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Jean Giono

Jean Giono (30 March 1895 – 8 October 1970) was a French writer who wrote works of fiction mostly set in the Provence region of France.

First period
Jean Giono was born to a family of modest means, his father a cobbler of Piedmontese descent and his mother a laundry woman. He spent the majority of his life in Manosque, Alpes-de-Haute-Provence. Forced by family needs to leave school at the age of sixteen and get a job in a bank, he nevertheless continued to read voraciously, in particular the great classic works of literature including the Bible, Homer's Iliad, the works of Virgil, and the Tragiques of Agrippa d'Aubigné. He continued to work at the bank until he was called up for military service at the outbreak of World War I. He took part in the Battle of Verdun. The horrors he experienced on the front lines turned him into an ardent and lifelong pacifist. In 1919, he returned to the bank, and a year later, married a childhood friend with whom he had two children. Following the success of his first published novel, Colline (1929) (which won him the Prix Brentano earned $1,000, and drew an English translation of the book ), he left the bank in 1930 to devote himself to writing on a full-time basis.

Colline was followed by two more novels heavily influenced by Virgil and Homer, Un de Baumugnes (1929) and Regain (1930), the three together comprising the famous “Pan trilogy”, so-called because in it Giono depicts the natural world as being imbued with the power of the Greek god Pan. The other novels Giono published during the nineteen-thirties on the whole continued in the same vein—set in Provence, with peasants as protagonists, and displaying a pantheistic view of nature. Marcel Pagnol based three of his films on Giono's work of this period: Regain, starting Fernandel and with music by Honegger; Angèle, and La Femme du boulanger, with the actor Raimu.

Throughout the nineteen-thirties, Giono expressed the pacifism he had adopted as a result of his experiences during World War I in novels such as Le grand troupeau (1931), and pamphlets such as Refus d’obéissance (1937), and the Lettre aux paysans sur la pauvreté et la paix (1938). This in turn resulted in his forming a relationship with a group of like-minded people including Lucien Jacques and Henri Fluchère among others, who gathered each year in the hamlet of Contadour, and whose pacifist writings were published as the Cahiers du Contadour.

In 1937, he famously asked, "What is the worst that can happen if Germany invades France?"

Transition
The end of the nineteen-thirties brought a crisis in Giono's life. As far as his writing was concerned, he had come to feel that it was time to stop “doing Giono” (faire du Giono), and to take his work in a new direction. At the same time it was becoming apparent that his work for pacifism was a failure, and that another war was inevitable and fast approaching. The declaration of war on 1 September 1939 came while the Contadoureans were assembled for their annual reunion. The result of Giono's former peace-making efforts was that he was briefly imprisoned as a Nazi sympathiser before the proceedings were dropped without any charges being laid.

The subsequent period of renewal saw the self-educated Giono now turn to Stendhal as a literary model in the same way as previously he had been influenced by the Classics. His novels thus began to be set in a specific time and place, confronting the protagonists with specific politics, issues, causes and events, in contrast with the timelessness of his earlier work. He also adopted the Stendhalian narrative technique of letting the reader into the experience of the protagonist by means of the interior monologue, whereas the dominant technique of his earlier novels had been that of the omniscient narrator.

He similarly formed the ambition of writing a sequence of ten novels inspired by Balzac’s Comédie humaine, in which he would depict characters from all strata of society rather than peasants, and compare and contrast different moments in history by depicting the experiences of members of the same family in times a hundred years apart. This project was never realised, with only the four Hussard novels, (Angelo (1958), Le Hussard sur le Toit (1951), Le Bonheur fou (1957), Mort d’un personnage (1948)) actually completed according to plan, but it is echoed in Giono's postwar work in the dichotomy between historical novels set in the mid-nineteenth century, and contemporary novels set in the mid-twentieth. His newfound interest in history even led to his writing an actual history book, Le Désastre de Pavie (1963).

As he began to focus on the human being rather than the natural world, his understanding of psychology and motivation was also influenced by the writings of Niccolò Machiavelli, whose analysis helped him to articulate a much darker view of human nature in his later years, and about whom he wrote the article "Monsieur Machiavel, ou le coeur humain dévoilé" (1951).

In 1944, when France was liberated, Giono was again accused of collaboration with the Nazis, and was again imprisoned for five months before he was freed without charges ever being made. This led to his being blacklisted, so that for three years he was barred from publication. It was during this period of ostracism that he began in 1945 to write Angelo, metaphorically the laboratory in which he experimented, tested and attempted to integrate his new approach to his work. It contains not only a first version of the story of Angélo Pardi that took its final form in Le Hussard sur le toit and Le Bonheur fou, but also the nucleus of many other works of his second period, and makes use of new narrative techniques he developed further in other novels. He ultimately set it aside, no doubt considering it too derivative, and moved on to the other projects it gave rise to.

