text:
Preverb

Although not used in general linguistic theory, the term preverb is used in Caucasian (including all three families: Northwest Caucasian, Northeast Caucasian and Kartvelian), Caddoan, Athabaskan, and Algonquian linguistics to describe certain elements prefixed to verbs. In the context of Indo-European languages, the term is usually used for separable verb prefixes.

Theoretically, any prefix could be called a preverbal element. However, in practice, the term preverb applies more narrowly in those families and refers to a prefixed element that is normally outside the premise of verbal morphology like locations of noun elements or, less often, noun elements themselves.

Algonquian
In Algonquian languages, preverbs can be described as phonologically separate words that may precede a verb and share its inflection. In particular, pronominal prefixes or initial change are applied to the first preverb, if any, of the verb complex rather than to the verb stem. Their meaning can range from past tense or perfective aspect to meanings for which English might use an adverb or another verb, like these from Ojibwe:

In Munsee, some words can come between a preverb and its verb.

See also prenoun in such languages.

Caddoan
In Caddoan linguistics, preverbal elements are less well defined as a class, and often, "preverb" designates a part of the verbal root that can be separated from the rest of the root by certain prefixes, as in this Wichita example:

ta- i- aa- tíísaas kir ri- ʔa -s

INDIC- 3SG- PVB- medicine liquid portative- come -IMPERF

He is bringing (liquid) medicine

Northwest Caucasian languages
In Northwest Caucasian languages, they can have nouns, directional and locative preverbs (like prepositions), like in this example from Ubykh:

sɨ- bʁʲɜ- w- qʼɜ -nɜjtʼ

1SG- PVB- 2SG- talk -IMPERF

You were talking about me (literally, 'you were talking on me')

Mandarin Chinese
For Mandarin Chinese and many other varieties of Chinese, the term refers to some words that carry the meanings of prepositions in English. In Chinese, they are lexically verbs and appear before the noun in question. They are more commonly referred to as coverbs.

Georgian
In Georgian, a Kartvelian language, the main function of a preverb is to distinguish the present tenses and the future tenses. To turn a present tense verb into a future tense, a preverb is added to the verb compound. In addition, preverbs also have directional meanings in Georgian.

Preverbs are directly attached to the beginning of the verb compound:

 * აკეთებს ak'etebs he does it and გააკეთებს gaak'etebs he will do it
 * ვწერ vts'er I am writing and დავწერ davts'er I will write

Note in those two examples that the meaning of the future tense is achieved only by adding the preverb; no other grammatical change occurs. In these examples, preverbs have directional meanings:

 * მოდის modis he/she is coming
 * მიდის midis he/she is going
 * ადის adis he/she is going up (the stairs), he/she is getting on (a bus)
 * ჩამოდის chamodis he/she is arriving
 * შემოდის shemodis he/she is entering

Again, note that only the preverbs are changed to convey the meaning of various directional meanings.

Preverbs add directional meanings not only to the verbs of motion but also to any other kind of verbs. Compare the examples of the verb -ts'er- write:

 * დავწერე davts'ere I wrote it
 * მოგწერე mogts'ere I wrote it to you
 * მივწერე mivts'ere I wrote it to him/them
 * გადაგიწერე gadagits'ere I wrote to you (from a place)

As can be seen from the examples, the preverb changes according to the indirect object (the person for (to) whom the verb is being done).

Many verbs have a common root. For example, "end" and "stay" have the same verb root, -rch-. The meanings of the verbs are distinguished by their preverbs and other elements of the verb compound:

 * რჩება rcheba he is staying, დარჩება darcheba he will stay
 * რჩება rcheba it is ending, მორჩება morcheba it will end

As is clear, the verbs are identical in the present tense but differ in the future tense by their preverbs.

Modern Persian
A preverb is a morpheme, which is applied together with the participles modifying their meaning and the meaning of their derivates.

Persian preverbs, referred to as "āndar" or "dar", are:

 * bar
 * bāz
 * farā and hā
 * farāz
 * foru and hō
 * ham
 * negah and negāh
 * pas
 * piš
 * ru
 * sar
 * var
 * vā

Pre-verbs can modify the procedure attribute of the verbs and the infinitives, but they do not change their objective attribute:

The Pre-verb is normally positioned ahead of the verb. If the verb is composed of two separable components, the pre-verb is positioned ahead of the second component. The Pre-verb can be positioned at the end of the sentence, owing to versification requirements:

از کارِ خير عزمِ تو هرگز نگشت باز

هرگز زِ راه بازنگشته‌ست هيچ تير

Manuchehri (11th - 12th Century AD)

Pingelapese
Pingelapese is a language spoken on the Island of Pingelap atoll, located in Micronesia. This language uses preverbs in existential sentences, one of their four sentence structures. The verb is used when a character of a story or statement is already known.

Toki Pona
In the constructed language Toki Pona, a preverb is a class of words that can be placed at the start of the predicate in front of the verb. Toki Pona preverbs have various functions, such as marking grammatical mood or aspect.

Some examples:

mi ∅ wile moku

1.PN PM DES eat

I/we want to eat

o awen pona

OPT.PM CONT good

Stay good (e.g. keep being well, may you stay healthy, etc.)

ona li ken ala kama sona e ni

3.PN PM POT NEG INCEP know DO DEM.PN

They aren't capable of learning this (More literally: They can not come to know this)

title: Preverb


text:
File talk:Example.jpg

Minimizing or maximizing
How do I minimize or maximize an image? Gioguch (talk) 00:23, 24 September 2020 (UTC)
 * Have you tried the help desk? This is the talk page for discussing improvements to the page File:Example.jpg. -- Red rose64 🌹 (talk) 18:38, 25 September 2020 (UTC)

Protected edit request on 12 January 2022
i want to add other versions Copperwidth (talk) 02:36, 12 January 2022 (UTC)

Glitch
It says “edit” even though I’m not an admin, when í click on it it just views source. Blackmamba31248 (talk) 15:44, 12 May 2024 (UTC)
 * this is the talk page for discussing improvements to the page File:Example.jpg. Try WP:HD; when posting there, statte whether you have similar issues elsewhere. -- Red rose64 🌹 (talk) 19:20, 13 May 2024 (UTC)

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

title: File talk:Example.jpg


text:
Memorial (liturgy)

A memorial in the Roman Rite of the Catholic Church is a lower-ranked feast day in honour of a saint, the dedication of a church, or a mystery of the religion.

All feast days are ranked according to their importance and named either as “solemnities", or "feasts", or "memorials".

Memorials are always supplanted by a coinciding solemnity, feast, Sunday, Ash Wednesday, Holy Week, or day of the Octave of Easter.

Observance
Celebrations of solemnities and feasts are distinguished from those of memorials by, for instance, recitation of the Gloria in excelsis in the Mass (an inclusion otherwise allowed only on Sundays) and the Te Deum in the Liturgy of the Hours.

The observance of memorials is integrated into the celebration of the occurring weekday (the feria) according to the norms set forth in the General Instruction of the Roman Missal (GIRM) and the Liturgy of the Hours.

The GIRM lays down that, for memorials of saints, "unless proper readings are given, the readings assigned for the weekday are normally used. In certain cases, particularised readings are provided, that is to say, readings which highlight some particular aspect of the spiritual life or activity of the Saint. The use of such readings is not to be insisted upon, unless a pastoral reason truly suggests it". The Collect proper to the memorial is used or, if this is lacking, one from an appropriate Common. As to the Prayer over the Offerings and the Prayer after Communion, unless these are proper, they may be taken either from the Common or from the weekday of the current time of the year.

Celebrations of memorials occurring between 17 and 24 December and during Lent, which are then never obligatory, consist of replacing the collect of the day with that of the saint.

The General Instruction of the Liturgy of the Hours gives the following indications on celebration of memorials occurring on ordinary days: In the Office of Readings and at Lauds and Vespers:
 * a) All the psalms with their antiphons are taken from the current weekday, unless the memorial has proper antiphons and psalms.
 * b) If the memorial has its own antiphon for the invitatory, hymn, short reading, Benedictus and Magnificat antiphons and intercessions, these are used. Otherwise these elements are taken either from the Common or from the Office of the current week and day.
 * c) The concluding prayer is taken from the Office of the saint.
 * d) In the Office of Readings, the biblical reading with its responsory is that assigned to the weekday. The hagiographical second reading with its responsory is proper to the saint, but if no proper reading is assigned, the reading is either taken from the Common or is the patristic reading of the weekday
 * e) Prayer during the Day and Compline are taken entirely from the weekday.

Celebrations of memorials occurring between 17 and 24 December and during Lent, which are then never obligatory, consist of adding to the Office of Readings, after the patristic reading and responsory of the weekday, the hagiographical reading and responsory of the saint, and concluding with the prayer of the saint; and adding to Lauds and Vespers, after the concluding prayer of the weekday, the antiphon (proper or common) and the prayer of the saint.

Obligatory and optional memorials
Memorials are either obligatory or optional. The rules governing the celebration of memorials, whether obligatory or optional, are identical. The only difference is precisely that an optional memorial need not be observed, and, with the limitations indicated for the second part of Advent and for Lent, there is the possibility of celebrating instead the Mass either of another memorial assigned to that day, or of the weekday, or of any saint mentioned in the Roman Martyrology for that day, or indeed (except during the first part of Advent, the days from 2 January to the day before Epiphany, and Eastertide), a Mass for Various Needs, or a Votive Mass.

Sometimes memorials that are called obligatory cease to be such. This occurs to those that fall within Lent. If two obligatory memorials coincide (as can happen when the movable memorial of the Immaculate Heart of Mary falls on the date of a fixed obligatory memorial), both become optional.

