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Hayley Cropper

Hayley Cropper (also Hayley Patterson) is a fictional character from the British ITV soap opera Coronation Street, played by Julie Hesmondhalgh. The character first appeared in the episode first broadcast on 26 January 1998. Hayley was the first transgender character in a British soap opera and was the first permanent transgender character in the world of serialised drama. She was married to Roy Cropper (David Neilson). After nearly ten years on the show, Hesmondhalgh decided to take another break for a year in order to spend more time with her family. She left on 22 October 2007 and returned on 17 November 2008.

Hesmondhalgh won numerous awards for her portrayal of Hayley, but announced her departure from the show on 11 January 2013. Her final scenes were filmed on 18 November 2013 and aired on 22 January 2014. In the episode, Hayley takes her own life, after living with terminal pancreatic cancer. Hesmondhalgh has insisted that it was a "right to die" storyline not 'an assisted suicide' storyline. Hayley's funeral aired on 31 January 2014.

Hesmondhalgh's portrayal of Hayley, and her on-screen chemistry with fellow actor David Neilson, encouraged the writers to allow the character to evolve from a brief love interest for Roy to a popular long-term character. Hayley would go on to spend 16 years on Coronation Street, always seeing the good in people and nurturing Fiz Brown (Jennie McAlpine) and Becky McDonald (Katherine Kelly) from troubled young women to kind, caring, individuals. In her later years, Hayley formed an unlikely, yet notably close, friendship with Carla Connor (Alison King) and although it was obvious the pair were from completely different walks of life, they came to respect and care for each other.

Casting
Initially, it was intended that Hayley would only appear for two months, it was thought that this would help increase ratings as well as show a new side to Roy Cropper (David Neilson). Actor Julie Hesmondhalgh first came to the attention of the casting director while dressed in drag in a production of 'Much Ado About Nothing'. Hesmondhalgh only knew she was auditioning to play a "fun" character, so arrived "all Bet Lynch, in my leopard skin and red lippy". When she learned Hayley would be transgender, she was nervous, but "then it dawned on me that this was actually my 'dream job' and I desperately wanted it." The character of Hayley Cropper is around four years older than Hesmondhalgh.

Personality and identity
What's on TV describes the character as quiet, and kind-hearted. For a short period of time, after the actor took a one-year break from the show, the producers decided to change her ways. After a brief period of resettlement, she resumed her more familiar temperament of being generally supportive and friendly to the other characters.

Relationships
Hayley's only romantic relationship is with Roy. The characters were first friends and they started a relationship, until Hayley revealed her past history. Roy initially rejected her, but missed their friendship and three months later, followed her to Amsterdam where she was living on a houseboat, recuperating from her surgery. He persuaded her that they should work on their relationship, and as a result, she returned to Weatherfield where she became a machinist in Mike Baldwin's (Johnny Briggs) lingerie factory, Underworld.

Roy later proposed to Hayley at a fancy-dress disco on St. Valentine's Day 1999. At that time, they could not legally marry, since Hayley was still seen as a male in the eyes of the law. Eventually, they found a female vicar who would help them, and they were united in a blessing ceremony held in Roy's Rolls on 23 April 1999. As a wedding present to Roy, Hayley officially changed her name by deed poll to Hayley Anne Cropper.

Since the passing of the Gender Recognition Act 2004 in UK law, it has been possible for transgender people to change their birth certificates and marry legally. In 2010, following a discussion of the ramifications of their not being legally married, Roy and Hayley decided to make it official. It was revealed that Hayley had applied for, and received, her new birth certificate, and so, after some disagreements about the cost and motives for marriage, the plans were made for the wedding. The couple finally married on 30 August 2010 at a stately home in Cheshire, and almost everyone but the bride arrived by steam train.

Their relationship was tested by various storylines including Tracy Barlow's (Kate Ford) deceit, Hayley's secret son and Hayley's absence from the street. Briefly, upon her return, there was a difficult situation where she had developed a crush on one of her co-workers in Africa (further reading below). They eventually worked out their differences.

Pancreatic cancer and suicide
On 11 January 2013, it was announced that Hesmondhalgh would leave Coronation Street at the end of her contract. The actress recorded her final scenes on 18 November 2013, being screened on 20 January 2014, and the producers came up with a dramatic exit storyline for her character. Hesmondhalgh revealed that she wanted to pursue new projects, saying "I've had the most wonderful and happy time in the life changing 15/16 years I've been in Corrie, and I owe so much to the show and the special team that make it happen. The decision to hang up Hayley's red anorak was a tough one, but doing the play at the Royal Exchange last year made me realise that there's life in the old dog yet (!) and that there are other things I want to try." Hayley's exit storyline saw her diagnosed with terminal pancreatic cancer. On 20 January 2014, Hayley died in Roy's arms after drinking a lethal cocktail. The episode attracted 9.7 million viewers – the show's highest figure in almost a year.

Storylines
Hayley Patterson is a shy shop supervisor at Firman's Freezers. Her friend and colleague Alma Baldwin (Amanda Barrie) introduced her to Roy Cropper (David Neilson) and they became friends — until Hayley told him that she was transgender and used to be called Harold. Roy cannot cope and initially rejects her but realises that their friendship is more important than Hayley's secret. After affirming their mutual attraction, Hayley goes to Amsterdam for private gender reassignment surgery. When she returns to Weatherfield, she starts work at Underworld. Hayley chooses not to disclose her transgender status, but she is forcibly outed when Alma's husband and factory boss Mike discovers a Tax Office error, showing her deadname. Mike fires her as a result. Although the factory staff and Street residents initially taunt her, she eventually gets her job back and most Street residents gradually accept her.

In 2001, Roy and Hayley decide to become foster parents. Their first child is teenager Fiz Brown (Jennie McAlpine), who returns to care after falsely claiming that Roy hit her. Fiz returns later that year and becomes good friends with Roy and Hayley. The couple then foster a young boy, Wayne Hayes (Gary Damer), but go on the run with him, wanting to protect him from his abusive stepfather. They are arrested for kidnap and Hayley is held on remand for objecting to her bail conditions but is released when Wayne's mother makes a statement about her marriage. This prevents Roy and Hayley fostering, or working with, any more young people.

In 2003, while Hayley is away, nursing her sick aunt, scheming Tracy Barlow (Kate Ford) bets Bev Unwin (Susie Blake) that she can bed the man supposedly least likely to be unfaithful — Roy. Tracy drugs Roy at Peter Barlow (Chris Gascoyne) and Shelley Unwin's (Sally Lindsay) wedding reception and claims to have slept with him. Roy is desperate to keep this from Hayley but breaks down and admits everything. When confronting Tracy, the Croppers are stunned when Tracy tells them that she is pregnant with Roy's baby and plans to have a termination if the Croppers do not want to adopt it. Roy and Hayley see an opportunity to raise a child and pay Tracy £25,000. The Croppers' relationship becomes increasingly strained, including a suicide attempt by Roy, but they pull through. Roy gets suspicious when Tracy goes on holiday for 3 weeks and realizing how easy it would be for Tracy to disappear with the cash and the baby, Roy insists she marry him (giving him parental responsibility of the baby) or the deal is off. She agrees and they marry. After the baby is born, Tracy admits to Peter that Steve McDonald (Simon Gregson) is the father (they had a one-night stand shortly before she spent the night with Roy). The baby's true paternity is revealed at Steve's wedding to Karen (Suranne Jones), when Tracy demands that baby Patience be returned to her and the Croppers, heartbroken, do so and Tracy repays the cash to Roy and Hayley. Steve and Karen marry, despite Tracy's bombshell, and Karen gets her revenge by gatecrashing the christening. Patience Cropper is renamed Amy Barlow and the Croppers are her godparents.

Following the death of her aunt Monica in September 2007, Hayley discovers that she has a son, Christian Gatley (Andrew Turner). She hires a private investigator to track him down and introduces herself as his aunt. Roy confronts Hayley when he sees money has been withdrawn from their joint bank account and she tells Roy everything. Disapproving of lies, Roy insists Hayley tell Christian the truth about how they are related and Hayley does but Christian does not react well and storms off. When Hayley finds him later, Christian is still angry and punches her when she refuses to leave him alone. On her return to the café, she makes it clear that she blames Roy and this causes problems. They decide to go camping in a bid to mend their issues. Following this, in October 2007, Hayley leaves the Street to go on volunteer work in Mozambique for a year.

Hayley returns in November 2008; it is clear that she is not entirely happy, appearing evasive and she tells Roy that she wants to return to her charity work, as she has fallen for Olaf, the project team leader. When catching up with Tilly, another volunteer, she learns Olaf is not the man she thought he was and decides to stay with Roy. She decides not to return to Underworld and wants to become a social worker but her police record (for the abduction of Wayne in 2001), rules her ineligible to work with children. She works in the café and then becomes supervisor at the factory in 2009.