Second period
The first major novel of his second period to be published was Un roi sans divertissement (published in 1947, and made into a successful film for which Giono himself wrote the screenplay, in 1963). It takes the form of a detective story set in Haute Provence in the early nineteenth century, and reveals Giono's new pessimism about human nature in that the policeman is forced to the realisation that he himself is capable of being as evil as the murderer he is tracking. Stylistically brilliant, it consists of the juxtaposed accounts of events as told by the different people affected, devoid of explanation, from which the reader must piece together the meaning.

The most famous novel of his second period is Le Hussard sur le toit, the first part of the definitive version of the story of Angélo Pardi he had sketched in Angelo. It was published in 1951, and made into a film by Jean-Paul Rappeneau starring Juliette Binoche in 1995. Angélo, like Stendhal's Fabrice del Dongo (La Chartreuse de Parme) on whom he is modeled, is a chivalrous romantic whose quest constitutes an inquiry into the nature of happiness, while the cholera epidemic he finds himself confronted with in Provence in 1832 is an allegory for the wars that had so deeply affected Giono. In structure it is a picaresque series of episodes, full of evocative descriptions of the country. Its sequel, Le Bonheur fou (The Straw Man) (1957) follows Angélo in the Italy of the 1848 revolution.

Les Ames fortes (1950), filmed by Raoul Ruiz in 2001, is another of the masterpieces of this period. As dark as Un Roi sans divertissement, it examines the depths a person can sink to in greed, grasping self-interest and the exploitation of others. Also as in Un Roi sans divertissement, the story is again told purely in the words of the protagonists, without the intervention of a narrator or comment from the author, thus forcing readers to reach their own conclusions. Les Grands chemins (1951), considerably less dark, deals with the nature of the road, gambling, the lie, and friendship, again in a first-person narration entirely in the voice of the protagonist and devoid of explanation or elucidation from the author.

Also worthy of mention is his Voyage en Italie (1953). Neither a travel guide nor a straightforward account of a trip as the name suggests, this is a highly personal account of Giono's experiences and of the people he meets and sees that tells the reader more about Giono than about Italy.

Outside France, Giono's best-known work is probably the short story The Man who Planted Trees (and 1987 film version). This optimistic tale of a man who brings a deserted valley back to life by planting trees reflects Giono's long-standing love of the natural world, an attitude that made him a precursor to the modern ecological movement. He thus declined to receive any royalties from this text, and granted free use to anyone who wanted to distribute or translate it.

In his later years, Giono was honoured with the Prince Rainier of Monaco literary prize in 1953, awarded for his lifetime achievements, was elected to the Académie Goncourt in 1954, and became a member of the Conseil Littéraire of Monaco in 1963.

Giono died of a heart attack in 1970.

The Collège Jean Giono in Nice is named after him, as are streets in Cannes and Fréjus.

title: Jean Giono


text:
Let's Bottle Bohemia

Let's Bottle Bohemia is the second album by the Irish indie/rock band The Thrills. It was produced and mixed by Dave Sardy. The album went platinum in Ireland in 2005, debuting at #1. In the UK, the album debuted at #9 and remained in the charts for 4 weeks.

In an interview in 2004, lead singer Conor Deasy described the band's upcoming second album:"I think [the new album's] great. I'm really excited about it. It's different from the first record. It's a step on, I think. A lot of bands, in the last few years, have released good first albums and haven't really stepped up to the challenge on the second one. [Our new album] doesn't really sound like a record people are making quite now. It's tougher, but it's also quite beautiful as well. It's a nice kind of mixture. It's a little more ambiguous as well."

Track listing

 * 1) "Tell Me Something I Don't Know" – 3:56
 * 2) "Whatever Happened To Corey Haim?" – 3:34
 * 3) "Faded Beauty Queens" (guest appearance by Peter Buck on mandolin & Van Dyke Parks on accordion) – 3:40
 * 4) "Saturday Night" – 2:31
 * 5) "Not for All the Love in the World" – 4:06
 * 6) "Our Wasted Lives" – 3:46
 * 7) "You Can't Fool Old Friends with Limousines" – 3:12
 * 8) "Found My Rosebud" – 4:19
 * 9) "The Curse of Comfort" (guest appearance by Peter Buck on guitar) – 3:01
 * 10) "The Irish Keep Gate-crashing" – 3:05 / "A City Of Long Nights" (hidden track) – 7:02 (both songs: Strings arranged and conducted by Van Dyke Parks)