Pre-Vatican II forms of the Roman Rite
In approximate correspondence to memorials, Pope John XXIII's 1960 Code of Rubrics spoke of "third-class feasts, as can be seen in the General Roman Calendar of 1960, and gave some of them, either permanently or on the occasions when their celebration coincided with one of higher rank, only a commemoration within the office actually celebrated. The Code of Rubrics laid down that, unless proper psalms are assigned, a third-class office uses the weekday psalms and at matins combines the second and third readings for the ferial day into a second reading, with a reading about the saint or mystery providing the third, followed by the Te Deum. In lauds and vespers, everything after the psalms is either from the proper or the common of the feast. The same is done at terce, sext, and none. There are very few changes at prime. Compline is of the weekday unless otherwise assigned. Third-class feasts are merely commemorated on weekdays of Lent and are not observed on Sundays. During Advent, they add a commemoration of the ferial day, except on 17–23 December, days classified as second-class ferias that thus outrank them. Before the 1960 Code of Rubrics, saints and mysteries were traditionally ranked as doubles, semidoubles and simples, with doubles further subdivided into first-class doubles, second-class doubles, major doubles and mere doubles. A few years before Pope John XXIII's reform, Pope Pius XII had already abolished semidoubles and Pope Pius X had done away with the tradition that any double feast, of which there were over 200 in the course of the year, outranked a normal Sunday celebration.

title: Memorial (liturgy)


text:
Quatermass II

Quatermass II is a British science fiction serial, originally broadcast by BBC Television in the autumn of 1955. It is the second in the Quatermass series by writer Nigel Kneale, and the oldest of those serials to survive in its entirety in the BBC archives.

The serial sees Professor Bernard Quatermass of the British Experimental Rocket Group being asked to examine strange meteorite showers. His investigations lead to his uncovering a conspiracy involving alien infiltration at the highest levels of the British government. As even some of Quatermass's closest colleagues fall victim to the alien influence, he is forced to use his own unsafe rocket prototype, which recently caused a nuclear disaster at an Australian testing range, to prevent the aliens from taking over mankind.

Although sometimes compared unfavourably to the first and third Quatermass serials, Quatermass II was praised for its allegorical concerns of the damaging effects of industrialisation and the corruption of governments by big business. It is described on the British Film Institute's Screenonline website as "compulsive viewing".

Casting and crew
Reginald Tate, who had played the title role in The Quatermass Experiment, collapsed and died on 23 August 1955, aged 58. This was less than a month before the shooting of the location filming for Quatermass II began, and necessitated the casting of a replacement lead actor at short notice; John Robinson was chosen to fill the part. Robinson was an experienced actor from a range of different films and television programmes since the 1930s, but was uncomfortable about taking over from Tate, and had difficulty in learning some of the technical dialogue he was required to deliver. Robinson's delivery of his lines has been criticised by some later reviewers.

Appearing as Quatermass's chief assistant Dr Leo Pugh was Welsh actor Hugh Griffith, who had been an actor on stage and screen since the 1930s, but gained his highest profile roles after Quatermass II; he went on to win the Academy Award for Best Supporting Actor as Sheikh Ilderim in Ben-Hur (1959). He also appeared in Lucky Jim (1957) and Oliver! (1968).

Monica Grey played Paula Quatermass; she was chosen by BBC management rather than the production team, as she was the wife of the BBC's head of radio drama, Val Gielgud. As Hugh Griffith also had problems with some of his technical dialogue, Grey learned his lines as well as her own, in case she needed to step in and assist him during the live performance. Dillon was played by John Stone; Stone too had a long career as a supporting actor in a range of British television series, and in 1956 had a small role in the film X the Unknown, which Hammer Film Productions had intended as a sequel to their version of The Quatermass Experiment, until Kneale denied them the rights to use the character.

Four actors who each became well known for a particular role on British television had supporting parts in Quatermass II. Rupert Davies who played MP Vincent Broadhead would go on to find fame as Sûreté detective Commissaire Jules Maigret, the title character of 1960s TV series Maigret, based on Georges Simenon's novels. Roger Delgado, who found fame in the 1970s as the Master in Doctor Who (1971–73), played a journalist who helps Quatermass before falling victim to "the mark" in episode four. Wilfrid Brambell, later star of the sitcom Steptoe and Son (1962–74), appeared as a tramp. and Melvyn Hayes, who played the small role of Frankie, later worked in several films with Cliff Richard and starred in the BBC sitcom "It Ain't Half Hot Mum".

Nigel Kneale not only wrote the serial but, previously an actor, had two speaking parts. He played the voice heard over the factory loudspeaker system in episode five, and narrated the recaps at the beginning of episodes two, three, four and six. Kneale went on to write feature film screenplays such as Look Back in Anger (1958) and First Men in the Moon (1964), as well as continuing to write for television, including two further Quatermass serials, until 1997.

Kneale credited the director Rudolph Cartier with bringing to the screen in Quatermass II, with its ambitious location filming, an expansive style that had not been seen in British television drama beforehand. Cartier worked with Kneale again on the third Quatermass serial, Quatermass and the Pit, in 1958, and had subsequent successes with plays such as Anna Karenina (1961), Cross of Iron (1961) and Lee Oswald – Assassin (1966). He continued directing for television until the 1970s.

Production
On 22 September 1955 the ITV network was launched in the UK, bringing commercial television to Britain for the first time and ending the BBC's broadcasting monopoly in the country. The new network's creation had been established by the Television Act 1954, and the BBC had known in advance that it would need programmes to combat the new rival for television audiences. Referring to the 1953 science-fiction serial The Quatermass Experiment in a memo written in 1954, BBC Television's Controller of Programmes, Cecil McGivern, noted that: "Had competitive television been in existence then, we would have killed it every Saturday night while [The Quatermass Experiment] lasted. We are going to need many more 'Quatermass Experiment' programmes".

Having recently signed a two-year extension to his BBC staff writer's contract, Nigel Kneale was specifically commissioned to write a sequel to The Quatermass Experiment in early 1955 to challenge the new ITV network. Kneale was inspired by contemporary fears over secret UK Ministry of Defence research establishments such as Porton Down, and also by being required, as a BBC staff member, to sign the Official Secrets Act. As with The Quatermass Experiment, Quatermass II was produced and directed by Rudolph Cartier; he and Kneale particularly enjoyed working together. Since the first Quatermass serial, the two men had collaborated on the literary adaptations Wuthering Heights (1953) and Nineteen Eighty-Four (1954), and on Kneale's abominable snowman play The Creature (1955).

Quatermass II comprised six half-hour episodes, transmitted live from Studio G at the BBC's Lime Grove Studios in London. The episodes – individually subtitled "The Bolts", "The Mark", "The Food", "The Coming", "The Frenzy" and "The Destroyers" – were shown every Saturday night at 8 p.m. from 22 October to 26 November 1955; because of the live nature of the performances, most of the episodes overran their allotted half-hour slots slightly. Each episode was rehearsed on the Monday to Friday before transmission at Mansergh Woodall Boys Club in St John's Wood, London, and then camera rehearsed in studio for most of the day on the Saturday.

Not every scene was performed live; because of the increased budget – £7,552 was spent on the serial, nearly double the amount spent on The Quatermass Experiment – Cartier was able to include a larger proportion of pre-filmed inserts on 35 mm film, which were included during the live transmissions of each episode. Most of the pre-filmed material was shot on location at the Shell Haven oil refinery in Stanford-le-Hope, doubling for the factory where the alien creature is being grown on Earth. Filming also took place in rural Essex for material showing the meteorites being discovered in fields, and in the boiler rooms of the under-construction BBC Television Centre in London for scenes set inside the factory. The location film sequences were the most ambitious that had then been attempted in British television drama, which was usually predominantly studio-bound.

Each episode of Quatermass II was telerecorded onto 35 mm film during its live transmission, for a scheduled repeat the following Monday night at 10:15 p.m. All six episodes survive intact in the BBC's archives, although the telerecording copies in some cases suffer from poor quality sound and vision. Owing to either technical or artistic problems, Cartier had some scenes re-performed by the cast immediately following the live performance on the Saturday evening, and these were telerecorded and used to replace the live versions in the Monday night repeats. Quatermass II was one of the first BBC drama productions to be repeated from a telerecording, rather than having the production re-performed live for any second showing as had been the norm in the past.

Episode three, "The Food", was repeated in a slightly edited form on BBC 2 on 26 August 1991 as part of The Lime Grove Story. This was a day of programming to commemorate the closure of the studios after 40 years of use by the BBC.

Reception and influence
The available British television audience had doubled since The Quatermass Experiment had been shown in 1953, and the viewing figures for Quatermass II were accordingly higher. The serial gained an audience of 7.9 million viewers for its first three episodes, rising to 8.3 million for the fourth and fifth and concluding with 9 million. A BBC audience research report commissioned after Quatermass II had finished found that 90% of those questioned in the sample had watched at least five episodes of the production.

Quatermass II received positive newspaper reviews in the Daily Mail and the Daily Express, although the BBC's Radio Times listings magazine published letters of both praise and criticism for the serial. The serial was also criticised internally at the BBC by Cecil McGivern, who felt it to be not as good as the original. One letter received by the production team before the transmission of episode five came from a woman in Haverfordwest who was concerned that she would never find out what happened in the end as the week before the final episode's transmission she was due to move to Ireland to spend the rest of her life in a convent; she wondered if the BBC could possibly write to her and let her know how the story resolved. After some debate as to whether the letter was a journalistic trick to uncover advance story details, Kneale eventually decided that it was genuine, and allowed Cartier to send a reply outlining the storyline's conclusion. Following episode six, some viewers wrote in to the BBC concerned at Quatermass's survival, as he had not been seen to definitely return to Earth in the experimental rocket ship.

