar was the only city in Ethiopia with a greater population. Although the city's population fell after the completion of the line to Dire Dawa and the bankruptcy (and subsequent government bail-out) of the original company, the rail link allowed Djibouti to quickly overtake the caravan-based trade out of Zeila (then in British Somaliland) and become the premier port for coffee and other goods leaving southern Ethiopia and the Ogaden through Harar. Before the French aligned with the Issa, the Gadabuursi held the position of the first Senator of the country, and is the first Somali head of state to lead the territory compromising Djibouti today. Djama Ali Moussa, a former sailor, pursued his political aspirations and managed to become the first Somali democratically elected head of state in French Somaliland.

The railway continued operating after the Italian conquest of Ethiopia, but following the tumult of the Second World War, the area became a French overseas territory in 1946. In 1967, French Somaliland was renamed the French Territory of the Afars and the Issas and, in 1977, became the independent country of Djibouti.

title: French Somaliland


text:
Deanna Durbin

Edna Mae Durbin (December 4, 1921 – April 17, 2013), known professionally as Deanna Durbin, was a Canadian-born American actress and singer, who moved to the U.S. with her family in infancy. She appeared in musical films in the 1930s and 1940s. With the technical skill and vocal range of a legitimate lyric soprano, she performed many styles, especially operatic arias and semi-classical pieces, which is today called classical crossover.

Durbin was a child actress who made her first film appearance with Judy Garland in Every Sunday (1936), and subsequently signed a contract with Universal Studios. She achieved success as the ideal teenaged daughter in films such as Three Smart Girls (1936), One Hundred Men and a Girl (1937), and It Started with Eve (1941). Her work was credited with saving the studio from bankruptcy, and led to Durbin being awarded the Academy Juvenile Award in 1938.

As she matured, Durbin grew dissatisfied with the girl-next-door roles assigned to her and attempted to move into sophisticated non-musical roles with film noir Christmas Holiday (1944) and the whodunit Lady on a Train (1945). These films, produced by frequent collaborator and second husband Felix Jackson, were not as successful; she continued in musical roles until her retirement. Upon her retirement and divorce from Jackson in 1949, Durbin married producer-director Charles Henri David and moved to a farmhouse near Paris. She withdrew from public life, granting only one interview on her career in 1983.

Early life
When Durbin was an infant, her family moved from Winnipeg to Los Angeles, and the family became United States citizens in 1928. By the time she was 11, her sister recognized that she had definite talent and enrolled her in voice lessons at the Ralph Thomas Academy. Durbin soon became Thomas's prize pupil, and he showcased her talent at various local clubs and churches.

1935–1941: Early career
In early 1935, Metro-Goldwyn-Mayer was planning a biographical film on the life of opera star Ernestine Schumann-Heink and was having difficulty finding an actress to play the young opera singer. MGM casting director Rufus LeMaire heard about a talented young soloist performing with the Ralph Thomas Academy and called her in for an audition. Durbin sang "Il Bacio" for the studio's vocal coach, who was stunned by her "mature soprano" voice. She sang the number again for Louis B. Mayer, who signed her to a six-month contract. She made her first film appearance in the short Every Sunday (1936) with Judy Garland, another teenage singer-actress whose career would rival Durbin's. The film was intended as a demonstration of their talent as performers as studio executives had questioned the wisdom of casting two female singers together. Louis B. Mayer decided to sign both, but by then, Durbin's contract option had lapsed.

Universal Pictures producer Joe Pasternak wished to borrow Garland from MGM, but she was unavailable. When Pasternak learned that Durbin was no longer with MGM, he instead cast her in the film. At 14 years old, Durbin signed with Universal, giving her the professional name Deanna. Her first feature-length film, Three Smart Girls (1936), was a success and established Durbin as a young star. With Pasternak producing for Universal, Durbin starred in a succession of successful musical films, including One Hundred Men and a Girl (1937), Mad About Music (1938), That Certain Age (1938), Three Smart Girls Grow Up (1939), and First Love (1939)—most of which were directed by Henry Koster.