Singles

 * "Whatever Happened To Corey Haim?" (August 30, 2004)
 * "Not for All the Love in the World" (November 15, 2004)
 * "The Irish Keep Gate-crashing" (March 21, 2005)

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

title: Let's Bottle Bohemia


text:
Deodato

Deodato may refer to:
 * Eumir Deodato (born 1943), Brazilian crossover music pianist, composer, arranger, and record producer
 * Cláudio Deodato (1947 - 2011), Brazilian footballer
 * Deodato Arellano (1844 – 1899), propagandist and first president of the Katipunan Philippine revolutionary society
 * Deodato Bocconi (died 1477), Roman Catholic prelate who served as Bishop of Ajaccio
 * Deodato Cosmati (1225-1303), one of the Cosmati family of Roman sculptor-architects and mosaicists
 * Deodato Guinaccia (c. 1510 – 1585), Italian painter of the Renaissance period
 * Deodato Orlandi (died before 1331), Italian painter who worked in Lucca and Pisa
 * Mike Deodato (born 1963), pseudonym of Brazilian comic book artist Deodato Taumaturgo Borges Filho
 * Ruggero Deodato (1939 - 2022), Italian film director,
 * Deodato 2, a 1973 album by Brazilian keyboardist Eumir Deodato

title: Deodato


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The Matches

The Matches are an American rock band from Oakland, California, active from 1997 to 2009. Formed as the Locals, the group changed their name after five years to avoid conflict with a Chicago band of the same name. As the Matches, they self-released their debut album E. Von Dahl Killed the Locals in 2003, then signed to Epitaph Records who re-released it the following year. Decomposer followed in 2006, seeing the band move from their pop punk roots in a more idiosyncratic direction with contributions from nine different record producers; it reached no. 18 on Billboard's Independent Albums chart. With their third album, A Band in Hope (2008), their sound became even more heavily layered and experimental; it was their only release to chart on the Billboard 200, reaching no. 179.

The band went on hiatus in 2009, releasing a digital album of previously unreleased songs, previously released B-sides and bonus tracks, and demos. Between 2014 and 2018 they reunited several times for shows and tours celebrating the ten year anniversaries of each of their studio albums, resulting in three live albums and a new single. A documentary film about the band, titled Bleeding Audio, premiered at film festivals in 2020.

The Locals (1997–2002)
Bishop O'Dowd High School sophomores Matt Esposito (lead guitar, backing vocals) and Justin San Souci (bass guitar, backing vocals) and freshman Matt Whalen (drums, percussion) started the band in 1997. Sophomore Shawn Harris (lead vocals, rhythm guitar) saw them play at the school talent show and soon joined them: "I offered to play second guitar and add some original songs to the mix, and we spent the next four years getting noise complaints from neighbors." The four named their band the Locals. In 2000 they came to the attention of Miles Hurwitz, former assistant publisher of BAM, through his eighth-grade son. He attended one of their practices, later saying that "I saw a spark — talent, vocal charm, hook-tinged material, musical accomplishment and much potential. And much to be improved." Hurwitz, 28 years the bands members' senior, became their manager. He would play a critical role in their career, co-writing their songs with Harris and other band members, producing some of their tracks, directing some of their music videos, and participating in creative decisions including planning the group's image, wardrobe, and photographs. In their later album credits, the band nicknamed him "The Wizard". "Miles kept us together," said Harris in 2008; "We didn't know we could be in a band. We didn't know how to make that jump [...] We'll work with him forever. He's an integral part of our equation."

After graduating, Esposito left the band to attend the United States Naval Academy, and was replaced by Jon Devoto. The Locals self-released a six-song demo and a three-song EP. The band members took jobs as kitchen hands at historic San Francisco music venue the Fillmore, where they would watch bands perform weekly; Harris worked as a cook while Whalen and San Souci were servers, hoping that this would get their band an opportunity to perform there. They took vocal lessons, and Hurwitz expanded their musical palette by having them listen to albums by Elvis Costello, Joe Jackson, and Bob Dylan. "He was a history teacher for a while," said Harris; "He made what we were doing seem more important and relevant. Subtly at first and then more and more, that set us apart from the other bands in the genre we play in."