The BBC's own website regarded Quatermass II unfavourably when reviewing its DVD release in 2005: "The script is too often let down by the production's rougher edges. Your heart will break halfway through episode six as it all falls apart. And then there's Monica Gray [sic] – less an actress than a finishing school on legs". Writing in The Times in 2006, Morgan Falconer claimed to find racist undertones in the serial: "Quatermass, for instance, often seemed to have an unhealthy preoccupation with blackness, a barely veiled commentary on racial change in Britain. In one scene in Quatermass II, the Professor stands outside a pub and watches the sky fill with dark asteroids. 'They're coming in their thousands', he says, 'this is it'". However, this interpretation of the serial is not widespread, and is undermined in episode five where an Irish immigrant helps Quatermass sabotage the aliens' food supply system. In any case, it is in direct contrast with Kneale's deliberate attack on racial intolerance in Quatermass and the Pit.

Speaking in a 2003 television documentary about Nigel Kneale's career, the writer and critic Kim Newman praised the underlying themes of Quatermass II, and their particular relevance to the British way of life: "Quatermass II is the British Invasion of the Bodysnatchers, but I don't necessarily think that's a bad thing... What Quatermass II does is take that metaphor and apply it to the specific conditions of Britain in the 1950s; not just the Cold War paranoia, but the traditional British grumbling resentment of bureaucracy as represented by the council, or in this case big business". The British Film Institute's "Screenonline" website also offers praise in its analysis of the serial:"'With its tale of an invasion by an invisible enemy indistinguishable from ourselves, Kneale's story tapped into contemporary fears about the 'red' (i.e. communist) threat, although in a less direct way than the American science fiction films of the 1950s, including Invasion of the Body Snatchers. At the same time, it reflected the widespread anxiety of the nuclear age – the story begins with a failed test of a nuclear-powered rocket in Australia (at a time when the country was in reality a site for a series of British nuclear weapons tests). In short, Quatermass II was the perfect cold-war drama'."

Some science fiction fans have speculated that the Quatermass serials in general, and Quatermass II in particular – with its elements including a conspiracy of silence in the government concerning extraterrestrial life, secret government facilities for alien use, and the silencing of any critic who opposes the government's plans – influenced the successful American series The X-Files (1993–2002). Kneale was invited to write for The X-Files during the 1990s, but declined the offer.

Other genre productions that have been compared with the serial include the 1970 Doctor Who story Spearhead from Space. This serial features an alien entity falling to Earth in a meteorite shower; a factory taken over for the growth of the alien creature, and governmental institutions being infiltrated by servants of the aliens.

Other media
As with The Quatermass Experiment, the film rights to the serial were purchased by Hammer Film Productions – in this case after they had only read the scripts, before the serial was even made. Titled Quatermass 2, the film was released in 1957 and once again directed by Val Guest, with Brian Donlevy starring; unlike the first film, Kneale wrote the screenplay himself. In the United States, the film was released under the title Enemy from Space.

Shortly after Quatermass II finished its run, comedian Bob Monkhouse included a spoof of the serial in an episode of his own BBC television series, which featured Monica Grey reprising her role as Paula Quatermass. Cartier and Kneale were greatly displeased with this and complained to their superiors at the BBC about it.

Quatermass returned to the BBC in 1958 when Kneale's third serial, Quatermass and the Pit, began transmission. That was the last television appearance of the character for 20 years, until Kneale brought Quatermass back for a final time in the 1979 serial Quatermass, this time produced for Thames Television.

A serialised novelisation of Quatermass II, written by Kneale, ran in the Daily Express newspaper in the UK from 5 to 20 December 1955, although Kneale was forced to draw the storyline to a premature conclusion as the paper lost interest in the project. The television scripts were released by Penguin Books in 1960, with a selection of stills from the production also included. The book was re-released in 1979, with a new introduction by Kneale, to coincide with the transmission of the Thames Television serial.

In April 2005 BBC Worldwide released a DVD box set of all its existing Quatermass material. This included digitally restored versions of all six episodes of Quatermass II, with the sound and vision of the telerecording copies cleaned up as far as possible, and some of the existing special effects inserts that survived on their original film elements being re-inserted into the episodes.

In 2016 BBC Store released Quatermass II and Quatermass and the Pit.

title: Quatermass II


text:
Shirley Collins

Shirley Elizabeth Collins MBE (born 5 July 1935) is an English folk singer who was a significant contributor to the English Folk Revival of the 1960s and 1970s. She often performed and recorded with her sister Dolly, whose accompaniment on piano and portative organ created unique settings for Shirley's plain, austere singing style.

Early life
Shirley Collins was born in Hastings, East Sussex, England on 5 July 1935. She grew up, with her older sister Dolly, in the area, in a family which kept alive a great love of traditional song. Songs learnt from their grandfather and from their mother's sister, Grace Winborn, were to be important in the sisters' repertoire throughout their career.

On leaving school, at the age of 17, Collins enrolled at a teachers' training college in Tooting, south London. In London she also involved herself in the early folk revival, making her first appearance on vinyl on the 1955 compilation Folk Song Today.

In 1954, at a party hosted by Ewan MacColl, she met Alan Lomax, the American folk collector, who had moved to Britain to avoid the McCarthy witch-hunt, which was then raging in America. Lomax and Collins lived together in London, with Collins assisting Lomax on various European projects and singing backing vocals on a version of MacColl's "Dirty Old Town" by Alan Lomax and the Ramblers, in 1956. "I was madly in love with him", Collins says of Lomax.

First albums
In 1958, Collins recorded her first two albums, Sweet England and False True Lovers. The albums featured sparse arrangements with Collins accompanying herself on the banjo. Sweet England was released in 1959 and False True Lovers in 1960. Collins also recorded a series of EPs in 1958 and 1959 with The Foggy Dew and English Songs being released in 1959.

From July to November 1959, Collins and Lomax made a folk song collecting trip in the Southern U.S. states. It resulted in many hours of recordings, featuring performers such as Almeda Riddle, Hobart Smith, and Bessie Jones, and is noted for the discovery of Mississippi Fred McDowell. Recordings from this trip were issued by Atlantic Records under the title "Sounds of the South", and some were re-enacted in the Coen brothers’ film O Brother, Where Art Thou?. The experience of her life with Lomax, and the making of the recordings in religious communities, social gatherings, prisons and chain gangs was described in Collins' book America Over the Water (published 2005).

Back in Britain, Collins met Austin John Marshall, whom she later married. She also proceeded with her singing career, appearing on three compilations albums (A Jug of Punch, A Pinch of Salt and Rocket Along) in 1960 and an EP, Heroes in Love, in 1963 (now included with False True Lovers on the CD release). It was after that, in a series of influential albums, that she helped to introduce many innovations into the English folk revival. In 1964, she recorded the landmark jazz-folk fusion of Folk Roots, New Routes, with guitarist Davey Graham.

English Songs Volume 2 and Shirley Sings Irish were both released in 1964.

The Sweet Primeroses
1967 saw the essentially southern English song collection, The Sweet Primeroses, with Collins accompanied for the first time by her sister Dolly's portative organ. 1968's The Power of the True Love Knot also featured Dolly's accompaniment. 1969 brought another collaboration, The Holly Bears the Crown, this time with The Young Tradition – featuring, in addition to Dolly Collins, Peter Bellamy, Heather Wood, and Royston Wood. This album was not released until 1995.

Anthems in Eden
Anthems in Eden was released in 1969, the first album to be credited to Shirley and Dolly Collins. It featured a suite of songs centred on the changes in rural England brought about by the First World War. Dolly Collins created arrangements featuring David Munrow and various other players from his Early Music Consort. The unusual combination of ancient instruments included rebecs, sackbuts, viols and crumhorns. All these recordings strove to marry a deep love and understanding of the English folk music heritage with a more contemporary attitude to musical settings.

Anthems in Eden was followed by Love, Death and the Lady, also co-credited with Dolly, in 1970.

Albion Country and Etchingham Steam Bands
Collins married her second husband Ashley Hutchings in 1971. He left Steeleye Span that year and he and Collins assembled the first incarnation of the Albion Country Band to accompany her on the 1971 album No Roses, with a total of 27 musicians participating over numerous sessions. Collins also provided guest vocals on the Hutchings project Morris On in 1972. Following the breakup of a later version of the Albion Country band in 1973 (shortly after recording the album Battle of the Field) the couple created the all acoustic Etchingham Steam Band with Terry Potter, Ian Holder and Vic Gammon, in 1974.

The couple were living in Etchingham at the time and the decision to eschew electricity was inspired by the Three-Day Week. The Etchingham's repertoire was drawn from the traditional music of Sussex. The only recording by the band available at the time appeared on the 1974 compilation album A Favourite Garland, although Terry Potter and Ian Holder (as well as Simon Nicol and Roger Swallow, formerly of the Albion Country Band) appear on some tracks on Adieu to Old England, a Collins album also released in 1974 (and produced by Ashley Hutchings). Live recordings of the Etchingham Steam Band from 1974 and 1975 were released on a self-titled CD in 1995.

A largely new group of musicians (with some participation from Etchingham Steam Band members) was assembled for two 1976 releases: the Morris On follow up Son of Morris On (with Collins again providing vocals); and the newly recorded tracks for the Shirley and Dolly Collins album Amaranth (half of which was a reissue of the side-long suite of songs from Anthems in Eden). The involvement of Philip Pickett and John Sothcott in these recordings saw a return to the use of early music instruments. The bulk of the musicians became The Albion Dance Band, performing traditional material on a mixture of modern (electric) and early music instruments, with Collins on vocals. They recorded the album The Prospect Before Us and a BBC session in 1976, with a single ("Hopping Down in Kent") released that year and the album following in 1977. Live recordings from this period were released on the CD Dancing Days are Here Again in 2007.