In May 2010, Hayley and Roy argue when she suggests that they have a lavish wedding, now that the law has changed and their union can now be officially recognised. Roy agrees but he is more concerned with inheritance law, upsetting Hayley, so she moves in with friend Anna Windass (Debbie Rush). On 1 June 2010, Robbie Sloan (James Fleet) tricks Hayley to go to the factory, telling her that Carla Connor (Alison King) has had an accident, when in reality, Robbie has tied Carla to a chair and duct taped her mouth shut. Once there, Hayley sees Carla bound and gagged but Robbie pulls out a gun on her before she can escape, and ties her to a chair too. Killer Tony Gordon (Gray O'Brien) arrives, takes the gag off Carla's mouth and threatens them, revealing that Hayley is there as revenge against Roy, who convinced Tony to confess his crimes to the police, and says he will kill her and Carla. After Maria Connor (Samia Ghadie) accidentally interrupts and raises the alarm, Roy rushes to Underworld but can not help her, while Carla pleads with Tony to let Hayley go – Tony eventually relents and throws Hayley out. She is taken care of by paramedics and she and Roy tell one another they love each other before watching the factory blow up, after Tony sets fire to the building, killing himself but Carla manages to untie herself and escapes.

Later that week, Roy proposes to Hayley and she accepts. Mary Taylor (Patti Clare) intervenes in the wedding preparations and, after weeks of muscling in, Hayley and Roy tell her they do not want her to be a part of the wedding, despite Hayley wearing her vintage wedding dress. On 30 August 2010, the train carriage that Hayley and bridesmaids Fiz and Becky (Katherine Kelly) decouples from the steam train that is transporting the groom and wedding guests to the venue, due to Mary's meddling. However, they do get to the venue on time and Hayley marries Roy. In June 2011, Roy's mother Sylvia Goodwin (Stephanie Cole) – who moved in with the Croppers' earlier in the year – is suspicious when, after expressing a longing for grandchildren, she finds out Hayley cannot have children. After rummaging through her things, she finds a prescription for some hormone tablets and assumes Hayley is menopausal until Tracy tells her that Hayley used to be a man. Sylvia is initially outraged but, as of July 2011, appears to be coming round and accepts Hayley for who she is.

Hayley is heartbroken when Becky decides to leave Weatherfield in January 2012 but gets a call a few months later, telling her that she is engaged to her new boyfriend. Later in the year, Roy and Hayley visit Palm Springs, California to visit Sylvia and her companion Milton Fanshaw (Robert Vaughn). Roy returns without Hayley, who is caring for Sylvia as she isn't well. Hayley returns later that year and supports Roy when they discover that his father died in May 2013. Strange happenings begin occurring in the café and Roy thinks Beth Tinker (Lisa George) and her family are responsible. Deirdre Barlow (Anne Kirkbride) finds Roy sleepwalking on the Red Rec and returns him to Hayley and Sylvia. They watch the CCTV footage and it proves that Roy is behind all of the rearranged furniture. Hayley decides that Roy should see a doctor and tells him she will have the same tests done, which Roy finds comfort in. Hayley is called back to the Medical Centre the following week and the doctor tells Hayley that she has abnormal liver function and needs an ultrasound scan for further investigation. Hayley confides in Sylvia on the day of her scan but swears her to secrecy. The doctor tells Hayley that there is a blockage in her bile duct and Hayley tells Sylvia that she may have cancer and breaks down in her arms. The following week, Carla insists on going with Hayley for a CT scan where Hayley is diagnosed with stage-two pancreatic cancer. She is told she needs an operation and chemotherapy to get rid of the cancer. Later, Hayley breaks down at work and Carla comforts her. Hayley realises that she has to tell Roy so goes home and tells Roy and Sylvia. When Sylvia leaves Roy and Hayley alone, Roy holds Hayley's hand and starts pestering Hayley to drink herbal tea, so she confides in Carla again. Hayley goes for the operation to unblock her bile duct, accompanied by Roy. Hayley does well and is invited to Audrey Roberts' (Sue Nicholls) birthday party at the Bistro. Hayley and Sylvia go but Hayley is devastated when Roy tells everyone that she has pancreatic cancer. Upset, Hayley runs home and is followed by Sylvia. Later, Roy tells her that he wishes that he could halve her pain and Hayley tells him that she could die and the pair embrace passionately. When Leanne Battersby (Jane Danson) and her half-sister Eva Price (Catherine Tyldesley), argue at the factory, Leanne pushes Eva into Hayley, so Carla throws Leanne out. Hayley gets fed up with people being sympathetic so she and Roy go on holiday before her operation to remove her tumour. Carla gives Hayley have the time off and Mary lends them her motor home. Hayley and Roy return a couple of weeks later and learn that Sylvia has gone to live with her sister, Roy's aunt Jean.

Roy organises a romantic dinner for their third wedding anniversary but Hayley is upset as she completely forgot. Roy then assures Hayley that he is not angry, and she confides in Carla before going to the hospital, preparing for her operation. Roy and Hayley are told that the operation – if successful – should last six hours. Hayley goes down to theatre at 13:05 and gives Roy her wedding ring to look after. Roy is devastated when the consultant tells Roy and Hayley that her cancer is terminal. He says she could live up to about six months to a year. Devastated but philosophical, Hayley begins to make a bucket list of everything that she wants to do before she dies, one of which is teaching Roy how to drive. Hayley has a nightmare about being "Harold" again, making her regret the way things ended with her son, Christian. She decides to tell Fiz about Christian, confusing Roy but he comes round to the idea of Hayley contacting Christian, so she leaves a message on his mobile. While waiting for him to call back, she focuses on throwing a birthday party for Roy in The Rovers. She goes with Roy to his driving lesson, which was a disaster. Hayley gets a message from Christian, wanting to meet in a café in Bury. Roy goes with Hayley but Christian sends her a text, saying that he cannot go through with it. Roy and Hayley take Fiz's daughter, Hope, and Tyrone Dobbs' (Alan Halsall) baby girl Ruby to the park, Christian arrives and asks Anna where Hayley is. He decides to call her but she left her phone behind. Christian decides to wait and they talk but Hayley decides to take Roy and Christian to The Rovers, where Christian reveals that he is married and has two children, Sam and Maisie. Hayley says she would love to meet them but Christian wants to wait until they are 16 years of age, upsetting Hayley. Christian repeatedly makes inappropriate remarks unintentionally so Roy shouts at him, before taking Hayley home. Hayley insists that they attend a cancer support group, where they meet Jane Rayner (Heather Bleasdale) and her husband Jeff (Jim Millea). Hayley is inspired by Jane's strength and confidence, despite dying from pancreatic cancer, but Roy tells Hayley that he found her highly inappropriate and inconsiderate. Hayley is delighted to learn that Roy has booked a day off so they can go to Blackpool. They have a wonderful time but their joy is cut short when they are told that Jane has been rushed to a hospice.

The couple visit and Hayley is shocked to see how dazed Jane is after taking morphine. Hayley and Roy then sit down as talk about Hayley's final days, where she tells Roy that she intends to end her own life when the cancer spreads. This causes an argument and Hayley moves in with Fiz and Tyrone. The following day, Hayley collapses and Fiz calls an ambulance to take Hayley to hospital. Roy and Fiz go too. At the hospital, the consultant explains that Hayley has an infection and needs to stay overnight. While Hayley is recovering, Roy accidentally tells Anna about her suicide wish. When she comes home, she is stunned to find Roy, Owen Armstrong (Ian Puleston-Davies) and Gary Windass (Mikey North) re-decorating their bedroom. Hayley secretly does not like the new wallpaper but keeps quiet so she does not upset Roy. Hayley insists on visiting Jane in the hospice and Jeff reveals that Jane has died. Hayley is devastated and furious with Roy. The pair argue again about the way Hayley wants to die. A few days later, Roy and Hayley attend Jane's funeral and meet her young sons, Zac and Henry. Hayley tries to comfort Henry as he is not coping. After the funeral, Roy tells Hayley that he thinks he can accept her suicide plot. Hayley is delighted but Roy tells Anna that he lied and feels he has betrayed her. Roy decides not to tell Hayley his true feelings and they listen to music together after a stressful day. Hayley later breaks down in Roy's arms, saying that she does not want to die and does not want to leave him. Hayley is delighted when asked by Carla to make her wedding dress. The dress is a success and Roy and Hayley attend Carla and Peter's wedding. While there, Christian returns to the street and winds Fiz up about Hayley so she tells him that Hayley has cancer in an angry outburst. On getting home, Hayley is stunned to see Christian and tells him that she is too tired but will see him another time. The following day, Christian visits again and Hayley is astonished when Christian says she can see the children. Hayley is thrilled but Christian demands Hayley give him money in return as he is in a lot of debt. Christian brings Sam and Maisie to the café and Maisie is intrigued by Roy's train collection, while Hayley and Christian talk upstairs. Hayley is shocked when Christian turns violent and starts pushing her for the money. She subsequently writes him a cheque. Maisie, however, tells her that she hopes she gets better soon and that she would love to come again. Fiz takes Hayley and Roy to The Rovers and Hayley tells them that she gave Christian the money. In December, Roy and Hayley go to a hospital appointment where she tells the nurse that her pain is getting worse and she is prescribed with stronger painkillers.