The Locals built up a following in the East Bay. Not readily accepted by the entrenched punk rock scene based around the 924 Gilman Street venue in Berkeley, they instead become popular at Oakland all ages venue iMusicast, where they launched a series of shows called "L3: Live, Loud, and Local". "We could barely play," said Harris in 2016; "like we broke all of our amps at every show, I spent more time crowd surfing than playing my guitar. I couldn't really tell you how to play a power chord at the time; we barely could play. But we put on this show that people came to and they freaked out, so I started focusing on lyrics and making songs have more substantial content." They engaged in what they called "commo promo" tactics (short for "commotion promotion"), playing brief, unannounced acoustic sets outside schools, dormitories, shopping malls, restaurants, and music venues such as Slim's. They would go to local high schools, enter classes that were in session, toss stacks of flyers in the air, and run through the halls strumming their guitars and singing their songs until they were chased off campus. These tactics were successful in drawing hundreds of young fans to their shows. "We didn't mean to start a completely different scene," recalled Harris a few years later, "but we ended up doing so. While I love punk rock, I also don't love punk rock. I think it's just as much of a dick as it is a savior. I love Bad Religion and Rancid and Green Day, but I'm not gonna throw my fist up in the air for the institution of punk rock."

In late 2002 the group was contacted by a Chicago band also called the Locals, led by frontwoman Yvonne Doll, threatening a lawsuit if they did not change their name. They complied, renaming themselves the Matches.

E. Von Dahl Killed the Locals (2003–2005)
The Matches recorded their debut album, E. Von Dahl Killed the Locals, in a series of basements and living rooms and self-released it in February 2003. The title was a tongue-in-cheek reference to Yvonne Doll and the band's forced name change. Harris and San Souci created the album's artwork (Harris also co-designed the artwork for Earlimart's 2004 album Treble & Tremble). Through self-promotion and performances with bands including Reel Big Fish, Lit, and Zebrahead, the Matches gained attention for their energetic live shows and sold over 4,000 copies of the album without the support of a record label. A show at the House of Blues in Anaheim, California on October 21, 2003 was filmed, and released the following July as part of Kung Fu Records' live concert DVD series The Show Must Go Off! The band contributed the song "December Is for Cynics" to the compilation A Santa Cause: It's a Punk Rock Christmas, released in November 2003.

By year's end, the Matches had signed to Epitaph Records. The label had E. Von Dahl Killed the Locals re-mixed by Joe Barresi and re-released it in May 2004 with a slightly altered track list. The Matches performed on that summer's Warped Tour, which they would repeat in the three subsequent years. They appeared, along with the A.K.A.s, as guests on the Dwarves track "Kids Today" on the compilation Rock Against Bush, Vol. 2, released in August 2004. That November, a music video was released for the song "Chain Me Free", and the band went on tour opening for Yellowcard.

At this time, the Matches' music was rooted in pop punk. Reviewing the re-release of E. Von Dahl Killed the Locals, Rolling Stone remarked that the band "join the long list of punk-pop bands that have made their clichéd mark on today's music scene" and "wear the influences of Green Day and Rancid proudly." The Dallas Observer called it "an energetic romp through the same ideas lots of pop-punk bands romp through: broken relationships, boredom, depression, the lure of the road", while AllMusic remarked that the band was "young enough not to raise eyebrows at the punk-pop kiddie park. But they have a better grasp of dynamics than much of their peer group".

The Matches teamed up with Zebrahead for a cover version of Oingo Boingo's rendition of the Willie Dixon song "Violent Love", released in May 2005 on Dead Bands Party: A Tribute to Oingo Boingo. That July saw the release of Takeover Records 3-Way Issue No. 2, a split album which they shared with Near Miss and Reeve Oliver, with each band contributing three tracks. Harris and San Souci created the artwork for the album (they would later co-create the artwork for Newbury Park group Stole Your Woman's 2007 album The Scene). The Matches played the Warped Tour again that summer. Harris began illustrating with Melbourne-based artist Emilee Seymour; together they formed the design firm Oxen, creating the artwork for the next two Matches albums as well as for Epitaph labelmates Matchbook Romance's 2006 album Voices.