Retirement
1978's For As Many As Will was the last studio album recorded by Shirley and Dolly Collins, although live recordings from 1979 have been issued since, and in 1979 she released a single, "The Mariner's Farewell", with Bert Jansch. Collins does not appear on the next Albion Band album (Rise Up Like the Sun, recorded in 1977 and released in 1978, with the "Dance" dropped from the band name) and decided to focus on home life and her children from her first marriage whilst Hutchings and the Albion Band collaborated on several National Theatre productions. It was during this period that Hutchings left Collins. The painful divorce was followed by loss of her voice and "the ability to sing entirely," leading to her retirement from music.

Her music career seemingly over, Collins resorted to "a number of low-paid jobs"—including employment at the British Library and the job centre—to get by, and she sold her old equipment.

She made one last appearance with the Albion Band, on the 1980 album Lark Rise to Candleford (the soundtrack of the plays). In 1993 David Tibet of the apocalyptic folk band Current 93 released a collection of her recordings, entitled Fountain of Snow, on his Durtro label. Since then, she has appeared on a number of Current 93 recordings.

21st century
Collins sang on the final version of "Idumæa" on Current 93's 2006 album Black Ships Ate the Sky. In 2009 Topic Records included in their 70-year anniversary boxed set Three Score and Ten two tracks from The Sweet Primeroses: "All Things Are Quite Silent" and "The Rigs of the Time".

With actor Pip Barnes, she toured with her three illustrated talks "America over the Water" (about her field trip in the Southern States of America with Alan Lomax), "A Most Sunshiny Day" (about the traditional music of England and Sussex in particular), and "I'm a Romany Rai" (about the Gypsy singers and songs of Southern England). She also edited a CD entitled I'm a Romany Rai (2012) in the series The Voice of the People.

In 2013, Collins appeared on Justin Hopper's text composition, "Fourth River: Ley Line", to be released on the Contraphonic Sound Series. On 8 February 2014, at Union Chapel in Islington, London, Collins sang for the first time for many years, performing two songs; "All the Pretty Little Horses" and "Death and the Lady". She was accompanied by Ian Kearey from the band Oysterband.

She returned to recording and in November 2016, Collins released Lodestar, her first new album in 38 years. Earning two BBC Radio 2 Folk Award nominations for the work, considered her best by some, she found this late success highly improbable, saying: "I never believed it could happen. It's a bit of a miracle, really".

Lodestar was followed in July 2020 by another album of new material, entitled Heart's Ease. The album included re-recordings of some songs she had sung in her twenties, such as "Barbara Allen". In a five-star review, The Guardian described it as "...a more confident follow-up [to Lodestar]", saying: "The veteran singer's comeback really takes wing with this impeccably judged set".

Another album of new recordings, Archangel Hill, was released in May 2023, featuring songs chosen by Collins - some traditional and some by her favourite modern writers.

The Ballad of Shirley Collins
A film about her life, The Ballad of Shirley Collins, was released in October 2017. She was not sure such attention was warranted, saying: "When they first asked me I was nonplussed. I thought, 'is this a wind-up?’”

Honours, awards, distinctions

 * In 2004, Collins was awarded a Gold Badge by the English Folk Dance and Song Society.
 * She was awarded the MBE for services to music in the 2007 New Year's Honours List.
 * She holds an Honorary Degree from the Open University (for a "notable contribution to education and culture") and an Honorary Doctorate from the University of Sussex.
 * In 2008 she was elected as president of the English Folk Dance and Song Society and received the "Good Tradition" award at the BBC Radio 2 Folk Awards.
 * She is currently patron of the South East Folk Arts Network and Folk South West.
 * Collins garnered two BBC Radio 2 Folk Award nominations for her seventh studio album, Lodestar, released in 2016.
 * A film about her life, The Ballad of Shirley Collins, was released in October 2017.

Influence
The American folk-rock band 10,000 Maniacs did a cover of "Just as the Tide was Flowing", closely modelled on the version on the No Roses album.

Billy Bragg said of her: "Shirley Collins is without doubt one of England's greatest cultural treasures."

Few singers of the English folk revival have attempted as much on record as Collins – an extraordinary combination of fragility and power. "I like music to be fairly straightforward, simply embellished – the performance without histrionics allowing you to think about the song rather than telling you what to think."

Colin Meloy of The Decemberists recorded a whole EP of Shirley Collins tunes. It was sold on Meloy's 2006 spring United States tour in limited quantities.

Discography

 * Sweet England – Argo (1959)
 * False True Lovers – Folkways Records (1960)
 * Heroes in Love – Topic (1963) – [EP]
 * The Sweet Primeroses – Topic (1967)
 * The Power of the True Love Knot – Polydor (1968)
 * Adieu to Old England – Topic (1974)
 * Amaranth – EMI Harvest (1976) – [one LP side of new material, paired with a reissue of "A Song Story (Medley)" from Anthems in Eden]
 * Lodestar – Domino Recording Company (2016)
 * Heart′s Ease – Domino Recording Company (2020)
 * Archangel Hill – Domino Recording Company (2023)

Shirley and Dolly Collins

 * Anthems in Eden – EMI Harvest (1969)
 * Love, Death and the Lady – EMI Harvest (1970)
 * For as Many as Will – Topic (1978)
 * Harking Back – Durtro (recorded 1978–79, released 1998) – [live]
 * Snapshots – Fledg'ling (recorded 1966 and 1978–79, released 2006) – [demo and live recordings]

Shirley Collins and the Albion Country Band

 * No Roses – Pegasus (1971)

Shirley Collins with Ashley Hutchings/The Albion Band

 * Morris On, by Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield – Island/Carthage (1972)
 * Son of Morris On, by Ashley Hutchings and others – Harvest (1976)
 * The Prospect Before Us, by The Albion Dance Band – Harvest (1977)
 * Lark Rise To Candleford, by The Albion Band – Charisma (1980)
 * The BBC Sessions, by The Albion Band – Strange Fruit (1998) (tracks 5–8, recorded 1976)
 * Dancing Days Are Here Again, by The Albion Dance Band – Talking Elephant (2007) (recorded 1976)

The Young Tradition and Shirley and Dolly Collins

 * The Holly Bears the Crown – Fledg'ling (recorded 1969, released 1995)

Shirley Collins and Davy Graham

 * Folk Roots, New Routes – Decca (1964)

Etchingham Steam Band (includes Shirley Collins)

 * Etchingham Steam Band – Fledg'ling (recorded 1974–75, released 1995) – [live]

Compilations

 * A Favourite Garland – Gama (1974) – [compilation]
 * Fountain of Snow – Durtro (1992) – [compilation]
 * The Classic Collection – Highpoint (2004) – [compilation]
 * Within Sound – Fledg'ling (2003) – [box set, compilation]
 * The Harvest Years – EMI (2008) – [compilation of Anthems in Eden, Love, Death and the Lady and Amaranth, with one track each from Son of Morris On and The Prospect Before Us]

Autobiography

 * Shirley Collins, America Over the Water, SAF Publishing, 2004. ISBN 0-946719-66-7
 * Shirley Collins, All in the Downs: Reflections on Life, Landscape, and Song, Strange Attractor Press, 2018.

title: Shirley Collins


text:
The Beatles at the Hollywood Bowl

The Beatles at the Hollywood Bowl is a live album by the Beatles, released in May 1977, featuring songs compiled from three performances recorded at the Hollywood Bowl in August 1964 and August 1965. The album was released by Capitol Records in the United States and Canada and on the Parlophone label in the United Kingdom. It was the band's first official live recording. A remixed, remastered, and expanded version of the album, retitled Live at the Hollywood Bowl, was released on 9 September 2016, on CD for the first time, to coincide with the release of the documentary film The Beatles: Eight Days a Week, directed by Ron Howard.

Background
Capitol Records considered recording the Beatles' February 1964 concert at Carnegie Hall in New York, but it could not get the necessary approval from the American Federation of Musicians. Six months later, KRLA DJ Bob Eubanks booked the band's performance of 23 August at the Hollywood Bowl, in Los Angeles, where Capitol recorded their performance with the aim of releasing a live album in America. The sound quality of the tapes proved to be inadequate for commercial release, however, although Capitol used a 48-second excerpt of "Twist and Shout" from the concert on the 1964 documentary album The Beatles' Story.

High-quality black-and-white film of the 1964 show was also made and preserved. Excerpts of "All My Loving" and "She Loves You" from the 23 August 1964 performance appeared in The Beatles Anthology documentary series (1995).

When the Beatles returned to the Hollywood Bowl a year later, during their 1965 American tour, Capitol recorded two performances by the group at the same venue. The sound quality of the 1965 recordings was equally disappointing.

The Beatles were among the few major recording artists of the 1960s not to have issued a live album. Consequently, among Beatles fans, pent-up demand for a concert album continued to build. John Lennon set off a minor frenzy when, in a 1971 Rolling Stone interview, he incorrectly identified an obscure Italian compilation album, The Beatles in Italy, as a live recording ("There's one in Italy apparently, that somebody recorded there"). Despite the obvious demand for a live album, the tapes from the three Hollywood Bowl performances lay untouched in a Capitol vault. In 1971, after American record producer Phil Spector's salvaging of the Get Back tapes, which was released as the group's Let It Be album, the Hollywood Bowl tapes were given to him to see whether he could fashion an album from the material. Either Spector did not complete the job or his production was unsatisfactory, and the tapes sat unreleased for another six years.

A complete tape of the August 1964 performance found its way out of the Capitol vault in the early 1970s and was the basis of a popular bootleg LP, Back in 64 at the Hollywood Bowl. The audio, while below professional release standards, was more than adequate for desperate hardcore fans and served for years as the standard recording of the summer 1964 tour.