Durbin also continued to pursue singing projects. In 1936, she auditioned to provide the vocals for Snow White in Disney's animated film Snow White and the Seven Dwarfs, but was rejected by Walt Disney, who said the 15-year-old Durbin's voice was "too old" for the part. Andrés de Segurola, who was the vocal coach working with Universal Studios that became her voice teacher—himself a former Metropolitan Opera singer—believed that Durbin was a potential opera star. De Segurola was commissioned to advise the Metropolitan Opera on her progress. Also in 1936, Durbin began a radio collaboration with Eddie Cantor which lasted until 1938, when her heavy workload for Universal forced her to quit her weekly appearances.

The success of Durbin's films was reported to have saved Universal from bankruptcy. In 1938, she received an Academy Juvenile Award with Mickey Rooney. Producer Joe Pasternak said:"Deanna's genius had to be unfolded, but it was hers and hers alone, always has been, always will be, and no one can take credit for discovering her. You can't hide that kind of light under a bushel. You just can't, no matter how hard you try!" Durbin continued her success with It's a Date (1940), Spring Parade (1940), and Nice Girl? (1941).

1941–1945: Attempts to expand
In 1941, Durbin starred in It Started with Eve (1941), her last film with Pasternak and director Henry Koster. Pasternak moved from Universal to MGM. Koster wanted to reunite Durbin with Charles Laughton as Christine and Erik in a new version of The Phantom of the Opera with Erik as Christines's father, but Durbin found the script too bloody and rejected it. This father-daughter element made it into Phantom of the Opera (1943), but it was cut at a late stage. Universal announced Durbin was to star in They Lived Alone, scheduled to be directed by Koster. However, Durbin was unhappy with the role, and that Universal had not given support to the career of her first husband, assistant director Vaughn Paul, whom she had married in April 1941. Durbin turned down the role, and was suspended by the studio from October 16, 1941, to early February 1942. In late January 1942, Durbin and Universal settled their differences, with the studio conceding to Durbin the approval of her directors, stories, and songs.

Wishing to move into more sophisticated material, They Lived Alone was re-tooled into The Amazing Mrs. Holliday (1943), the World War II story of refugee children from China. The film was initially conceived without musical numbers, but Durbin finally relented to Universal's demand to include some. Durbin was also able to re-tool her second sequel to Three Smart Girls from Three Smart Girls Grow Up to Hers to Hold (1943), revolving solely around her character. Her co-star Joseph Cotten would later speak highly of her integrity and character. Durbin also dabbled in other genres, such as the romantic comedy His Butler's Sister (1943) and the musical Western Can't Help Singing (1944), her only Technicolor film, which was produced on location in southern Utah and co-starred Robert Paige. The film featured some of the last melodies written by Jerome Kern.

Durbin continued her push to establish herself as a more dramatic actress with the film noir Christmas Holiday (1944), directed by Robert Siodmak and co-starring Gene Kelly. Siodmark praised Durbin's acting skills, but later recalled she was difficult as "she wanted to play a new part but flinched from looking like a tramp: she always wanted to look like nice wholesome Deanna Durbin pretending to be a tramp." Although the film received mixed reviews, Durbin later called it her "only really good film". The whodunit Lady on a Train (1945) also received mixed critical reviews. Most of these films had been produced by Felix Jackson, whom she married in August 1945; they welcomed their daughter, Jessica Louise, in February 1946.

1946–1949: Decline and retirement
In 1946, Durbin was the second-highest-paid woman in the United States, just behind Bette Davis,; her fan club ranked as the world's largest during her active years. However, while her adult dramatic roles may have been more satisfying for Durbin, it was clear her fans preferred her in light musical confections.

In 1946, Universal merged with two other companies to create Universal-International. The new regime discontinued much of Universal's familiar product and scheduled only a few musicals. Jackson left Universal in November 1946; he also left Durbin in January 1947, although their separation was not announced until the following year.