Decomposer and A Band in Hope (2006–2008)
The Matches made a guest appearance on MC Lars's album The Graduate, released in March 2006, performing on the track "Hot Topic Is Not Punk Rock". After a stint on that year's Warped Tour, their second album, Decomposer, was released on Epitaph that September. The album was recorded at various studios with nine different producers, including Hurwitz, Matt Rad, Mark Hoppus of Blink-182, Tim Armstrong of Rancid, Brett Gurewitz of Bad Religion, Nick Hexum of 311, and John Feldmann of Goldfinger. It built on their prior pop punk sound, adding idiosyncratic elements of pop, rock, punk, and electronics. Singles were released for the songs "You (Don't) Know Me" and "Salty Eyes", and music videos for "Papercut Skin" and "Salty Eyes". Hurwitz directed and came up with the concept for the "Salty Eyes" video, an homage to the D. A. Pennebaker film Dont Look Back (1967), in which Bob Dylan's song "Subterranean Homesick Blues" plays while Dylan holds up and discards cue cards with selected words and phrases from the lyrics; in their video, the Matches replaced the cue cards with old television sets, creating a chaotic scene. A few weeks after its release, Decomposer peaked at number 18 on Billboard's Independent Albums chart. Extensive touring followed: By March 2008, the Matches had done four tours of Australia (including that year's Soundwave festival), seven of Europe (including their first headlining club tour of the United Kingdom), and three Warped Tours.

Their third album, A Band in Hope, was released in March 2008. Like the previous album, A Band In Hope was the result of the band's collaboration with several different producers: Tim Armstrong, Mike Green, John Feldmann, Nick Hexum, Miles Hurwitz, John Paulsen and Paul Ruxton. The band embarked on that spring's Alternative Press Tour with All Time Low, The Rocket Summer, and Forever the Sickest Kids to support it. The album found the band moving further away from pop punk, incorporating elements of album-oriented rock, mainstream Top 40 paradigms, and alternative rock. The San Francisco Chronicle called it "a tidy mass of musical ideas — metal, glam and punk all mingle, lots of vocals, textured, carefully layered sound, sometimes like a pocket-size Queen." Meanwhile PunkNews stated plainly, "This album is epic. There is so much growth in both their musicianship and lyrics that it's hard to believe that this is the same band that released their last two albums." An AllMusic review also drew a comparison to Queen, as well as to Andrew Lloyd Webber, saying "the Matches don't seem to know exactly what they're doing [...] big chunks of A Band in Hope are almost shockingly unexpected, verging at times on just plain weird." On that note, The Flat Hat noted: "what seems like the emergence of a different band on each track ... might sound like a recipe for disaster. It isn’t. The album’s thumping drums, clean guitars and soaring vocals will stop you in your tracks." This writer also asked whether "operatic falsettos, erupting in a fury of crashing thunder and straight up Les Mis-style gang vocals [might be] Cheesy?" and concluded "Sure, but tell that to your fist, because it’ll still be raised high." Reflecting on the album a year and half later, Harris remarked that "on Decomposer and A Band in Hope, we played around with a lot of studio tricks—especially Decomposer, which was us learning about a bunch of studio tricks. And then on A Band in Hope, we got carried away a number of times." "Wake the Sun" was released as the album's single, and music videos were released for it and "Yankee in a Chip Shop". According to Harris, Epitaph did not expect the album to perform well commercially, but opted to release it anyway. It ultimately reached number 24 on the Independent Albums chart, number 179 on the Billboard 200, and number 99 on Australia's ARIA Charts.

Hiatus and Album 4 (2009–2013)
Founding bassist Justin San Souci left the Matches in July 2008; he went on to become a concept artist for a video game company. He was replaced by Dylan Rowe, who toured with the band that fall. Creative differences were forming between the band members: A year later, lead guitarist Jon Devoto stated that he had wanted the band's new music to be "a little more straightforward. A little bit less quirky, indefinable. I want to keep the element of cleverness to a certain point, because that was one of the best points about us, our cleverness and all that. But there was also a point where every song was completely different and I think we lost a lot of opportunities with that." Harris stated that "There were really conflicting views within the band as to what the direction should be. For me, the direction has always been, 'Well, I wanna do what is fun when it comes to music and hopefully other people find what I find fun and enjoyable also fun and enjoyable.' There were definitely heated debates over, first off, how commercial a song should be, and second off, over what makes a song commercial in the first place." Their recording contract with Epitaph fulfilled, the band began writing and recording demos for a potential fourth album, but found these differences difficult to overcome. Harris later reflected:

"We got really ambitious, and part of that paid off in a great way, because we were really creative, and we experimented with all types of music and different producers and became this weird, arty pop-punk band. But at the same time, we got wrapped up in [the industry]: 'You need to play for more people, you need to play for more people, you need to play for more people. You need to impress promoters.' We tried to be bigger than we should've been. When I look at the appeal of the band originally—being this sort of homespun, DIY pop-punk band who put on their own shows and make their own clothes—we were like your friend's band, but your friend's good band. Our fans liked being around us. As things progressed, there was more of a separation between us as performers and our fans. Even the sound of the music became less like you're talking to your friends and more sort of ambitiously epic, maybe. I think we always retained that conversational style, but it was really all we were at the beginning. I'm not saying we lost that completely, but it got swept up in us trying to be a bigger band. I think the appeal for our band might've been that we were your friend's band."