Finally, with a rival record label's impending release of the Live! at the Star-Club in Hamburg, Germany; 1962 album, consisting of a 15-year-old, poor-quality mono concert recording of the group performing in the Star-Club in Hamburg, Capitol Records' president, Bhaskar Menon, decided to revisit the Hollywood Bowl recordings. Beatles producer George Martin was handed the tapes and asked to compile a listenable "official" live album.

When Martin heard the tapes, he was impressed by the performances but disappointed by the sound quality. In working on the three-track Hollywood Bowl concert tapes, Martin discovered quite a challenge. The first difficulty was finding a working three-track machine with which to play them. Once he found one, he discovered that the machine overheated when it was running, melting the magnetic tape. Martin and recording engineer Geoff Emerick came up with the solution of blowing air from a vacuum cleaner to keep the tape deck cool whilst the recordings were transferred to 16-track tape for filtering, equalisation, editing, and mixing.

Although the original album sleeve says that the recordings were all made on 23 August 1964 and 30 August 1965, "Ticket to Ride" and "Help!" were recorded on 29 August 1965, and "Dizzy Miss Lizzy" is a composite using parts from both nights in 1965.

A number of songs performed at the 23 August 1964 and 30 August 1965 concerts were not included on the album. Songs from the 23 August 1964 show that were not on the album are "Twist and Shout", "You Can't Do That", "Can't Buy Me Love", "If I Fell", "I Want to Hold Your Hand", and "A Hard Day's Night". Songs from the 30 August 1965 show that were not on the album are "I Feel Fine", "Everybody's Trying to Be My Baby", "Baby's in Black", "I Wanna Be Your Man", and "I'm Down". "Baby's in Black" from the 30 August 1965 concert was issued as the B-side of the "Real Love" single (1996), and "I Want to Hold Your Hand" from the 1964 concert was mixed into the studio version of the song for the Love album (2006). Those two performances, along with the 1964 performance of "You Can't Do That" and the 30 August 1965 "Everybody's Trying to Be My Baby", were included on Live at the Hollywood Bowl, in 2016.

Release
The album was originally released as a vinyl LP in 4 May 1977. Though the recordings were 12 and 13 years old, the album reached number one on the New Musical Express chart in the UK and number two on the Billboard chart in the US. In France, a single was released featuring two songs from the LP: "Ticket to Ride" with "Dizzy Miss Lizzy" on the B-side.

The original 1977 album was also officially released simultaneously on 8-track tape and cassette but was not officially released on compact disc until 9 September 2016, when it was re-released worldwide as Live at the Hollywood Bowl. Shortly before the re-release date, a number of tracks were available for purchase and streaming early, and the album was available for pre-order on the iTunes Store. The re-released album was simultaneously released as a digital download and made available on streaming services. It was also released on vinyl on 18 November 2016.

A music video of the performance of "Boys" was released to promote the remixed album.

Before the official digital release of the album, bootleggers circulated transfers of the LP, and complete recordings of the three concerts, on CD and the Internet.

Live at the Hollywood Bowl
Live at the Hollywood Bowl is a remixed and remastered version of the album, released on 9 September 2016 to coincide with the release of The Beatles: Eight Days a Week. It includes four additional songs not found on the original release. According to the producer, Giles Martin, son of the Beatles' original producer, George Martin, "Capitol Studios called saying they'd discovered some Hollywood Bowl three track tapes in their archive. We transferred them and noticed an improvement over the tapes we've kept in the London archive. Alongside this I'd been working for some time with a team headed by technical engineer James Clarke on demix technology, the ability to remove and separate sounds from a single track." It was released on 9 September 2016, seven years to the day after the release of the band's remastered core catalogue and The Beatles: Rock Band.

One of the bonus tracks on the album is "Baby's in Black" from the "Real Love" single CD, which was previously unavailable on an album or as a digital download.

Critical reception
The Beatles at the Hollywood Bowl was voted the 26th best record of 1977 in the Pazz & Jop, an annual poll of American critics published by The Village Voice. Robert Christgau, the poll's supervisor, ranked it 12th on his own year-end list, and in a review for the newspaper, he wrote:

"A tribute not only to the Beatles (which figured) but to George Martin and Capitol (which didn't necessarily figure at all). The sound rings clearly and powerfully through the shrieking: the segues are brisk and the punch-ins imperceptible; and the songs capture our heroes at their highest. Furthermore, though the musicianship is raw, the arrangements are tighter (faster, actually) than on record."

In The Rolling Stone Album Guide (2004), Rob Sheffield called the record "a loving tribute to the screaming girl fans who drown out the band in these 1964–65 shows; those girls were heroes on the rock & roll frontier, and they deserve to be the lead instrument on a Beatles album of their own." AllMusic critic Richard S. Ginell was impressed by the Beatles' performances under the chaotic circumstances, although he lamented the sound quality and separation from the crowd noise, citing it as a possible reason for the record remaining out of print.

Personnel

 * John Lennon – lead and backing vocals, rhythm guitar
 * Paul McCartney – lead and backing vocals, bass guitar
 * George Harrison – lead guitar, backing vocals, lead vocals on "Roll Over Beethoven" and "Everybody's Trying to Be My Baby"
 * Ringo Starr – drums, lead vocals on "Boys"

title: The Beatles at the Hollywood Bowl


text:
Battlefield Band

Battlefield Band is a Scottish traditional music group. Founded in Glasgow in 1969, they have released over 30 albums and undergone many changes of lineup. As of 2010, none of the original founders remain in the band.

The band is noted for their combination of bagpipes with other non-traditional instruments, such as electronic keyboards, and for its mix of traditional songs and new material. Battlefield Band toured internationally, playing to audiences in Europe, Australia, Asia, the Middle East, and North America.

They have collaborated with other musicians including the Scottish harp player and glass sculptor Alison Kinnaird.

Career
Battlefield Band was formed in 1969 by five student friends from Strathclyde University (Brian McNeill, Jim Thomson, Alan Reid, Eddie Morgan and Sandra Lang, who became crime fiction author Alex Gray) and took its name from the area in the south of Glasgow where McNeill was living at the time. After several line-up changes and an album recorded for a minor Breton label, the band was signed to Topic records and released its official self-titled debut in 1977 with the line-up of McNeill (fiddle, vocals), Reid (keyboards, vocals), Jamie McMenemy (bouzouki, vocals), and John Gahagan (whistle). Gahagan left before the recording of the follow-up, At the Front (1978), and was replaced by Irish singer-guitarist Pat Kilbride. The departure of both Kilbride and McMenemy shortly afterward brought in Jen Clark (vocals, cittern, dulcimer) and Duncan MacGillivray (Highland pipes) for Stand Easy (1979), thus beginning Battlefield Band's tradition of using bagpipes on their albums. Clark was replaced by Northumbrian singer-guitarist Ged Foley on Home is Where the Van Is (1980), which marked a switch from Topic records to producer Robin Morton's label Temple. Home is Where the Van Is also inaugurated the band's practice of placing original songs alongside traditional material. The line-up changes continued, though the group remained based around the core of McNeill and Reid until 1990, when McNeill left to pursue a solo career. Reid finally left the band at the end of 2010, concentrating on his musical duo with guitarist & singer Rob van Sante, the Battlefield Band's sound engineer.

Recent years
On 1 January 2015, Battlefield Band revealed in an e-mail sent to their fanbase that, back from their US tour in October/November 2014, they were working hard in the studio on a new recording project with the working title Beg, Borrow & Steal. The Irish / Scottish album would highlight and explore the cultural cross-fertilisation of the vibrant musical traditions of Scotland & Ireland and the group would collaborate with many other leading traditional musicians and scholars. Mick Moloney (USA/Ireland), Nuala Kennedy (Ireland), Aaron Jones (Ireland), Christine Primrose (Scotland), Alison Kinnaird (Scotland) & Barry Gray (Australia) were due to be all on board, with more to follow. The band has been awarded Creative Scotland assistance for this project. If all would have gone well as initially announced and expected, the recordings would have been available on Temple Records by March 2015 – it might even have turned into a tour if all would have gone well and the musicians would have been available.

On 22 June 2015, on their Twitter page, Battlefield Band announced a January 2016 (11-date) tour of Germany, Switzerland and Austria due to begin on 14 January in Offenburg, Germany and end on 31 January 2016 in Hamburg, Germany. This would be Battlefield Band's return to the stage for the first time since November 2014 i.e. after more than a year of inactivity as the band had not toured during the whole year 2015...

On 14 August 2015, Battlefield Band's label Temple Records finally announced that the (delayed) new album had been re-titled simply as Beg & Borrow and would be released as a digital download (and on streaming) on 21 August 2015, on CD in the UK on 18 September 2015 and on CD in the United States on 16 October 2015.

Battlefield Band later confirmed that they would embark on 14 January 2016 on a 16-date tour of German-speaking countries (Germany, German-speaking Switzerland, Austria) including a radio show and a TV show in Germany, due to end on 31 January 2016.

After having performed an ultimate show on Sunday 13 August 2017 (7.30pm) during the Scotland Piping Live! festival at The National Piping Centre in Glasgow, Scotland (as the festival closing concert), the band went dormant with no explanation whatsoever from the official web site.

Accolades
Battlefield Band were winners of "Best Live Act" at the inaugural Scots Trad Music Awards in 2003. In 2011, they were winners of "Best Band" at the Scots Trad Music Awards 2011.