Durbin's final four pictures — I'll Be Yours (1947), Something in the Wind (1947), Up in Central Park (1948), and For the Love of Mary (1948) — all reverted to her previous musical-comedy structure. On August 22, 1948, Universal-International announced a lawsuit which sought to collect wages the studio had paid Durbin in advance. Durbin settled the complaint by agreeing to star in three more pictures, including one in Paris; this did not materialize before Durbin's contract expired. She received a $200,000 ($0 in ) severance payment.

1949–2013: Retirement
Unsatisfied by her career options, Durbin chose to retire and move to Paris. When her former producer Joe Pasternak tried to dissuade her, she told him, "I can't run around being a Little Miss Fix-It who bursts into song—the highest-paid star with the poorest material." In September 1949, Durbin filed for divorce from Jackson, which was finalized in November.

On December 21, 1950, Durbin married French director-producer Charles Henri David, who had previously directed her in Lady on a Train. Durbin and David raised a son, Peter David (born in June 1951), as well as Durbin's daughter Jessica, on a farm outside of Paris. Durbin turned down several offers for a comeback, including a Broadway role as Eliza Doolittle in My Fair Lady; she later said, "I had my ticket for Paris in my pocket." In 1951, she was invited to play in London's West End production of Kiss Me, Kate, and in the Metro-Goldwyn-Mayer film version of the same in 1953, and Sigmund Romberg's operetta The Student Prince in 1954.

In 1983, film historian David Shipman was granted a rare interview by Durbin. Durbin acknowledged her dislike of the Hollywood studio system, emphasizing that she never identified herself with the public image that the media created around her. She spoke of the Deanna "persona" in the third person, and considered the film character "Deanna Durbin" to be a byproduct of her youth and not her true identity. In private life, Durbin had continued to use her given name, Edna; salary figures printed annually by the Hollywood trade publications listed the actress as "Edna Mae Durbin, player". Also in the interview, she steadfastly asserted her right to privacy, something she maintained until the end of her life, declining to be profiled on websites.

Durbin's husband of almost 50 years, Charles David, died in Paris on March 1, 1999. On April 30, 2013, a newsletter published by the Deanna Durbin Society reported that Durbin had died "in the past few days", quoting her son, Peter H. David, who thanked her admirers for respecting her privacy. No other details were given. According to the Social Security Death Index (under the name Edna M. David), she died on April 17, 2013 in the 19th arrondissement of Paris.

Legacy
Deanna Durbin has a star on the Hollywood Walk of Fame at 1722 Vine Street. She left her handprints and footprints in front of the Grauman's Chinese Theatre on February 7, 1938. Durbin was well known in Winnipeg, Manitoba (her place of birth), as "Winnipeg's Golden Girl" (a reference to one of the city's most famous landmarks, the statue Golden Boy atop the Manitoba Legislative Building).

Frank Tashlin's Warner Bros. cartoon The Woods Are Full of Cuckoos (1937) contains a turtle caricature of Deanna Durbin called "Deanna Terrapin". An unnamed caricature of Durbin also appeared in the Warner Brother's cartoon "Malibu Beach Party" (1940).

Durbin figures prominently in the 1963 Ray Bradbury short story "The Anthem Sprinters" (collected in The Machineries of Joy). Durbin's singing is featured in Alistair MacLean's 1955 novel HMS Ulysses, being broadcast over the wartime ship's internal communication system. She was also referenced in Richard Brautigan's novel Trout Fishing in America (1967), when the narrator claims to have seen one of her movies seven times, but cannot recall which one. She is also mentioned by the character Hatsumi in Haruki Murakami's novel Norwegian Wood (in chapter 8), when she says that her grandfather used to brag that he had met Durbin one time in New York.

In song, Durbin's name found its way into the introduction to a song written by satirical writer Tom Lehrer in 1965. Prior to singing "Whatever Became of Hubert?", Lehrer said that Vice President Hubert Humphrey had been relegated to "those where-are-they-now columns: Whatever became of Deanna Durbin, and Hubert Humphrey, and so on." She is also referenced in the Glenn Miller WWII novelty song "Peggy the Pin-up Girl". Interestingly, the lyrics pair her name with her first co-star Judy Garland: "Even a voice that's so disturbin' / Like Judy Garland or Miss Durbin / Can't compare to my pin-up queen". In Philippe Mora's film The Return of Captain Invincible (1983), Christopher Lee sings a song called "Name Your Poison", written by Richard O'Brien and Richard Hartley, which has the line, "Think of young Deanna Durbin / And how she sang on rum and bourbon."