Hayley and Roy enjoy their last Christmas together. They buy each other gifts and want to be alone, but the day is interrupted by visits from friends and neighbours. Hayley enjoys their company, but after Fiz and Tyrone arrive with their young children, Hayley finds herself falling asleep. After a nap, Hayley is determined to go to The Rovers for a Christmas drink, but Roy wants her to take it easy. Later that week, Roy and Hayley go to a hospital appointment following her scan and learn that the cancer is a lot more aggressive than anticipated, meaning Hayley only has weeks left to live. Hayley takes her frustration out on the Christmas tree, wrecking Hope's decoration. The following day, Hayley tells Roy to let a few people know that she only has weeks left but does not want visitors. Roy breaks the news to Anna, Fiz, Tyrone, Peter, Carla, Rita Tanner (Barbara Knox) and Dennis Tanner (Philip Lowrie). Carla is determined to visit Hayley and she is glad that Carla came. She confides in her, telling her that she is frightened of dying. When Carla returns home, she breaks down after seeing Hayley in such a state. In her final week, Tyrone takes Hayley to the salon for a makeover although Roy wanted her to stay at home and rest. On 20 January 2014, she tells Roy she wants to die that day and whilst Roy is in The Kabin, Hayley irons his best shirt for her funeral. Norris Cole (Malcolm Hebden) notices that Roy is even more unhappy than usual, and asks if he is alright, but he claims to be fine. Roy arrives back at the café and is confronted by Gloria Price (Sue Johnston) with "customer feedback". Hayley begins to write letters for Tyrone and Fiz's children, but stops when she realises Hope and Ruby will not remember her, as they are too young. Roy tries one last time to stop Hayley but she is adamant. Roy makes sure that she is comfortable and selects a piece of music that they both like. Hayley tells Roy that he must not touch the glass containing the lethal cocktail. Prepared to drink the cocktail, Hayley is interrupted by Tyrone who is looking for Ruby's toy. Roy plays "The Lark Ascending" by Vaughan Williams, and sits on the bed with Hayley. After one last moment together, she drinks the cocktail. Worried something is not right, Anna closes the café and sits downstairs and Carla knocks on the door, demanding to see Hayley. Anna lets her in and tries to stop Carla knocking on the flat door, but she does. There is no answer, so Anna eventually unlocks the door with her spare key and they enter the flat together. Calling out, Anna and Carla go to the bedroom and, to their shock, find a deceased Hayley on the bed, with Roy's arm around her. Hayley is later cremated following a humanist funeral.

Reception
For her portrayal of Hayley, Hesmondhalgh was nominated in the category of "Most Popular Actress" at the 1999 National Television Awards. The appearance of a transgender woman in a mainstream soap opera attracted initial opposition from some members of the public, as expressed in calls to the Granada duty office, and letters written to magazines and newspapers. A minority of people expressed their concern at having such "bizarreness" brought into their homes on a prime-time show. Transgender groups were also largely unhappy with the storyline, and found Hayley's original character traits, as written, clichéd and ill-informed. Press for Change, the transgender campaign and information group, were particularly concerned with the direction of the storyline, but after the first two months a trans advisor connected to Press for Change, Annie Wallace, was regularly consulted for eighteen months by scriptwriters and the actor, and trans groups appeared happier with the stories and scripts that resulted from this liaison. In an interview with Hesmondhalgh in August 2015, it was revealed that in tribute to Wallace, the writers gave Hayley's middle name as Anne, and gave her the same birthday, as well as a mutual love for rock music, especially Queen. Wallace is now an actress in her own right, and appears as the character Sally St. Claire in the Channel 4 soap opera, Hollyoaks.

Transgender campaigners were initially upset that a cisgender woman had been chosen for the part but later praised Hesmondhalgh's dedication and sensitivity. Hayley was, for many viewers, the first transgender woman whose story they had seen unfold on TV. Hesmondhalgh has become an outspoken activist for trans rights, including becoming the first Friend of campaign group Trans Media Watch and as Hayley, she has heralded a new level of acceptance among people across the country. The official LGBT History Month website includes Hayley as one of the important famous LGBT people in their history, even though she is a fictional character.

In 2008, All About Soap included Hayley's transgender plot in their list of "top ten taboo" storylines of all time. Their writer described it as one of the "taboos which have bravely been broken by soaps."

On 22 January 2014, Hesmondhalgh won "Best Serial Drama Performance" at the National Television Awards. Also in 2014, Hesmondhalgh was nominated for the "Best Actress" award at The British Soap Awards. As well as being nominated for the "Best Actress" award, Hesmondhalgh's final appearance, entitled "Hayley's Death", was nominated for the "Best Single Episode" award, as well. Hesmondhalgh won both of these awards. Hesmondhalgh also won "Best On-screen partnership" and "Best Storyline" – both alongside David Neilson – at the ceremony.

Political impact
Coronation Street handling of transgender issues, the uncertainty of whether her partner would accept her gender identity and the inability of transgender people to adopt children or marry, has been praised by transgender groups. An Early Day Motion was also tabled in Parliament by Lynne Jones, MP, praising the story team and researchers, and Julie Hesmondhalgh for her portrayal.

Following the screening of the "wedding" in 1999, the Labour Government announced that a Parliamentary Working Group was being created to assess how the United Kingdom could grant trans people the legal rights for which they had fought for decades. The result of this was the tabling, in 2004, of the Gender Recognition Act, granting trans people full legal status in their acquired sex. It has been said that the character of Hayley deserves partial credit for bringing the issues faced by trans people to public attention in a sympathetic manner, rather than the sensationalist coverage that had previously existed. It is also alleged that the resultant public support for this fictional character went in favour of the Bill.

title: Hayley Cropper


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User talk:DanB~enwiki

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Great edit on Baptism for the dead; it well clarified the statement. I hope to see more of your edits as time permits. Cheers. --Storm Rider (talk) 22:37, 7 July 2008 (UTC)

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If you have a problem with someone else's edits, you should discuss it with them on either the article's talk page or their own talk page. You should not create pages just to point out perceived flaws in their editing. Thanks. Beeblebrox (talk) 00:21, 28 June 2009 (UTC)
 * I looked at the edit that was reverted in Fermi paradox and although a better edit summary would have been nice, I would have reverted those edits too. Large, possibly controversial edits to well-established articles often get reverted. Editors are encouraged to be bold and make changes, but the flip side of that is that those changes may not be appropriate and a discussion will have to take place to determine what to include and what to leave out. This is known as the bold, revert, discuss cycle. Beeblebrox (talk) 00:30, 28 June 2009 (UTC)

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Material Girl

"Material Girl" is a song recorded by American singer Madonna for her second studio album, Like a Virgin (1984). It was released on January 23, 1985, by the Sire label as the second single from Like a Virgin. It also appears slightly remixed on the 1990 greatest hits compilation, The Immaculate Collection, in its original form on the 2009 greatest hits compilation, Celebration and Finally Enough Love: 50 Number Ones (2022). The song was written by Peter Brown and Robert Rans, and produced by Nile Rodgers. Madonna said the concept of the song was indicative of her life at that time, and she liked it because she felt it was provocative.

"Material Girl" consists of synthesizer arrangements with a robotic-sounding voice chant repeating the hook, "living in a material world". The lyrics identify with materialism, with Madonna asking for a rich and affluent life, and only wanting to date men who can offer her this. Contemporary critics have frequently identified "Material Girl" along with "Like a Virgin" as the songs that established Madonna as an icon. "Material Girl" was a commercial success, reaching the top-five in Australia, Belgium, Canada, Ireland, Japan and United Kingdom. It reached the number two position on the Billboard Hot 100 in the United States, becoming her third top-five single there.