Battlefield Band's "Compliments to Buddy McMaster" (a track from its album Dookin '  released in 2007) was nominated for the 7th Annual Independent Music Awards for World Traditional Song of the year. They also have been nominated for the 11th Independent Music Awards "World Traditional Song" category for its recording of "A' Bhriogais Uallach" ("The Pompous Trousers"), a track from their album Line-up released in 2011.

On 11 November 2016, Battlefield Band were inducted into Scottish Traditional Music Hall of Fame for "Services to Performance".

Instruments and themes
Every line-up since the Stand Easy album has had at least one bagpiper. Unusual aspects of the instrumental line-up for a traditional band include the presence of electric keyboards and the absence of percussion. Every album mixes traditional Scottish songs and tunes with modern (often original) compositions. Themes range from drinking, friendship, and hard times to history, geography and politics.

The band's 2006 album, The Road of Tears, deals explicitly with the theme of displacement. Many of the songs deal with emigration, both voluntary and forced. Battlefield Band's 2007 album, Dookin′ (the Scots word for what you do at hallowe'en – as in "'dookin' for apples") has a lighter feel, after the eloquently somber tone of The Road of Tears. Dookin' includes instrumentals and a mix of vocals, with lead being shared by Alan Reid and Sean O'Donnell.

Last line-up to date

 * 1) Sean O'Donnell [2005–2017] (vocals, guitar) – Sean replaced former Irish vocalist and guitarist Pat Kilbride in July 2005.
 * 2) Alasdair White [2002–2017] (fiddle, whistles, banjo, bouzouki, Highland bagpipes, small pipes, bodhrán, cittern, mandolin)
 * 3) Mike Katz [1998–2017] (Highland pipes, small pipes, various whistles, bass guitar, guitar, bouzouki)

Past members

 * 1) Alan Reid [1969–2010] (founding member; keyboards, guitar, vocals, accordion, melodica, Hammond organ, writing) – Alan was the last remaining founding member of the band before he left at the end of 2010.
 * 2) Brian McNeill [1969–1990 ] (founding member; fiddle, writing) – Brian has published two detective novels. In 2001, he took up the post of Head of Scottish Music at the Royal Scottish Academy of Music and Drama in Glasgow, which he has since relinquished.
 * 3) Jim Thomson [1969-1973] (founding member, guitar, mandolin, tenor banjo, 5-string banjo, harmonica, tin whistle, vocals).
 * 4) Eddie Morgan [1969-1973] (founding member, guitar).
 * 5) Sandra Lang [1969] (founding member).
 * 6) Ricky Starrs [1973?–1976]; (guitar, mandolin, whistles) – Ricky played on the very first Battlefield Band album, the original Arfolk recording Scottish Folk (1976), later re-released (this very same year 1976) as Farewell to Nova Scotia on the Escalibur label.
 * 7) Jamie McMenemy [1977–1978] (vocals, mandolin, banjo, fiddle, Irish flute) – Jamie is still a very active musician and co-founder of the Breton group Kornog. He now lives in Brittany.
 * 8) John Gahagan [1977–1978] (fiddle, whistle) – John is now working as a graphic artist in Glasgow and continuing to play music.
 * 9) Pat Kilbride [1978; 2002–2005] (vocals, guitar, cittern, bouzouki) – Pat lived in Brittany, Belgium, then the USA, has recorded with "The Kips Bay Ceilidh Band" and done solo albums.
 * 10) Jen Clark [1979] (vocals, guitar, cittern and dulcimer) – Among other things, Jen is now running a psychotherapy practice and offering voicework in Edinburgh).
 * 11) Duncan MacGillivray [1979–1983] (bagpipes) – Duncan has won many piping competitions, including the Gold Medal at the Northern Meeting in Inverness in 1997.
 * 12) Sylvia Barnes [1980 ] (vocals, dulcimer, guitar, bodhrán) – Sylvia came to Battlefield Band via Scottish folk group Kentigern (formed in 1978).
 * 13) Jim Barnes [1980 ] (cittern, guitar, vocals) – Jim came to Battlefield Band via Scottish folk group Kentigern. He died in 2004.
 * 14) Ged Foley [1980–1983] (guitar, vocal, Northumbrian pipes) – Ged has recorded with The House Band, Patrick Street and Celtic Fiddle Festival.
 * 15) Dougie Pincock [1984–1990] (bagpipes) – Dougie is now director of the National Centre of Excellence in Traditional Music (Sgoil Chiùil na Gàidhealtachd) in Plockton.
 * 16) Alistair Russell [1984–1997] (guitar, vocal) – During his 13 years in the band, Alistair claims to have travelled one million miles. He currently has a solo career.
 * 17) John McCusker [1990–2001] (fiddle, whistle, accordion, cittern) – John replaced Brian McNeill.
 * 18) Iain MacDonald [1991–1997] (bagpipes) – Iain was the musician in residence at the Gaelic College on the Isle of Skye.
 * 19) Davy Steele (1948–2001) [1998-2000] (lead vocals, guitar, bouzouki, bodhrán, writing) – Before joining Battlefield Band, Davy sang with Drinkers Drouth, Ceolbeg and Clan Alba as well as making solo albums.
 * 20) Karine Polwart [2001-2002] (lead vocals, guitar)
 * 21) Ewen Henderson [2011–2014] (fiddle, Highland pipes, whistles, piano, vocals) – At the time he joined Battlefield Band (2011), Ewen was the youngest member. He left the band during 2014.

Guests on album

 * 1) Alison Kinnaird [1985; 1995–1996; 2001; 2015] (cello, Scottish harp)
 * 2) James MacKintosh [1995] (percussion)
 * 3) Quee MacArthur [1995] (bass)
 * 4) Kate Rusby [1996] (guitar, vocals)
 * 5) Seamus Tansey [1996] (Irish flute)
 * 6) Eric Rigler [1996] (Uilleann pipes)
 * 7) The Radio Sweethearts [1996]
 * 8) Donald Hay [1999; 2001] (percussion)
 * 9) Kris Drever [2001] (upright bass)
 * 10) Simon Thoumire [2001] (concertina)
 * 11) Mike Whellans [2007; 2011; 2013; 2015] (harmonica, moothie)
 * 12) Mitch Greenhill [2007] (guitar)
 * 13) Allan MacDonald [2009] (vocals, small pipes)
 * 14) Christine Primrose [2015] (Gaelic song)
 * 15) Jim Kilpatrick [2015] (snare, bass drums)
 * 16) John Martin [2015] (fiddle)
 * 17) Nuala Kennedy [2015] (Gaelic song, flute)
 * 18) Leo McCann [2015] (melodeon)
 * 19) Aaron Jones [2015] (vocals, bouzouki)
 * 20) Barry Gray [2015] (Highland bagpipe)
 * 21) Robin Morton [2015] (vocals, bodhrán)
 * 22) Don Meade [2015] (harmonica)
 * 23) Tony DeMarco [2015] (fiddle)

Guests on stage

 * 1) Kieran Munnelly (bodhrán, flute, vocals) – Irish musician leaving in Dublin, Ireland. Founding member of the Irish music band Hot Spoons (formed in 2009). He toured with Battlefield on the January/February 2016 tour of Germany, Austria & Switzerland.
 * 2) Skip Healy (flute, piccolo) – Based in Switzerland. He often joined Battlefield for a guest appearance when they played at Parterre in Basel, Switzerland (as it happened during the show on 20 January 2016).

Studio albums

 * Farewell to Nova Scotia (1976) (Escalibur label) (first released on the Breton label Arfolk as Scottish Folk (1976))
 * Battlefield Band (Topic label) (1977)
 * Wae's me for Prince Charlie (Escalibur label) (1978)
 * At the Front (Topic label) (1978)
 * Stand Easy (Topic label, reissued as Stand Easy/Preview in 1980) (1979)
 * Home Is Where the Van Is (1980)
 * There's a Buzz (1982)
 * Anthem for the Common Man (1984)
 * On the Rise (1986)
 * Celtic Hotel (Temple Records TP027) (1987)
 * New Spring (1991)
 * Quiet Days (1992)
 * Threads (1995)
 * Rain, Hail or Shine (1998)
 * Leaving Friday Harbor (1999)
 * Happy Daze (2001)
 * Time and Tide (2002)
 * Out for the Night (2004)
 * The Road of Tears (2006)
 * Dookin (2007)
 * Zama Zama... Try Your Luck (2009)
 * Line-up (2011)
 * Room Enough For All (2013)
 * Beg & Borrow (2015)

Live albums

 * Home Ground – Live From Scotland (1989)
 * Across the Borders (1997)
 * Live Celtic Folk Music (1998)

Soundtracks

 * Music in Trust Vol 1 (1986)
 * Music in Trust Vol 2 (1988)

Compilations

 * The Story So Far 1977–1980 (1982)
 * After Hours: Forward to Scotland's Past (1987)
 * Opening Moves: Best Of 1977–79 (1993)
 * Scottish Folk: The Rough Guide to Scottish Folk – (includes "Clan Coco / The Road to Benderloch / Fifteen Stubbies to Warragul" from the 1999 studio album Leaving Friday Harbor) (2002)
 * The Best of Battlefield Band: A 25 Year Legacy 1977-2001  (2003)
 * Three Score and Ten (2009)
 * The Producer's Choice (2016)

Videography

 * In Concert (At the Brunton Theatre, Musselburgh) (DVD) (2006 concert Brunton Theatre, Musselburgh, Scotland) (2008)

title: Battlefield Band


text:
John Robinson (English actor)

John Robinson (11 November 1908 – 6 March 1979 ) was an English actor, who was particularly active in the theatre. Mostly cast in minor and supporting roles in film and television, he is best remembered for being the second actor to play the famous television science-fiction role of Professor Bernard Quatermass, in the 1955 BBC Television serial Quatermass II.