Hurwitz sent the band's new demos out to major record labels, attempting to get them a new recording contract, but the labels wanted them to alter the songs to make them more marketable. "There seemed to be some kind of core ideology that was sort of at risk of being compromised from within and without", said Harris, who at the same time had begun working on a new musical project with Jake Grigg of Australian band Something with Numbers. Devoto, meanwhile, had been working on his own material which Hurwitz helped him develop into an acoustic project. Additionally, the impact of the Great Recession affected the band's ability to tour: with their extensive touring schedules, they would stay with friends or with their parents when home, but as fuel prices and other costs increased, they could no longer break even on tours and were starting to accrue debt. They decided to stay home and record, and only tour when it would be lucrative, but such opportunities became fewer and further between. "So we were home longer and longer," said Harris, "which meant we were homeless longer and longer or crashing at our parents' longer and longer."

The Matches announced a hiatus on July 9, 2009. On August 12, they released their fourth album, The Matches Album 4, Unreleased; Graphics? Title? Or Not Needed?, recorded at Talking House Productions studios and produced by John Paulsen, with two tracks produced by Miles Hurwitz. The album comprised previously unreleased songs, previously released B-sides and bonus tracks, and the band's most recent demos, and was described in the release notes as "the final original recordings from the Matches prior to their hiatus." The title was the subject line of an email from Hurwitz asking about the proposed album. "The album name is basically making fun of our manager's verbose e-mails", said Harris; "[The title] was just the subject header [of his e-mail], and it had all these semicolons and like a four-way conjunction, so we just sent back the shortest e-mail saying, 'That's the title.' He tried to get us to change it a number of times, but we were like, 'Nope. That's it. The band played a pair of sold out farewell shows on August 22 at the Troubadour in West Hollywood and August 23 at the Fillmore in San Francisco. Harris said of the latter that "the final show was I think the Matches' best show. We sold out the Fillmore which is where I used to make nachos as a kid—it was one of my first jobs. It was a really weird, full-circle vindication of a dream. It was a really nice goodbye."

With the Matches on hiatus, Devoto fleshed out his acoustic project into a full band called Bird by Bird, while Harris and Grigg named their project Maniac. Between 2010 and 2011 Bird by Bird released two EPs and one full studio album titled While You Sleep. Maniac released one EP and one album. Harris then started a new project, Fortress Social Club, who released two albums and an EP in 2013; he followed that project with a solo effort under the name St. Ranger, releasing several singles and one full studio album titled Leaves L.A., which was recorded while traveling with his wife across the U.S. in an Airstream trailer. Harris also continued to work as a visual artist, contributing to the album artwork of Bayside's Shudder (2008) and Milo Greene's Milo Greene (2012) and Control (2015),     and finding critical success as illustrator and writer/illustrator of numerous children's books including Her Right Foot, What Can A Citizen Do?, Have You Ever Seen a Flower, The First Cat in Space Ate Pizza, and The First Cat in Space and the Soup of Doom. After The Matches went on hiatus, Matt Whalen attended Columbia University and received his JD from The University of Texas School of Law, and is a practicing attorney.

Reunions (2014–2018)
In January 2014, Shawn Harris, Justin San Souci, Matt Whalen, and Jon Devoto met while all were back in Oakland. Their licensing deal with Epitaph Records for E. Von Dahl Killed the Locals had expired, so they decided to re-release it themselves as an LP record (the original releases had been in compact disc format) to coincide with the ten-year anniversary of the Epitaph release. They began teasing the release through social media, prompting inquiries and demand for a reunion concert. That May, they announced a one-time reunion show to take place in November at Slim's in San Francisco. It sold out immediately, as did a second date added at Slim's and a third at the Great American Music Hall. Due to the unexpected demand, further reunion shows were added in Los Angeles, New York and Chicago. The re-release of E. Von Dahl Killed the Locals came out that September as a two-disc package, including both the original self-released version of the album and the re-mixed Epitaph version. The band ended up performing nine sold out shows in the United States, playing the album in its entirety as well as some later songs. Two performances at the Troubadour in Los Angeles were recorded, and released as the live album 10YearsEVDKTL in December. This was followed by a five-date tour of Australia in January 2015.