The single's release was accompanied by a music video directed by Mary Lambert. The video pays homage to Marilyn Monroe's performance of the song "Diamonds Are a Girl's Best Friend" in the 1953 film Gentlemen Prefer Blondes, with the mimicked scenes interspersed with scenes of a Hollywood director trying to win the heart of an actress, played by Madonna herself. Discovering that, contrary to her song, the young woman is not impressed by money and expensive gifts, he pretends to be penniless and succeeds in taking her out on a date. Madonna has performed the song in five of her world tours; most of her performances of the song on tour are mimicries of the song's music video.

"Material Girl" has been covered by a number of artists, including Britney Spears and Hilary and Haylie Duff. It also became a viral hit on TikTok. Madonna has often remarked that she regrets recording "Material Girl" as its title became a nickname for her in the mainstream media. The song has been labeled an empowering influence for women, and was the subject of debates.

Background
"Material Girl" was written by Peter Brown and Robert Rans, while Nile Rodgers produced the track. In 1986, Madonna told Company magazine, that although she did not write or create the song, the lyrical meaning and concept did apply to her situation at that point of time. She elaborated, "I'm very career-oriented. You are attracted to people who are ambitious that way, too, like in the song 'Material Girl'. You are attracted to men who have material things because that's what pays the rents and buys you furs. That's the security. That lasts longer than emotions." During a 2009 interview with Rolling Stone, Madonna was asked by interviewer Austin Scaggs, regarding her first feelings, after listening to the demos of "Like a Virgin" and "Material Girl". Madonna responded by saying, "I liked them both because they were ironic and provocative at the same time but also unlike me. I am not a materialistic person, and I certainly wasn't a virgin, and, by the way, how can you be like a virgin? I liked the play on words, I thought they were clever. They're so geeky, they're cool."

Composition
"Material Girl" consists of synth arrangements, with a strong backbeat supporting it. A robotic-sounding male voice, sung by Frank Simms, repeats the hook "Living in a material world". According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is set in the time signature of common time, with a tempo of 120 beats per minute. It is set in the key of C major, with Madonna's voice spanning from the tonal nodes of C4 to C5. The song has a basic chord progression of F–G–Em–Am-F-G-C in the chorus, while the verses are based on the C mixolydian mode, giving a hip, swing-like mood. The bassline in the song with the post-disco origins is reminiscent of the Jacksons' "Can You Feel It", which appeared on their 1980 album Triumph. Furthermore, the strophes remind of the refrain from the hit "You Should Hear How She Talks About You" (1982).

The lyrics explain that Madonna is a "material girl" who will not accept men who cannot provide her with luxuries.

Critical reception
Following the song's release on November 30, 1984, as the second single from Like a Virgin, "Material Girl" received mixed reviews from music critics. Author Rikky Rooksby, in his book The Complete Guide to the Music of Madonna, compared the song with those of Cyndi Lauper because of Madonna's shrill voice in the song. He added that the song was a "pungent satire on the Reagan/Thatcher young-guns-go-for-it era. Which just goes to show that pop music and irony don't mix." Stephen Thomas Erlewine from AllMusic said that "Material Girl" was one of the songs that made Madonna an icon, the other being "Like a Virgin" from the same album, both remaining as a definitive statement. He added that both tunes overshadow the rest of the record, "because they are a perfect match of theme and sound." Debby Miller from Rolling Stone, felt that the song portrayed Madonna as a more practical girl than previous female singers. Dave Karger from Entertainment Weekly, while reviewing the album in 1995, felt that the song came off a bit repetitious and immature when compared to the present context. Jim Farber from the same publication felt that the song provided then critics a way to criticize Madonna's work. Sal Cinquemani of Slant Magazine commented that Madonna had "defined a generation with hits like 'Material Girl'." Alfred Soto from Stylus Magazine compared the song with "Everything She Wants" by Wham!. Michael Paoletta from Billboard commented that the song sustained a "fevered dance-rock momentum." Nancy Erlick from Billboard said that "singer and team conquer once more with their irresistible assembly of new and used pop hooks." Cashbox said that the song is "a playful follow-up to 'Like A Virgin which "still emphasizes a danceable backbeat, but...has a sense of humor and Madonna doesn't sound quite as squeaky as on past cuts." In 2003, Madonna fans were asked to vote for their Top 20 Madonna singles of all time for a special issue of Q magazine dedicated to Madonna. "Material Girl" was allocated the 15th spot on the list.

Chart performance
The song debuted on the Billboard Hot 100 during the week of February 9, 1985, at position 43, when "Like a Virgin" was descending out of the top ten. The single climbed the Hot 100 quickly, jumping 13 spots to number five the week of March 9, 1985, and eventually spent two weeks at number two, held off by REO Speedwagon's "Can't Fight This Feeling" and Phil Collins' "One More Night". The week when the song slipped to position three, her upcoming single "Crazy for You" reached number four, giving Madonna two simultaneous top-five hits. "Material Girl" reached the top of the Hot Dance Club Songs but was less successful on the Hot R&B/Hip-Hop Songs chart, failing to enter the top 40 and peaking at number 49. It was placed at number 58 on the year-end chart for 1985, with Madonna becoming the top pop artist for the year. In Canada, the song debuted on the RPM Singles Chart at number 76, on the issue dated February 16, 1985. After five weeks, it reached a peak position of four on the chart and was present on the chart for a total of 21 weeks. It was ranked at number 46 on the RPM Year-End chart for 1985.

In the United Kingdom, "Material Girl" debuted on the UK Singles Chart at number 24 on March 2, 1985, and reached a peak position of number three. It was present for a total of ten weeks on the chart. The song was certified platinum by the British Phonographic Industry, for sales and streams exceeding 600,000 units. According to the Official Charts Company, the song has sold 405,000 copies there. Across Europe, the song reached the top-ten in Austria, Belgium, Ireland, Netherlands, Spain and the Eurochart Hot 100 Singles,  while reaching the top 40 of Germany, Italy and Switzerland.

In Australia, the single debuted at number 25 on 17 March 1985 and peaked at number four three weeks later. It also reached the Top 5 in New Zealand and Japan.

Music video
The music video was inspired by Madonna's admiration of Marilyn Monroe and mimicked the latter's performance of the song "Diamonds Are a Girl's Best Friend" from the 1953 film Gentlemen Prefer Blondes. The video was developed to simultaneously be an exegesis and a critique of the lyrics and Madonna herself. It was the first time Madonna was able to showcase her acting ability to the public, combining the dance routines of "Diamonds Are a Girl's Best Friend" with the storyline of a man who impresses Madonna with daisies, rather than diamonds. In a 1987 interview with New York Daily News, Madonna said: Well, my favorite scene in all of Monroe's movies is when she does that dance sequence for 'Diamonds Are a Girl's Best Friend'. And when it came time to do the video for the song [Material Girl], I said, I can just redo that whole scene and it will be perfect. [...] Marilyn was made into something not human in a way, and I can relate to that. Her sexuality was something everyone was obsessed with and that I can relate to. And there were certain things about her vulnerability that I'm curious about and attracted to.

The music video was shot January 10 and 11, 1985, at Ren-Mar Studios in Hollywood, California, and was directed by Mary Lambert; Lambert had previously directed the videos for "Borderline" and "Like a Virgin". It was produced by Simon Fields with principal photography by Peter Sinclair, editing by Glenn Morgan and choreography by Kenny Ortega. Much of the jewelry is from the collection of Connie Parente, a popular Hollywood jewelry collector.

The video featured actor Keith Carradine as Madonna's wealthy love interest. According to Carradine, Madonna had asked for him to appear in the video. Actor Robert Wuhl appeared in the video's opening sequence as George, an employee of Carradine's character. It was on the set of the video that Madonna met actor Sean Penn, whom she began a relationship with and married eight months later.

The video opens with two men (Carradine) watching a rush in the screening rooms of a Hollywood studio. On the screen, an actress played by Madonna sings and dances to "Material Girl", dressed like Monroe from "Diamonds Are a Girl's Best Friend". One of the men, played by Carradine, is a director or a producer and is immensely rich. He falls in love with the actress and wants to express his passion for her. He tells his employee, played by Wuhl: "She's [Madonna] fantastic. She could become a star." The employee answered: "She could be. She could be great. She could be a major star." The former then concludes by saying: "She is a star, George." Madonna is in a pink strapless gown and has her hair in blond locks ala Monroe. The background is a reconstruction of the Monroe video, complete with staircase, chandeliers and a number of tuxedo clad chorus boys. Madonna dances and sings the song, while she is showered with cash, expensive jewelry, furs and is carried by the men over the stairs. At one time, she eludes herself from the men, by dismissing them with her fan. As the producer tries to impress Madonna, he comes to learn she is not impressed by material items, rather preferring simple romance. He pretends to be penniless, and brings her hand-cut flowers while paying a poor man a large amount to borrow (or possibly buy) his dirty truck to take her on a date. His plan seems to work, because the final scene shows him and Madonna kissing in an intimate position.