Anne Frank was a fan of Durbin, and pasted two photos of her on the wall in the family's hideout; the photos are still on the wall today. Winston Churchill was also a fan of Durbin, screening her films "on celebratory wartime occasions". Russian cellist/conductor Mstislav Rostropovich cites Durbin in the mid-1980s as one of his most important musical influences, stating: "She helped me in my discovery of myself. You have no idea of the smelly old movie houses I patronized to see Deanna Durbin. I tried to create the very best in my music, to try to recreate, to approach her purity." Indian-Bengali film director Satyajit Ray, in his acceptance speech for an Oscar (Honorary – Lifetime Achievement) in 1992, mentioned Deanna Durbin as the only one of the three cinema personalities he recalled writing to when young who had acknowledged his fan letter with a reply. (The other two were Ginger Rogers and Billy Wilder.) In addition, Deanna Durbin inspired several opera singers, such as Joan Sutherland, who said about the ease of her singing, "I wish I knew how she did it".

Discography
Between December 15, 1936, and July 22, 1947, Deanna Durbin recorded 50 tunes for Decca Records. While often re-creating her movie songs for commercial release, Durbin also covered independent standards, like "Kiss Me Again", "My Hero", "Annie Laurie", "Poor Butterfly", "Love's Old Sweet Song" and "God Bless America".