In October 2015 the Matches released a new single, "Life of a Match", with "Crucial Comeback Song (Mary Claire)" as the B-side. Harris and San Souci created the artwork for the single. A music video for "Life of a Match" was released, consisting of snippets of other bands' music videos as well as the Matches' own past ones. The band played two shows at the Fillmore that December. Harris started a solo surf rock project called St. Ranger, releasing the album Leaves L.A. in February 2016. Later that year, to celebrate the ten-year anniversary of Decomposer, the Matches re-released the album as a double LP; the second disc, titled Precomposer, consisted of demos the band had recorded while writing the album. That April they released an animated music video for the Decomposer song "Little Maggots"; they had begun work on the video in 2006 but left it unfinished. In May and June the Matches played three shows in Australia and five in the United States, performing Decomposer in full. A performance at the Teragram Ballroom in Los Angeles was recorded, and released digitally as the live album Recomposer.

The band next reconvened in 2018 for the ten year anniversary of A Band in Hope. As with their previous two records, they re-released the album as a double LP; the second disc, titled Don't Shake My Hand with Your Sunglasses On, collected demos and unreleased tracks associated with the album. The Matches played six shows in the United States performing A Band in Hope in full, and released a digital live album titled Aband1nh0pe. Meanwhile, filmmaker Chelsea Christer, who had filmed interviews with the band members to promote their 2014 reunion, expanded upon her footage to create a documentary film about the band, titled Bleeding Audio. The documentary, which features interviews with Warped Tour founder Kevin Lyman, Tom Higgenson of Plain White T's, and Justin Pierre of Motion City Soundtrack, finished filming in 2016. It was screened at several film festivals in 2020.

Band members

 * Shawn Harris – rhythm guitar, lead vocals (1997–2009, 2014–2018)
 * Matt Esposito – lead guitar, backing vocals (1997–2000)
 * Justin San Souci – bass guitar, backing vocals (1997–2008, 2014–2018)
 * Matt Whalen – drums, percussion (1997–2009, 2014–2018)
 * Jonathan Devoto – lead guitar, backing vocals (2000–2009, 2014–2018)
 * Dylan Rowe – bass guitar, backing vocals (2008–2009)

As the Locals

 * Locals demo (2000), self-released
 * The Locals EP (2001), self-released

Live albums

 * 10YearsEVDKTL (2014), self-released
 * Recomposer (2016), self-released
 * Aband1nh0pe (2018), self-released

Video albums

 * The Show Must Go Off! Episode 14: The Matches Live at the House of Blues (July 27, 2004), Kung Fu Films

Singles

 * "You (Don't) Know Me" (from Decomposer) with "You (Don't) Know Me (Strong-Arm Mix)", CD single (2006), Epitaph Records
 * "Salty Eyes" (from Decomposer) with "Here's to Love" and "Salty Eyes" music video, CD single (2007), Epitaph Records
 * "Wake the Sun" (from A Band in Hope), CD single (2008), Epitaph Records
 * "Life of a Match" b/w "Crucial Comeback Song (Mary Claire)", 7-inch (2015), self-released

Other appearances
This is not an exhaustive list. Tracks taken from the band's other releases are not included.

Guest appearances

 * Dwarves – "Kids Today" (featuring the A.K.A.s and the Matches), on Rock Against Bush, Vol. 2 (2004), Fat Wreck Chords
 * MC Lars – "Hot Topic Is Not Punk Rock" (featuring the Matches), on The Graduate (2006), Horris Records/Nettwerk

Music videos

 * "Chain Me Free" (2004)
 * "Papercut Skin" (2006)
 * "Salty Eyes" (2007)
 * "What Katie Said" (2008)
 * "Wake the Sun" (2008)
 * "Yankee in a Chip Shop" (2008)
 * "Life of a Match" (2015)
 * "Little Maggots" (2016)

title: The Matches


text:
CSS Raleigh (1861)

CSS Raleigh was originally a small, iron-hulled, propeller-driven towing steamer operating on the Albemarle and Chesapeake Canal. She was taken over by the State of North Carolina in May 1861, and transferred to the Confederate States the following July. Her commanding officer during 1861–1862 was Lieutenant Joseph W. Alexander. Her entire service was in coastal waters of North Carolina and Virginia and in the James River as part of the James River Squadron.

Raleigh supported Fort Hatteras and Fort Clark on August 28–29, 1861; took part in an expedition on October 1 to capture United States Army steamer Fanny with valuable stores on board; and accompanied CSS Sea Bird when she reconnoitered Pamlico Sound on January 20, 1862. She was also active in defense of Roanoke Island against an amphibious assault by overwhelming Federal forces on February 7–8, 1862, and at Elizabeth City, North Carolina 2 days later. Thence Raleigh escaped through Dismal Swamp Canal to Norfolk, Virginia.