It was in the video of "Material Girl" that Madonna began to accept and utilize herself being compared to Monroe. However, she established a safe distance from those comparisons and developed inside the same pastiche. Details like the usage of different gloves or different fans in the video brought forth the connections between these women, but Madonna alluded to herself in subtle ways. The fan in Monroe's hand for the original video was an iconography of the Sudarshana Chakra (wheel) held by the Indian idol Vishnu. Scholar Georges-Claude Guilbert, who wrote Madonna as postmodern myth: how one star's self-construction rewrites sex, said that the fan symbolized fiery desire aroused by Monroe as well as ritual sacrifice, eerily foreshadowing her untimely death in 1962. Madonna's fan, which appeared at the end of the video, signified that Madonna – while paying her tribute to Monroe – was signaling that she had no intention of being a victim like her, and that she was on the path of becoming a feminist post-modern myth. Author Nicholas Cook commented that the video promoted Madonna's identity as the song suggested, with the purpose of shifting "Madonna's image from that of a disco-bimbo to authentic star." Lisa A. Lewis, author of Gender, Politics and MTV said that with the video, Madonna achieved the rare distinction of being accepted as a literature medium by the music authors. "Material Girl" was nominated for best female video at the 1985 MTV Video Music Awards, but lost to Tina Turner's "What's Love Got to Do with It". The video was ranked at position 54 on VH1's 100 Greatest Videos. On YouTube, the video became her ninth video to surpass 100 million views.

Live performances
"Material Girl" was performed by Madonna on five of her world tours. She ended the Virgin Tour (1985) with a self-parodying performance of the song. She wore a white tube top and a tight white skirt and carried a bunch of notes in her left hand. At the end of the performance she asked the audience "Do you really think I'm a material girl?...I'm not...Take it [Throwing fake money]... I don't need money... I need love." As she began to strip off more clothes, she was apprehended and marched offstage by an extra posing as her father. In Detroit, her father Tony himself did the honors. The performance was included in the VHS release Madonna Live: The Virgin Tour.

In the Who's That Girl World Tour of 1987, Madonna performed it as a medley with "Dress You Up" and "Like a Virgin". She wore an elaborate costume, inspired by Dame Edna Everage. It consisted of a hat strewn with fake fruits, flowers and feathers, jeweled batwing spectacles with heavy, black frames, a ruffled skirt, a bodice covered with objects like watches and dolls and fishnets. Author Carol Clrek stated that the dress was more "ludicrous for Madonna, than humorous." Two different performances of the song on this tour can be found on the videos: Who's That Girl: Live in Japan, filmed in Tokyo, Japan, on June 22, 1987, and Ciao Italia: Live from Italy, filmed in Turin, Italy, on September 4, 1987.

For the Blond Ambition World Tour in 1990, Madonna and her supporting dancers Niki Haris and Donna De Lory were dressed as old women in fluffy dressing gowns with dollar signs and curling pins in their hair. Singing the song with a strong mid-western accent, they got up and revealed a frivolish pink dress underneath their gown, in which they danced around. On some dates Madonna replaced the words "experience has made me rich" with "experience has made me a bitch". After singing, she produced dollar bills out of her corsage and threw them up in the air for the audience to catch. Two different performances were taped and released on video, Blond Ambition: Japan Tour 90, taped in Yokohama, Japan, on April 27, 1990, and Blond Ambition World Tour Live, taped in Nice, France, on August 5, 1990. During the Re-Invention World Tour of 2004, a general setlist was decided where the show rehearsals would start with "I'm So Stupid" from American Life, "Dress You Up" and "Material Girl". But "Dress You Up" and "I'm So Stupid" were later dropped from the show. Hence "Material Girl" was transferred as the closing song of the military segment of the show, and was re-arranged as an electric guitar version. Madonna wore military themed clothes and sang the song while standing in front of a microphone and playing an electric guitar. The backdrops displayed mathematical equations along with DNA helixes rushing through the screens.

Minimal elements of the song were included in the live performance of "Girl Gone Wild" on the MDNA Tour (2012). "Material Girl" was included in the final section of the Rebel Heart Tour (2015–16). For this section, Madonna worked with designer Jeremy Scott for party inspired costumes. She wanted a "Harlem-flapper-meets-Paris-in-the-Twenties" look, and Scott came up with the final dress adorned with thousands of Swarovski crystals. Following the jazz rendition of 2000 single "Music", Madonna's started performing "Material Girl", in a similar theme like the music video. Towards the end, Madonna changed the choreography, and made her dancers who posed as suitors fall down the stairs instead. The performance ended with Madonna walking down the catwalk in a bridal veil and carrying a white bouquet, which she eventually throws into the crowd. Utsing the stage as both stairs as well as video backdrop, the stairs rose up and down during the song. A recording of the performance at the March 19–20 2016 shows in Sydney's Allphones Arena was released in Madonna's fifth live album, Rebel Heart Tour.

In June 2022, to accompany the remix album release Finally Enough Love: 50 Number Ones, Madonna performed at Pride at the Women of the World Party in New York City. In the event, she premiered "Material Gworrllllllll!", a mashup of "Material Girl" with Saucy Santana's hip hop song of the same name. The song was released the following month.

Legacy
After the song's release, the phrase "material girl" became another nickname for Madonna. She has since remarked that if she had known she would constantly be referred to by the "Material Girl" moniker, she probably would not have recorded the song. Reflecting on the song, Madonna said:

"I can't completely disdain the song and the video, because they certainly were important to my career. But talk about the media hanging on a phrase and misinterpreting the damn thing as well. I didn't write that song, you know, and the video was about how the girl rejected diamonds and money. But God forbid irony should be understood. So when I'm ninety, I'll still be the Material Girl. I guess it's not so bad. Lana Turner was the Sweater Girl until the day she died."

Guilbert commented that "material girl" designated a certain type of liberated women, thus deviating from its original coinage which meant a girl who is tangible and accessible. Cook said that the meaning and impact of "material girl" was no longer circumscribed by the video, rather by its lyrics. Its influence was seen later among such diverse groups such as female versus male, gay versus straight, and academic versus teenage.

In 1993, a conference was held at the University of California, Santa Barbara, with the subject as Madonna: Feminist Icon or Material Girl?. The conference pondered on the duality of Madonna as both of them and deduced that the question of Madonna's feminism is not easy to decide. Some of the feminists left the conference, citing that they had not been able to make up their minds. As New Age spirituality became popular in the U.S. in the late 1990s, Madonna embarked on a spiritual quest of her own, and journals like The Times and The Advocate described her as "the Ethereal Girl" and "Spiritual Girl" respectively.

Track listing

 * US and UK 7-inch single
 * 1) "Material Girl" – 4:00
 * 2) "Pretender" – 4:28

 * US and UK 12-inch single; reissue CD single (1995)
 * 1) "Material Girl" (extended dance mix) – 6:05
 * 2) "Pretender" – 4:28

 * Japanese 12-inch single; reissue CD single
 * 1) "Material Girl" (extended dance mix) – 6:10
 * 2) "Into the Groove" – 4:45
 * 3) "Angel" (extended dance mix) – 6:14

 * Digital single (remastered) (2024)
 * 1) "Material Girl" – 4:00
 * 2) "Pretender" – 4:28
 * 3) "Material Girl" (extended dance mix) – 6:05

Credits and personnel
Credits are adapted from the album and 12-inch maxi-single liner notes.
 * Madonna – vocals, background vocals
 * Peter Brown – writer
 * Robert Rans – writer
 * Nile Rodgers – producer, Synclavier II, Roland Juno-60, guitars
 * Nathaniel S. Hardy, Jr. – keyboards
 * Bernard Edwards – bass
 * Tony Thompson – drums
 * Curtis King – background vocals
 * Frank Simms – background vocals
 * George Simms – background vocals
 * Jeri McManus - art design
 * Victoria Pearson - photography
 * Steven Meisel - photography

"Material Gworrllllllll!"
In August 2022, Madonna and Saucy Santana released "Material Gworrllllllll!". The song is a remix of Saucy Santana's 2019 single, "Material Girl", combining elements of the song with Madonna's of the same name. "Material Gworrllllllll!" is an electronic track with elements of rap. Madonna and Saucy Santana first performed the song in June 2022 at Terminal 5 during New York City Pride. The song debuted and peaked at number 69 on the UK Singles Downloads Chart dated August 18, 2022, and fell off the chart the following week.