 * "Alice Blue Gown"
 * "Alleluia" (from 100 Men and a Girl)
 * "Always" (from Christmas Holiday)
 * "Adeste Fideles"
 * "Amapola" (from First Love)
 * "Annie Laurie"
 * "Any Moment Now" (from Can't Help Singing)
 * "Ave Maria" (from Mad About Music)
 * "Ave Maria" (from It's a Date)
 * "Be a Good Scout" (from That Certain Age)
 * "Because" (from Three Smart Girls Grow Up)
 * "Begin the Beguine" (from Hers to Hold)
 * "Beneath the Lights of Home" (from Nice Girl)
 * "The Blue Danube" (from Spring Parade)
 * "Brahms' Lullaby" (from I'll Be Yours)
 * "Brindisi" ("Libiamo ne' lieti calici)" (from 100 Men and a Girl)
 * "Californ-I-Ay"
 * "Can't Help Singing" (from Can't Help Singing)
 * "Carmena Waltz"
 * "Chapel Bells" (from Mad About Music)
 * "Cielito Lindo" ("Beautiful Heaven)"
 * "Ciribiribin"
 * "Clavelitos" (from It Started with Eve)
 * "Danny Boy" (from Because of Him)
 * "Embraceable You"
 * "Every Sunday" (with Judy Garland)
 * "Filles de Cadiz" ("The Maids of Cadiz") (from That Certain Age)
 * "Gimme a Little Kiss, Will Ya, Huh?" (from Lady on a Train)
 * "God Bless America"
 * "Goin' Home" (from It Started With Eve)
 * "Goodbye" (from Because of Him)
 * "Granada" (from I'll Be Yours)
 * "A Heart That's Free" (from 100 Men and a Girl)
 * "Home! Sweet Home!" (from First Love)
 * "Il Bacio" ("The Kiss") (from Three Smart Girls)
 * "I'll Follow My Sweet Heart"
 * "I'll Take You Home Again Kathleen" (from For the Love of Mary)
 * "I'll See You In My Dreams"
 * "I Love to Whistle" (from Mad About Music)
 * "(I'm) Happy Go Lucky and Free" (from Something in the Wind)
 * "(I'm) Happy Go Lucky and Free" (from Something in the Wind)
 * "In the Spirit of the Moment" (from His Butler's Sister)
 * "Invitation to the Dance" (from Three Smart Girls Grow Up)
 * "Italian Street Song"
 * "It's a Big Wide Wonderful World" (from For the Love of Mary)
 * "It's Dreamtime" (from I'll Be Yours)
 * "It's Foolish But It's Fun" (from Spring Parade)
 * "It's Only Love" (from Something In The Wind)
 * "It's Raining Sunbeams" (from 100 Men and a Girl)
 * "Je Veux Vivre" ( Roméo et Juliette) (from That Certain Age)
 * "Kiss Me Again"
 * "La Estrellita" ("Little Star)"
 * "Largo al factotum" (The Barber of Seville) (from For the Love of Mary)
 * "The Last Rose of Summer" (from Three Smart Girls Grow Up)
 * "Loch Lomond" (from It's a Date)
 * "Love at Last" (from Nice Girl)
 * "Love is All" (from It's a Date)
 * "Lover" (from Because of Him)
 * "Love's Old Sweet Song"
 * "Make Believe"
 * "Mighty Like a Rose" (from The Amazing Mrs. Halliday")
 * "Molly Malone"
 * "More and More" (from Can't Help Singing)
 * "More and More/Can't Help Singing" (from Can't Help Singing)
 * "Musetta's Waltz" (La bohème) (from It's a Date)
 * "My Heart is Singing" (from Three Smart Girls Grow Up)
 * "My Hero"
 * "My Own" (from That Certain Age)
 * "Nessun dorma" (Turandot) (from His Butler's Sister)
 * "Never in a Million Years/ Make Believe"
 * "Night and Day" (from Lady on a Train)
 * "O Come, All Ye Faithful"
 * "Old Folks at Home" (from Nice Girl)
 * "The Old Refrain" (from The Amazing Mrs. Holiday)
 * "On Moonlight Bay" (from For the Love of Mary)
 * "One Fine Day" (Madama Butterfly) (from First Love)
 * "One Night of Love"
 * "Pace, Pace, Mio Dio" (La forza del destino) (from Up In Central Park)
 * "Pale Hands I Loved" (Kashmiri Song) (from Hers to Hold)
 * "Perhaps" (from Nice Girl)
 * "Poor Butterfly"
 * "The Prince"
 * "Russian Medley" (from His Butler's Sister)
 * "Sari Waltz (Love's Own Sweet Song)" (from I'll Be Yours)
 * "Say a Pray'r for the Boys Over There" (from Hers to Hold)
 * "Seal It With a Kiss"
 * "Seguidilla (Carmen) (from Hers to Hold)
 * "Serenade to the Stars" (from Mad About Music)
 * "Silent Night" (from Lady on a Train)
 * "Someone to Care for Me" (from Three Smart Girls)
 * "Something in the Wind" (from Something in the Wind)
 * "Spring in My Heart" (from First Love)
 * "Spring Will Be a Little Late This Year" (from Christmas Holiday)
 * "Swanee – Old Folks at Home" (from Nice Girl)
 * "Summertime" (Porgy and Bess)
 * "Sweetheart"
 * "Thank You America" (from Nice Girl)
 * "There'll Always Be An England" (from Nice Girl)
 * "The Turntable Song" (from Something in the Wind)
 * "Two Guitars" (from His Butler's Sister)
 * "Two Hearts"
 * "Un bel dì vedremo" (Madama Butterfly) (from First Love)
 * "Viennese Waltz" (from For The Love Of Mary)
 * "Vissi d'arte (Tosca) (from The Amazing Mrs. Holiday)
 * "Waltzing in the Clouds" (from Spring Parade)
 * "When April Sings" (from Spring Parade)
 * "When I Sing" (from It Started with Eve)
 * "When the Roses Bloom Again"
 * "When You're Away" (from His Butler's Sister)
 * "You Wanna Keep Your Baby Looking Nice, Don't You" (from Something in the Wind)
 * "You're as Pretty as a Picture" (from That Certain Age)

title: Deanna Durbin


text: File:Vicari LaMarianne 240px.jpg

title: File:Vicari LaMarianne 240px.jpg