Biography
Robinson was born in Liverpool, Lancashire, England. His first professional appearance came in his home city in 1929, at the Liverpool Playhouse. He appeared in a variety of stage productions in London throughout the 1930s. These included Black Limelight by Gordon Sherry at the Q Theatre in 1937, where his role as Peter Charrington was described by The Times newspaper's critic as "a skilful, reticent sketch". In 1939 he played Fortinbras in John Gielgud's production of Hamlet, the final play to be performed at the Lyceum Theatre before its closure.

He made his film debut in 1936 in The Scarab Murder Case, and during the 1930s he also began appearing on radio and in the newer medium of television. In the Second World War he took part in the D-Day landings in 1944, as a member of the Reconnaissance Corps. He returned to acting in 1949, as John Beresford in the TV production of Elizabeth of Ladymead, appearing in several films and increasingly on television again. One of his best film roles (with higher billing than usual) was as the villain with redeeming qualities in Hammer the Toff (1952).

In August 1955, the actor Reginald Tate died the month before he was due to start work on Quatermass II, having played the part of the Professor in the first instalment of the series, The Quatermass Experiment. With only a short amount of time to cast a replacement, director Rudolph Cartier offered Robinson the role, as the only suitable actor available. Robinson had some difficulty with the technical dialogue he was required to learn, and was also uneasy about taking over a role that had been established by Tate.

Robinson was not available to reprise the part for the third serial, Quatermass and the Pit, in 1958, and André Morell took over the role. In the 1960s Robinson starred in another science-fiction series, R3, which had some similarities to Quatermass.

Robinson compiled 56 film and television credits. His film appearances were usually minor parts, including uncredited roles in Lawrence of Arabia and The Longest Day (both 1962). Notable television appearances include starring roles on The Broken Horseshoe (1952) and The Small House at Allington (1960) and two guest appearances on The Saint opposite Roger Moore. He was also a regular performer on both the BBC's Sunday Night Theatre from 1951 to 1959, and ITV's Armchair Theatre from 1956 to 1965.

His final screen role was in the television series Fall of Eagles in 1974. He died of cancer in London in March 1979, aged 70.

Partial filmography

 * The Heirloom Mystery (1936) - Dick Marriott
 * The Scarab Murder Case (1936) (lost) - Donald Scarlett
 * All That Glitters (1936) - Taylor
 * Farewell to Cinderella (1937) - Stephen Moreley
 * Q Planes (1939) - Pilot (uncredited)
 * The Lion Has Wings (1939) - Unnamed Character
 * Under Your Hat (1940) - Performer
 * Uneasy Terms (1948) - Brighton Detective Inspector
 * The Story of Shirley Yorke (1948) - Dr. Bruce Napier
 * Hammer the Toff (1952) - Linnett
 * Emergency Call (1952) - Dr. Braithwaite
 * Ghost Ship (1952) - Prof. Mansel Martineau
 * Gentlemen Prefer Blondes (1953) - Small Role (uncredited)
 * The Constant Husband (1955) - Secretary
 * Fortune Is a Woman (1957) - Berkeley Reckitt
 * The Safecracker (1958) - Assistant Chief of Staff
 * The Doctor's Dilemma (1958) - Sir Colenso Ridgeon
 * And the Same to You (1960) - Archdeacon Humphrey Pomphret
 * The Longest Day (1962) - Admiral Sir Bertram Ramsay (uncredited)
 * Lawrence of Arabia (1962) - Infantry General at Field Briefing (uncredited)
 * Nothing but the Night (1973) - Lord Fawnlee

title: John Robinson (English actor)


text:
Sir Charles Sedley, 5th Baronet

Sir Charles Sedley, 5th Baronet (March 1639 – 20 August 1701), was an English noble, dramatist and politician. He was principally remembered for his wit and profligacy.

Life
He was the son of Sir John Sedley, 2nd Baronet, of Aylesford in Kent, and his wife Elizabeth, daughter of Sir Henry Savile. The Sedleys (also sometimes spelt Sidley) had been prominent in Kent since at least 1337. Sedley's grandfather, William Sedley, was knighted in 1605 and created a baronet in 1611. He was the founder of the Sidleian Lectures of Natural Philosophy at Oxford.

Sedley was educated at Wadham College, Oxford, but left without taking a degree. There his tutor was the poet Walter Pope. The second surviving son of Sir John Sedley and Elizabeth, William, succeeded to the baronetcy in 1645.

Charles Sedley inherited the title (5th baronet) in 1656 when his brother William died. By his first wife Lady Katherine Savage, daughter of John, 2nd Earl Rivers he had only one legitimate child, Catherine, Countess of Dorchester, mistress of James II. The couple lived in Great Queen Street. After his first wife had been sent to a convent in Ghent on account of a serious mental condition, Sedley in vain tried to obtain a divorce.

He met Ann Ayscough, probably around 1670, by whom he had two illegitimate sons, William and Charles Sedley. William died in infancy, and the brother Charles was knighted by William III after the coronation in 1689 and created a baronet in 1702. The relationship with Ann Ayscough lasted to the end of Sedley's life. Sedley died at Hampstead on 20 August 1701 and was buried at Southfleet Church on the 26th. The Sedley baronetcy became extinct on his death.

Sedley is famous as a patron of literature in the Restoration period, and was the Francophile Lisideius of Dryden's Essay of Dramatic Poesy. However, it was above all Sedley's wit that his contemporaries admired him for.

Sedley was reputed as a notorious rake and libertine, part of the "Merry Gang" of courtiers which included the Earl of Rochester and Lord Buckhurst. In 1663 an indecent frolic in Bow Street, for which he was fined 2,000 marks, made Sedley notorious.

From the balcony of Oxford Kate's Tavern he, Lord Buckhurst and Sir Thomas Ogle shocked and delighted a crowd of onlookers with their blasphemous and obscene antics. According to Samuel Pepys, Sedley "showed his nakedness – and abusing of scripture and as it were from thence preaching a mountebank sermon from the pulpit, saying that there he had to sell such a pouder as should make all the cunts in town run after him, 1000 people standing underneath to see and hear him, and that being done he took a glass of wine and washed his prick in it and then drank it off, and then took another and drank the King's health." This behaviour provoked a riot amongst the onlookers and condemnation in the courts, where the Lord Chief Justice gave his opinion that it was because of wretches like him "that God's anger and judgement hang over us".

Sedley was member of parliament for New Romney in Kent, and took an active and useful part in politics. A speech of his on the civil list after the Revolution is cited by Macaulay as proof that his reputation as a man of wit and ability was deserved. His bon mot at the expense of James II is well known. The king had seduced his daughter and created her countess of Dorchester, whereupon Sedley said: "As the king has made my daughter a countess, the least I can do, in common gratitude, is to assist in making his Majesty's daughter (Mary) a queen". Sedley is also occasionally associated with a notorious gang of unbridled revellers who called themselves Ballers and who were active between 1660 and 1670. It was probably Sedley who wrote the Ballers' Oath on their behalf.

Sedley's parliamentary career started in the 1660s but around 1677/78 he joined the Whig cause. When Charles II died in 1685, Sedley was illegally excluded from the parliament of his successor James II, which convened in May 1685. There can be no doubt that Sedley opposed the Catholic James and supported William of Orange in the crucial year of 1688. Sedley was returned in the second Parliament of William, elected in March 1690. More speeches and parliamentary motions followed in 1690, including discussions on the Bill for regulating trials for High Treason, which sheds light on Sedley's political commitment after the Revolution. Sedley's speeches were included in the 1702 edition of The Miscellaneous Works. Sedley kept his seat in Parliament until his death in 1701.

Family
Charles Sedley inherited the title (5th baronet) in 1656 when his brother William died. By his first wife, Lady Katherine Savage, daughter of John Savage, 2nd Earl Rivers, he had only one legitimate child, Catherine, Countess of Dorchester, who later became a mistress of James II of England. After his first wife had been sent to a convent in Ghent on account of a serious mental condition, Sedley tried in vain to obtain a divorce.

He met Ann Ayscough, probably around 1670, by whom he had two illegitimate sons, William and Charles Sedley. William died in infancy, and the brother Charles was knighted by William III of Orange after the coronation in 1689 and created a baronet in 1702. The relationship with Ann Ayscough lasted until the end of Sedley's life.

Legacy
His reputation as a wit and dissolute was partially responsible for the Sedleys of William Makepeace Thackeray's Vanity Fair.

Poems
His most famous song, "Phyllis is My Only Joy", is much more widely known now than the author's name. While Sedley chiefly produced light amatory verse and pastoral dialogues in the 1670s, he turned to satirical epigrams in the 1680s and 1690s. His Epigrams: or, Court Characters are modelled on the works of Martial. In his epigram "To Nysus", for example, Sedley describes the function of satire and emphasizes the aggressive mode of satire: "Let us write satyr than, and at our ease / Vex the ill-natur'd Fools we cannot please." At the same time, Sedley translated other specimens of ancient poetry, such as Virgil's Georgics IV, the eighth Ode of the second Book of Horace and three elegies from Ovid's Amores. Dryden included Sedley's translations from Ovid in the Miscellany of 1684.

A number of his poems have been set to music: "Phyllis is My Only Joy" in a glee by John William Hobbs (1799–1877), "Not, Celia, that I Juster Am" in a solo song by the English composer Elizabeth Turner (1700–1756), and "Hears Not My Phillis" (Knotting Song, Z.371) in a solo song by the English composer Henry Purcell (1659–1695). In 1692 Sedley wrote the birthday ode for Queen Mary, "Love’s goddess sure was blind", which was also set to music by Purcell. The poem was printed in The Gentleman’s Journal of May 1692.