title: Material Girl


text:
User talk:Shlomital

Image:Castle master-cga.png
You uploaded a new version of Image:Castle master-cga.png. It is visually identical, but with a slightly larger file size. Your summary of the change was "fixed palette to unrounded 8-bit values, added sBIT chunk". I'm not familiar with the PNG specification, what does this mean in? Was the previous version not a strictly valid PNG? boffy_b 14:44, 18 July 2006 (UTC)
 * Indeed, it needs explanation, but I couldn't do the proper link to where it's all summarised. I wanted to link to Image:IBM16_Palette_Map.png (mine, on the Commons). The section "Orthopraxy" should make clear why I uploaded a new version. The changes are: values 54, A8 and FC for the colours are corrected to 55, AA and FF respectively, and an sBIT chunk is added to indicate that the original palette has a 2-bit range. The previous version was a strictly valid PNG (if it hadn't been, the browser couldn't have rendered it - the PNG standard, unlike TIFF, leaves little room for playing around with the internals). Finally, the difference is just a little over 60 bytes, which I think is in our day and age negligible. Sorry for my failure to provide the explanatory link. --Shlomi Tal ☜ 14:20, 19 July 2006 (UTC)

Additions in the List of palettes article
Hello, I did some improvements to the article List of palettes, that I think you will find fine, I hope. There are new hardware palettes for Amstrad CPC, MSX and MSX2, and the full combinations of the CGA palettes.

I was a professional videogames programmer and graphic designer in the last 80's and early 90's, and I have a lot of info and background on the matter. Some machines I worked with Sinclair ZX Spectrum, Amstrad CPC series, MSX, Commodore C-64, Atari ST, Commodore Amiga, and IBM PC with Hercules, CGA, EGA, VGA, SVGA (256 and 32768 colors) and AT&T Vista, among others. You can find my profile in internet.

Yours,Ricardo Cancho Niemietz 11:44, 27 February 2007 (UTC)
 * I haven't logged in for a long time, hence the delay of months in reading and replying. Thanks much, Ricardo. Your work on the List of palettes page is amazing! --Shlomi Tal ☜ 11:02, 9 May 2007 (UTC)

[[Image:Original Barnstar.png]]
Most useful userpage ever. 68.39.174.238 18:13, 25 August 2007 (UTC)
 * Thank you. --Shlomi Tal ☜ 18:25, 25 August 2007 (UTC)

I would have to agree. If found this page quite useful when trying to figure out how to deal with zTXt in PNG images. The comment about tweakpng was extremely helpful! Jaryth000 12:20, 28 October 2007 (UTC)

Disputed fair use rationale for Image:Qb45.png
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Image copyright problem with Image:Am windows95 desktop.png
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Orphaned non-free media (Image:C64 Great Giana Sisters.png)
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Orphaned non-free media (Image:C64 Boulder Dash.png)
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Your PETSCII screenshots need revision
I am on the verge of modifying & replacing the screenshots of the C-64 at startup, and which display the PETSCII values of a few of the bytes passed to the Commodore PRINT routine. You appear to be the author of those screenshots, and you appear to have used a C-64 emulator program to test your theory, and make the designs.

The point I wish to make, is simply that Commodore programmers usually achieved the lowercase/uppercase character mode by switching to "text" mode on first passing chr$(14) to the BASIC print routine, and then they arrived at the uppercase by passing bytes with bit 7 set, something that you may not have realized when you did your screenshots. It was highly unusual to OR a character in the range of $41 to $5A byte with $20, to reach the mirrored images at $61-7A.

In other words,

 * 10 PRINT CHR$(14)  :  REM FIRST SWITCH TO UPPERCASE/LOWERCASE TEXT MODE
 * 20
 * 30 FOR N=1 TO 26
 * 40 PRINT CHR$(N OR 64 OR 128)    :   REM  PRINT UPPERCASE CHARACTERS
 * 50 NEXT
 * 60
 * 70 END

is a better BASIC listing for testing and displaying your theory about PETSCII uppercase characters. Dexter Nextnumber (talk) 01:30, 31 October 2009 (UTC)

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What image compression program did you use for this image?
Hi, I'd just like to know what program you used to compress this picture: http://en.wikipedia.org/wiki/File:LossyDemonstration-98less.jpg Thanks. — Preceding unsigned comment added by 124.182.127.104 (talk) 19:03, 2 July 2011 (UTC)

File source problem with File:LossyDemonstration-Original.png
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File:Unicode Box Drawing (2500-257F) Rev 2.png missing description details
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An Arabic page on the commons?
Could you please tell me if image is a publisher's logo? Am asking because I am categorizing Publisher logos on Mediawiki Commons. Thanks. — Ineuw talk

title: User talk:Shlomital


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User:Zenohockey

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=About me= I think this project is spectacularly noble, and almost realistic to boot. It will always be off-kilter in some respects, and pockmarked here and there, but Jimmy Wales's objective—"Imagine a world in which every single person on the planet is given free access to the sum of all human knowledge"—is impossibly attractive, even if also impossible.

I'm male and between the ages of 16 and 26.

My intellectual interests stretch across the humanities and social sciences, especially philosophy, psychology, and literary theory, but my edits tend in other directions, probably because it's more fun to write about American Idol than about aretology. I also enjoy music (and there's really no better place to learn about popular music than here).

Public domain
=Edit history=

My first signed-in edit was on August 23, 2004, to Deaths in 2004 [summary: "(minor) (→August 2004 - changed 'World War *1' to *I; made 'veteran' lower-case)"]. I'm now at 10,000-plus.

title: User:Zenohockey


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Götavirke

Götavirke (Geatish Dyke) are the remains of two parallel defensive walls going from north to south between the villages of Västra Husby (58.48333°N, 16.16667°W) and Hylinge (58.46667°N, 16.16667°W) in Söderköping Municipality, Östergötland, Sweden. The walls cover the distance between the lakes Asplången (58.5°N, 16.13333°W) and Lillsjön (58.46667°N, 16.16667°W). North of Asplången there are remains of several ancient hill forts that may have been part of the defensive line. South of Lake Lillsjön, the terrain is so hard to pass that it hardly needed any defenses.

The walls seem to be constructed to protect the Geatish heartland around today's Linköping from attacks from the Baltic Sea. Archaeological excavations have shown that the walls were constructed ca 800. Defense constructions were also built along the 20-kilometer narrow inlet Slätbaken that stretches from the Baltic Sea to Götavirke, and even pass it during the Viking Age when the water level was 1.5 meters higher. The measures that Geats had taken to protect the route have no match in Viking Age Sweden.

The wall supported a wooden pale and behind it are traces of a military road, which makes it similar to the Danevirke protecting the contemporary town of Hedeby. No Viking Age towns are however known in the vicinity of Götavirke.

title: Götavirke


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Lives of the Most Eminent English Poets

Lives of the Most Eminent English Poets (1779–81), alternatively known by the shorter title Lives of the Poets, is a work by Samuel Johnson comprising short biographies and critical appraisals of 52 poets, most of whom lived during the eighteenth century. These were arranged, approximately, by date of death.

From the close of the 18th century, expanded editions and updates of Johnson's work began to appear.

Background
Johnson began writing individual biographical pieces in 1740, the first being devoted to Jean-Philippe Baratier, Robert Blake, and Francis Drake. In 1744 he wrote his first extended literary biography, the Life of Mr Richard Savage, in honour of a friend who had died the year before.

Various accounts are given of how Johnson came to write his Lives of the Poets during an episode of anti-Scottish sentiment in England. As related in the preface to the 1891 edition of the Lives, Scottish publishers had started to produce editions of the collected works of various English poets and sell them in London, which was considered an invasion of copyright precedent. Then in 1777 the publisher John Bell proposed to bring out a 109-volume set of The Poets of Great Britain complete from Chaucer to Churchill, printed in Edinburgh at the rate of a volume a week. In order to compete with this project, Johnson was asked by a deputation of London publishers and booksellers, led by Thomas Davies, William Strahan and Thomas Cadell, to provide short biographies for a standard edition of poets in whom they had an interest. Johnson named a price of 200 guineas, an amount significantly lower than what he could have demanded. Soon afterwards, advertisements began to appear announcing “The English Poets, with a preface biographical and critical, to each author…elegantly printed in small pocket volumes, on a fine writing paper, ornamented with the heads of the respective authors, engraved by the most eminent artists”.

Johnson was slow to put pen to paper, although on 3 May 1777 he wrote to Boswell that he was busy preparing "little Lives and little Prefaces, to a little edition of the English Poets". When asked later by Boswell whether he would do this for "any dunce’s works, if they should ask him," Johnson replied,  "Yes, sir; and say he was a dunce." However, while so engaged, he made a few suggestions of his own for inclusion, including the poems of John Pomfret, Thomas Yalden, Isaac Watts, Richard Blackmore’s The Creation and James Thomson’s The Seasons. But as the work progressed, many of the prefaces grew in length, further holding up progress. The format of these now included a narrative of the poet’s life, a summary of his character and a critical assessment of his main poems. Eventually the decision was taken in 1779 to issue 56 volumes of poets alone, for which the sheets were already printed, together with separate volumes of prefaces as and when Johnson completed them. At first the prefaces were only made available to subscribers to the full set of poets, but in March 1781 the collected prefaces were offered separately as a six-volume work under the present title.

The Lives and their shortcomings
With some rare exceptions, almost all the prefaces were specially written for the series. The extended Life of Richard Savage of 1744 was incorporated with very few changes; an article on the Earl of Roscommon, previously published in The Gentleman's Magazine for May 1748, was worked over to conform to Johnson’s overall plan. An earlier “Dissertation on Pope’s Epitaphs” from 1756 was added to the end of the life of Alexander Pope and the character of William Collins had already appeared in The Poetical Calendar (1763). The life of Edward Young was written by Sir Herbert Croft at Johnson's request, since that baronet had known him well. There are also lengthy quotations from other authors, as for example the “Prefatory Discourse” to the work of John Philips written by his friend Edmund Smith.

Even though the choice of authors was limited to those who were dead, some among the most recently deceased were not included, notably Charles Churchill (of whom Johnson disapproved) and Oliver Goldsmith, but this may have been due to copyright issues in both cases. Women poets were comprehensively omitted and that fact too was to draw criticism. Indeed, it has been conjectured that the 1785 new edition of George Colman and Bonnell Thornton’s 2-volume Poems by Eminent Ladies (originally published in 1755) may have been meant as a conscious supplement to the all-male series.

Not all the details in the book have proved trustworthy, and many critical judgements were considered prejudiced and unequal, even at the time of publication. The Concise Oxford Companion to English Literature instances as examples "its strictures on Milton's Lycidas, Gray's Odes, and its evident prejudice against Swift", as well as the hostile characterisation of the Metaphysical style in the life of Abraham Cowley. Nor can Johnson's prejudices be palliated by the observation in The Cambridge History of English and American Literature that "he was much more interested in the man than in that part of him which is the author ...He claimed for it no exclusive privileges, nor held that the poet was a man apart to be measured by standards inapplicable to other men."

List of Lives
The poets included are:

 * Abraham Cowley
 * Sir John Denham
 * John Milton
 * Samuel Butler (Hudibras)
 * John Wilmot, Earl of Rochester
 * Wentworth Dillon, Earl of Roscommon
 * Thomas Otway
 * Edmund Waller
 * John Pomfret
 * Charles Sackville, Earl of Dorset
 * George Stepney
 * John Philips
 * William Walsh
 * John Dryden
 * Edmund Smith
 * Richard Duke
 * William King
 * Thomas Sprat

 * Charles Montagu, Earl of Halifax
 * Thomas Parnell
 * Samuel Garth
 * Nicholas Rowe
 * Joseph Addison
 * John Hughes
 * John Sheffield, Duke of Buckingham
 * Matthew Prior
 * William Congreve
 * Sir Richard Blackmore
 * Elijah Fenton
 * John Gay
 * George Granville, Lord Lansdowne
 * Thomas Yalden
 * Thomas Tickell
 * James Hammond
 * William Somervile

 * Richard Savage
 * Jonathan Swift
 * William Broome
 * Alexander Pope
 * Christopher Pitt
 * James Thomson
 * Isaac Watts
 * Ambrose Philips
 * Gilbert West
 * William Collins
 * John Dyer
 * William Shenstone
 * Edward Young
 * David Mallet
 * Mark Akenside
 * Thomas Gray
 * George, Lord Lyttelton

Editorial responses
Although the quality of Johnson's writing has guaranteed the survival of his last considerable undertaking, its critical limitations generated published responses almost immediately. One of Johnson's own friends, John Scott, so differed in opinion with some of his judgments that he wrote essays of his own on individual works by John Denham, John Dyer, Milton, Pope, Collins, Goldsmith and Thomson which were published in 1785 under the title Critical Essays on Some of the Poems of Several English Poets. When dealing with Goldsmith's The Deserted Village he takes particular issue with the principles of inclusion in the collection of poets with which Johnson was associated: "The Temple of Fame, lately erected under the title of The Works of the English Poets, affords a striking instance of caprice in the matter of admission to literary honours", he charged. To Scott the choice of poets seemed lacking in either method or "rational impartial criticism" (p. 247).

In the same year appeared the new edition of Poems by the Most Eminent Ladies of Great Britain and Ireland…with considerable alterations, additions and improvements. It has been conjectured, as mentioned above, that a reissue of the work thirty years after its first publication was a response to the omission of any female poets from the recent collection. The 1785 editor does not say as much in the "Advertisement" and it is only by a comparison of the contents lists of the two that it becomes apparent that the new edition gives a less comprehensive choice of works in order to include more authors. Breadth of coverage in the 1785 edition demonstrates the variety of women poets rather than, as in the 1755 edition, the variety of writing by individual authors.

Between 1821 and 1824 Henry Francis Cary published several essays in The London Magazine, collected and posthumously published in 1846 under the title Lives of English poets, from Johnson to Kirke White, designed as a continuation of Johnson's Lives. These were unaccompanied by the works of the seventeen poets covered, apart from excerpts quoted in discussing their writing. The essays follow Johnson's tripartite exposition of biographical detail, character study and descriptive survey of the poetry, and begin with Johnson himself, at ninety pages in length by far the longest essay in the book. There his prose works as well as his poetry are discussed; in fact more pages are devoted to the Lives of the Poets than to Johnson's own performance as a poet. Oliver Goldsmith appears midway through the book and is given only twenty-four pages, less than those awarded William Mason and Erasmus Darwin, who precede and follow him. Where it is pertinent, Johnson's critical opinions are quoted (although not always approved), and in Goldsmith's case Johnsonian anecdotes are introduced.

A body of the standard English poets
Robert Anderson prefaced his A complete edition of the poets of Great Britain (1795) with the statement that "When a new collection of English poetry is offered to the public, it will doubtless be inquired what are the deficiencies of preceding collections." To answer the question he went on to survey such anthologies over two centuries, noting in what ways they fell short of the completeness that he proposed. The ‘Johnson edition’ had failed in extensiveness by starting the English canon only in the second half of the 17th century. When it was augmented with the work of fourteen more poets in 1790, it still failed in inclusiveness, even over its allotted time-span; in addition, the biographical details of the added poets were skimped. What Anderson now proposed was a more ambitious set of poets, extending from Chaucer and covering the Tudor and early Stuart poets previously omitted, although in the event he was unable to include all that he wished. The selection also included more Scottish poets (though excluding dialect poetry) and two volumes of translations from the Classical writers. The accompanying biographies of the poets were written by Anderson himself.

From the point of view of comprehensive coverage, Alexander Chalmers advanced little beyond his predecessor in his The Works of the English Poets, from Chaucer to Cowper (1810). The main difference is that for those poets who appeared in the 'Johnson edition', Johnson's lives are retained. At this date it is conceded in the preface that, "after all the objections that have been offered, [they] must ever be the foundation of English poetical biography." By including them also there is an implied continuity between the volumes to which Johnson contributed and Chalmers' "work professing to be a Body of the Standard English Poets".

Later critical interpretations
Matthew Arnold, in his Six Chief Lives from Johnson's "Lives of the Poets" (1878), considered the Lives of Milton, Dryden, Pope, Addison, Swift, and Gray as "points which stand as so many natural centres, and by returning to which we can always find our way again" and also as a model for Arnold's "ideal of liberal education", representing "a crucial century and a half in English literature". For Arnold the whole work, focusing on these six, formed a "compendious story of a whole important age in English literature, told by a great man, and in a performance which is itself a piece of English literature of the first class".