Plays
His first comedy, The Mulberry-Garden (1668), sustains Sedley's contemporary reputation for wit in conversation. The best, but most licentious, of his comedies is Bellamira: or, The Mistress (1687), an imitation of the Eunuchus of Terence, in which the heroine is supposed to represent Barbara Villiers, Duchess of Cleveland, the mistress of Charles II. While The Mulberry-Garden exuberantly praises the achievements of the Restoration, Bellamira displays a dark cynicism which has to be accounted for within a changed historical context. His two tragedies, Antony and Cleopatra (1677) and The Tyrant King of Crete (1702), an adaptation of Henry Killigrew's Pallantus and Eudora, have little merit. He also produced The Grumbler (1702), an adaptation of Le Grondeur of Brueys and Palaprat. However, many contents of Sedley's posthumous edition are spurious. Apart from the prologues of his own plays, Sedley wrote at least four more prologues to comedies, the best-known of which was written for Shadwell's Epsom Wells.

Editions

 * Pompey the Great (1664); adaptation and translation of Corneille's La mort de Pompée (1644); together with Charles Sackville (later Earl of Dorset), Sidney Godolphin, Edmund Waller, and Sir Edward Filmer.
 * The Mulberry-Garden (1668); party modelled on Molière's L'École des Maris (1661).
 * Antony and Cleopatra (1677)
 * Bellamira: or, The Mistress (1687); partly modelled on Terence's Eunuchus
 * Beauty the Conquerour: or, The Death of Marc Antony (posthumous 1702)
 * The Miscellaneous Works of the Honourable Sir Charles Sedley (London, 1702).
 * The Works of the Honourable Sir Charles Sedley, 2 vols (London, 1722).
 * The Works of the Honourable Sir Charles Sedley, 2 vols (London, 1776).
 * (possibly by Sedley) The Tyrant King of Crete; shortened version of Henry Killigrew's Pallantus and Eudora.
 * (possibly by Sedley) The Grumbler; translation of a French farce Le Grondeur
 * The Poetical and Dramatic Works of Sir Charles Sedley, ed. Vivian de Sola Pinto. 2 vols (London, 1928; repr. New York: AMS Press, 1969).
 * Sir Charles Sedley's "The Mulberry-Garden" (1668) and "Bellamira: or, The Mistress" (1687): An Old-Spelling Critical Edition with an Introduction and a Commentary, ed. Holger Hanowell, Münster Monographs on English Literature (Frankfurt am Main: Peter Lang, 2001).

title: Sir Charles Sedley, 5th Baronet


text:
Varėna

Varėna (Orany; Warnen; אוראַן Oran) is a city in Dzūkija, Lithuania.

History
The town was founded in 1862 near the Warsaw – Saint Petersburg Railway, 4 km south of Sena Varėna (Old Varėna). At that time it was a small settlement, but following steady development it eventually became the center of the district. In the interbellum period, following World War I, the town was annexed by Poland, and renamed Orany. It was located near the then Polish-Lithuanian border, in the Wilno-Troki County (Powiat wileńsko-trocki) of the Wilno Voivodeship. In 1939, following the German-Soviet Invasion of Poland, Varėna was returned to Lithuania.

On September 9, 1942, all the Jews of the town of Varėna were collected in the local synagogue. On that day, even though the Germans had tried to prevent him from doing so, the priest Jonas Gylys entered the synagogue and encouraged the Jews to be brave in their last hours rather than convert to Christianity.

On the following day (or, according to another source, on the 9th itself) all of the Jews were taken from the synagogue to Ežeriekai - a grove of trees near the village of Druckūnai, 1.5 km from the town, on the side of the road leading to the village. Two large pits had been dug there 25 m apart, one for the men and one for the women. Germans forced the victims in groups toward the pits and shot them there.

According to the report of Karl Jaeger, commander of Einsatzkommando 3A, 831 Jews from Varėna (and the surrounding areas) – 541 men, 149 women, and 141 children – were killed on that day.

In 1946 around 2000 Poles were repatriated to Poland.

Following industrialization in the 1970s, the town grew rapidly. Currently there are 9,240 residents in Varėna. The Varėna district is the largest and most forested region in Lithuania.

People

 * Lithuanian painter and composer Mikalojus Konstantinas Čiurlionis was born in Sena Varėna in 1875.

Twin towns — Sister cities
Varėna is twinned with:
 * 🇵🇱 Mikołajki, Poland

title: Varėna


text:
Robert Maclellan, 1st Lord Kirkcudbright

Robert Maclellan, 1st Lord Kirkcudbright (died 1641) was Provost of Kirkcudbright in 1607 and was best known for his riotous (and violent) behavior. .

Life
Robert was a direct descendant of the Laird of Bombie, Patrick Maclellan whom the 8th Earl of Douglas had murdered.

The son of Sir Thomas Maclellan, Robert in his youth, found himself imprisoned in Blackness Castle, as punishment for his part in an affray caused along the Kirkcudbright High Street. He was likewise imprisoned in Edinburgh Castle for shooting a relative of the Minister of the Church of Kirkcudbright, the consequence of a family feud.

Nevertheless, Robert (fourth in descent from Sir William), was appointed as a gentleman of the bedchamber to James VI of Scotland and Charles I of England, who raised him to the rank of baronet, and subsequently, in 1633, elevated him to the peerage with the title Lord Kirkcudbright.

MacLellan succeeded in obtaining grants of land in Ireland during the Plantation of Ulster but the family inheritance began to diminish with payments being regularly required for the upkeep of troops to protect his Irish estates.

A zealous Presbyterian, he took a prominent part in the affairs of the Covenanters, with whose principles, from the commencement of their difference with Charles I, he identified himself, and in 1639 he was with a considerable following at the camp at Dunse Law.

Lord Kirkcudbright died in 1641. His last words were, "Neeesh."

Family
With his first wife, Margaret, sixth daughter of Sir Matthew Campbell of Loudoun, he had a daughter, Anne, who married Sir Robert Maxwell of Orchardtoun. With his second wife, Mary Montgomery, daughter of Hugh Montgomery, Viscount of the Great Ards, he left no issue.

He was succeeded in the baronage by his nephew, Thomas, son of his younger brother, William. On the death of the ninth Lord Kirkcudbright, on 19 April 1832, the title became extinct.


text:
Velampatty

Velampatty is a small village in Dindigul district of Tamil Nadu. It is situated along the Palani-Tharapuram Highway, between Thoppampatty and Thasanaiken Patty. The nearest railway station is in Palani, about 16 kilometers away. Nearest airport is Coimbatore, 85 km away.

title: Velampatty


text:
Catherine Sedley, Countess of Dorchester

Catherine Colyear, suo jure Countess of Dorchester and Countess of Portmore (née Sedley; 21 December 1657 – 26 October 1717), was an English noble and courtier. She was the mistress of King James II of England both before and after he came to the throne. Catherine was noted not for beauty but for her celebrated wittiness and sharp tongue.

Early life
Catherine was the only legitimate child of the restoration poet Sir Charles Sedley, 5th Bt. Her mother was Lady Catherine Savage, daughter of John Savage, 2nd Earl Rivers. She grew up "notoriously plain" (being brunette and thin rather than plump and fair). While her father roistered around the country, her mother spiralled into insanity until she entered a psychiatric hospital in Ghent during Catherine's early teens. At this low point in her life, Sir Charles introduced a common-law wife, Anne Ayscough, into the family and ejected his daughter from the house.

Royal mistress

She worked for Mary of Modena, who had just married James, Duke of York, heir presumptive to the thrones of England, Scotland, and Ireland. This eventually led to an affair with him. She was bewildered at having been chosen by James. "It cannot be my beauty for he must see I have none," she remarked incredulously. "And it cannot be my wit, for he has not enough to know that I have any." James in fact was often attracted to women like Catherine and Arabella Churchill who were generally considered plain, if not ugly; his brother King Charles II once joked that his confessor must impose these mistresses on him as a penance.

After his accession, James yielded to pressure from his confessor Fr. Bonaventure Giffard, backed by the 2nd Earl of Sunderland and several Catholic councillors, and put her away for a time. While James by his own account took Giffard's intervention "very kindly, he being a truly religious man" he told his councillors sharply "not to meddle in things that in no way related to them", adding, with a rare touch of humour, that he had not realised that they had all entered the priesthood too.

She was created Countess of Dorchester for life in 1686, an elevation which aroused much indignation and compelled Catherine to reside for a time in Ireland. In 1696 she married Sir David Colyear, 2nd Bt, who was created Earl of Portmore in 1703, and she was thus the mother of Charles Colyear, 2nd Earl of Portmore. After the Glorious Revolution when Queen Mary II refused to receive her at court, Catherine inquired how Mary, who had broken the commandment to honour her father, was in any way better than Catherine, who had broken the commandment against adultery.

At the court of George I she met Charles II's mistress Louise de Kérouaille, Duchess of Portsmouth, and William III's mistress Elizabeth Hamilton, Countess of Orkney, and exclaimed "God! Who would have thought that we three whores should meet here." At George's coronation in 1714 when the Archbishop of Canterbury, Thomas Tenison, ritually asked if the people accepted their new king, Catherine, observing the number of soldiers on duty, asked caustically "Does the old fool think that anyone will say No?"

She died in Bath on 26 October 1717.

By James II, Lady Dorchester had a daughter, Lady Catherine Darnley (died 1743), who married James Annesley, 3rd Earl of Anglesey, and after his death married John Sheffield, 1st Duke of Buckingham and Normanby. Through Catherine Darnley she was the ancestress of the Barons Mulgrave and of the Mitford sisters. Through her son, Charles, Lord Portmore, she was the grandmother of Elizabeth Collier, wife of Dr Erasmus Darwin, the physician, scientist, poet and grandfather of Charles Darwin.