In mentioning this reading of Johnson's Lives at the start of his own article in The Cambridge Companion to Samuel Johnson, Greg Clingham describes the topics covered there as "like a list of most of the important issues in literary history during the years 1600–1781" as well as something like a social, philosophical and political history of that era. But Philip Smallwood, commenting on the Lives in The Oxford Handbook of British Poetry, 1660-1800, nuances this by pointing out that Johnson did not set out to produce a literary history. His main preoccupation is with how literary work is in a state of flux and advanced by individuals writing within a historical context. Consideration of their lives is therefore justified as it helps the reader in a different time to appreciate the significance of the works described.

title: Lives of the Most Eminent English Poets


text: User talk:68.78.36.205

title: User talk:68.78.36.205


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Talk:United States Enrichment Corpoation

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discussion USEC:
 * US DOE


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Talk:Götavirke

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Copied and translated from OlofE's article in the Swedish Wikipedia.--Wiglaf 20:27, 26 Sep 2004 (UTC)

title: Talk:Götavirke


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Category talk:1114 births

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Approximate dates entered in such a category are less than useful. Wetman 20:27, 26 Sep 2004 (UTC)

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1965 in radio

The year 1965 saw a number of significant events in radio broadcasting.

Events

 * 19 April: WINS (AM) in New York switches from Top 40 to all-news, with the slogan "You give us 22 minutes, we'll give you the world."
 * 19 June: After a multi-year courtroom battle which involved accusations of extortion, the FCC reversed a 1956 station ownership trade between Westinghouse Broadcasting and NBC. Westinghouse reclaimed their original Philadelphia stations, while NBC was ordered to take over their former owned-and-operated stations in Cleveland. The KYW call letters originally went from Philadelphia to Cleveland in 1956, and back to Philadelphia with the reversal, with NBC renaming the Cleveland stations WKYC AM/FM/TV.
 * 18 August: Marlene Dietrich appears in "The Child" for BBC radio.
 * 21 September: KYW (AM), shortly after relocating back to Philadelphia, institutes an all-news format patterned after WINS (AM).
 * 11 October: The Dutch popular-music channel Hilversum 3 (now 3FM) begins broadcasting.
 * 12 December: New owner Westchester Broadcasting changes the call letters of WDOK (AM) in Cleveland to WIXY, installing a Top 40 format (today known as WCCR). Their FM sister station retains the WDOK calls and beautiful music format.

Unknown Dates

 * KOFM signed on air in Oklahoma City with a Beautiful Music format.

Debuts

 * 16 May: Cross Country Checkup debuts on CBC Radio
 * 4 October: Long-running lunchtime news and current affairs programme The World at One begins on the BBC Home Service (now BBC Radio 4).

Deaths

 * 20 January: Alan Freed, 47, American disc jockey.
 * 27 April: Edward R. Murrow, 57, American news broadcaster.
 * 22 May: Christopher Stone, 82, pioneering English disc jockey.
 * 13 December: M. R. DeHaan, 74, American Bible teacher, pastor, author and physician, founder of Radio Bible Class.

title: 1965 in radio


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William Bissell

William Bissell may refer to:

 * William Henry Bissell (1811–1860), governor of the U.S. state of Illinois
 * William G. Bissell (1857–1925), member of the Wisconsin State Senate
 * William Nanda Bissell (born 1966), Indian businessman and the chairman of Fabindia

title: William Bissell


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Latvian Football Cup

The Latvian Football Cup (Latvijas kauss) is the main knockout cup competition in Latvian football. Since 2021, its full name is Responsible Gaming Latvian Football Cup (Atbildīgas spēles Latvijas kauss) due to the sponsorship by sports betting company William Hill. The tournament was launched in 1937, replacing the previous knockout tournament – the Riga Football Cup.

The competition is a knockout (single elimination) tournament. From 1937 to 2008 and again since 2017, all of the games of the tournament are played within the year.

During the Soviet occupation (1940–1941, 1944–1991) it served as a qualification tournament for the Soviet Cup. The competition was also fully played once during the German occupation of the Baltic states, in 1943.

List of finals
The results of the finals are:

Total titles won
The following 34 clubs have won the Latvian Football Cup.
 * Bold clubs play in top flight.
 * Italic clubs dissolved or merged.

title: Latvian Football Cup


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Vingåker

Vingåker is a locality and the seat of Vingåker Municipality, Södermanland County, Sweden with 4,282 inhabitants in 2010. It is located 50 km by road from the nearest larger city Örebro and 80 km north-west of county seat Nyköping.

It was partly built in the English garden of Säfstaholm, a large estate which until 1855 was home to philanthropist and art collector Gustaf Trolle-Bonde. The estate is nowadays owned by the municipality and contains an art museum with yearly exhibitions during the summer.

The town's expansion began in 1862 when a railway station was opened along the western main line (Västra Stambanan, which runs from Stockholm to Gothenburg). The station remained in operation until 1971, but reopened in 2003.

The town is the birthplace of Gunnar Helén, former chairman of the Liberal Party, and former Swedish Prime Minister Göran Persson.

A transit center for refugees from Norway during World War II was located in the manor of Kjesäter, now a public high school.

title: Vingåker


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Strängnäs

Strängnäs is a locality and the seat of Strängnäs Municipality, Södermanland County, Sweden with 15,363 inhabitants in 2020. It is located by Lake Mälaren and is the episcopal see of the Diocese of Strängnäs, one of the thirteen dioceses of the Church of Sweden. Prominently located on a hilltop, Strängnäs Cathedral, built between 1291 and 1340, is an important landmark.

Etymology
The city's name is first encountered in 1120, in reference to the Diocese. The name Strängnäs is derived from the fact that the city is located near a strait and on several hills, especially on two major ones, the "Mill Hill" and the "Cathedral Hill". In Old Norse strengr indicates a "narrow channel of water" and nes refers to an "isthmus", "narrow peninsula", or " headland", a very common toponymic in Scandinavia.

History
A monastery was established around 1250, and the cathedral inaugurated in 1291, with the town subsequently evolving around these two institutions.

The oldest known city charter was granted in 1336 by King Magnus Eriksson. Strängnäs became a city of importance in the Södermanland province, as the location of the governing thing and also of an annual market. King Gustav Vasa was elected king in Strängnäs in 1523, and delivered his first speech from a position adjacent to the cathedral.

In the 15th and 16th centuries Strängnäs had an important place in the history of Sweden, particularly through the Reformation era. Strängnäs was the native city of prominent reformer Laurentius Andreae and the home city of both Andreae and Olaus Petri.

It became a regional centre of education and scholarship, and in 1626 the Thomas Gymnasium was established by King Gustavus Adolphus, and is today Sweden's second oldest operating gymnasium.

The urban and economic development of Strängnäs seems to have slowed after the Reformation, only flourishing temporarily with the arrival of energetic bishops. The city was slow to engage with the 19th century industrial development and investment found in other areas. A significant fire in 1871 led to large-scale reconstruction of the city, from which time its current appearance stems.

The city was accidentally bombed by the Soviet Union during World War II, causing minor damage.

In 1962 a runestone known as Strängnäs stone was discovered during the demolition of an old stove in a house at Klostergatan 4. The stone is a piece of jotnian sandstone inscribed with runes written in Proto-Norse, in Elder Futhark alphabet.

Contemporary life
Many of the inhabitants of Strängnäs commute to Stockholm, Södertälje and Eskilstuna. European route E20 passes the city, and there is a mainline railway station operated by the Swedish national railway company, with direct services to and from the capital Stockholm.

Tourism is a significant element of the city's economy, with the brick gothic cathedral (with celebrated statues, artworks, and historical archives) attracting many visitors, as well as the attraction of natural features, particularly the lake.

The extreme metal band Merciless was formed in Strängnäs.

Museums

 * Swedish Tank Museum Arsenalen

title: Strängnäs


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Oxelösund

Oxelösund is a locality and the seat of Oxelösund Municipality in Södermanland County, Sweden with 11,488 inhabitants in 2018. It is located less than 15 km south from the city centre of its larger neighbour, Nyköping, with the two urban areas forming a wider agglomeration of nearly 50,000 people.

History
The harbour at Oxelösund has been used for at least 500 years. In the 19th century, an increased extraction from the mining district of Central Sweden (e.g. Bergslagen), made Oxelösund a harbour of transport. A local railroad company was established in 1873 and bought virtually the entire peninsula, which then belonged to the estates of the Stjärnholm Castle.

An iron works was constructed in 1913, and the community Oxelösund expanded, with the harbour, railway and iron works being its cornerstones.

In 1950, the city was sufficiently developed to get the title of a city and was one of the last towns to receive city status in Sweden. Since 1971, the status is obsolete, but Oxelösund is the seat of a municipality with the same territory that is one of the smallest in the country.

In November 2011, Oxelösund hosted the Nordic Under-21 Championships in underwater rugby.

Femöre battery is located near the area.

Companies

 * SSAB, Swedish steel.

Climate
Oxelösund has a hybrid between a maritime and humid continental climate, with moderated patterns which stem from its position at the head of a peninsula, with the weather station facing the open sea. In much of the urban area and up the peninsula the climate is somewhat more prone to swings, something intensifying farther north as in Nyköping.

title: Oxelösund