On March 8–9, 1862, Raleigh was tender to CSS Virginia during the historic Battle of Hampton Roads, for which she received the thanks of the Confederate Congress.

With the Federal recapture of Norfolk Navy Yard in May 1862, Raleigh steamed up the James River, but thereafter a shortage of crew members restricted her to flag-of-truce or patrol service.

Raleigh, renamed Roanoke near the end of the war, was destroyed by the Confederates on April 4, 1865 upon the evacuation of Richmond, Virginia.

Commanders
The commanders of the CSS Raleigh were:

 * Lieutenant Joseph W. Alexander (1861–1862)
 * Lieutenant Maxwell T. Clarke (1863-June 1864)
 * Lieutenant Mortimer Murray Benton (during June 1864)
 * Master's Mate A.E. Albertson (July 31, 1864-)
 * Acting Master W. Frank Shippey (October–December 1864)
 * Lieutenant William Wonder Pollock (January 1865-end of war)

title: CSS Raleigh (1861)


text: User talk:68.48.138.182

title: User talk:68.48.138.182


text:
Ye Meri Life Hai

Ye Meri Life Hai is a Hindi TV serial that aired on Sony Entertainment Television. The story reflects the aspirations and dreams of today's youth, as they battle it out with conventions and norms to carve their own niche in the world. The screenplay and dialogues of the initial episodes were penned by Arif Ali and Sanyukta Chaudhuri.

Plot
The story revolves around a young girl named Pooja Mehta, who hails from a conservative middle-class Gujarati household in Mumbai. Pooja dreams of becoming a successful film director and idolises Karan Johar.

To realise her dream, Pooja secretly joins a coveted film studies course at the trendy St. Martin's College, keeping her father in the dark. At the college, the simple and straightforward Pooja instantly comes face to face with the hip and high-class students of St. Martins's and is made intensely aware of her middle-class looks and attitude. She is ill-treated by the well-to-do English speaking students who label her as 'vernacular' as she speaks in her Gujarati tone and accent. The story revolves around her college life as she gradually wins over her classmates, makes new friends and successfully completes her course.

Later, the story shifts to Pooja's life after college as she starts the new chapter in her life as an independent working woman. Her sister, Poornima falls in love with and marries Ronit. Young and rich businessman Ashmit woos Pooja and they get married. Pooja soon discovers that Ashmit, supposedly Ronit's step-brother, is in fact an impostor who kills Poornima to keep his secret safe. Eventually, Ashmit is arrested and is sent to prison.

A broken and dejected Pooja is encouraged by Ronit to regroup herself and to continue her journey of accomplishing her goal of becoming a film director. Pooja finally finishes her first film. At the premier, Ronit proposes to her and she happily accepts.

Cast

 * Shama Sikander as Pooja Ashmit Gujral
 * Rahil Azam as Ashmit Malhotra/Gujral, Pooja’s husband
 * Muskaan Mihani as Mandeep "Mandy"Sodhi, Pooja's best friend
 * Amit Jain as Ronit Gujral, Pooja’s former lover, lateral her Brother in law, Ashmit’s half brother
 * Simple Kaul as Reema Gujral,
 * Toasty Joshi / Aparna Tarakad as Annie
 * Manoj Joshi as RasikLal Mehta, Pooja's father
 * Vandana Pathak as Pooja's mother
 * Shital Thakkar as Poornima, Pooja's sister
 * Kishori Godbole as Prerna
 * Tanaaz Currim as Jayshree
 * Sudhanshu Pandey as Professor Vikram Roy
 * Shweta Kawatra as Shweta Kawatra
 * Kavita Kaushik as Annie
 * Smita Bansal as Poornima, Pooja's sister
 * Sumeet Sachdev as Jatin
 * Ajay Arya as Akash
 * Krutika Desai Khan as Ronit's mother
 * Salil Acharya as Kushaan
 * Sujata Mehta as Ronit's mother
 * Abhijit Kelkar as Poornima's boyfriend and father of her child
 * Manmeet Singh as Mandy's father
 * Mihir Mishra as Gautam
 * Gurmeet Choudhary as Gurmeet
 * Nishigandha Wad
 * Amit Singh
 * Nikhil Yadav

title: Ye Meri Life Hai


text:
Quim Monzó

Joaquim Monzó i Gómez (born 15 March 1952), also known as Quim Monzó, is a contemporary Spanish writer of novels, short stories and discursive prose, mostly in Catalan. In the early 1970s, Monzó reported from Vietnam, Cambodia, Northern Ireland and East Africa for the Barcelona newspaper Tele/eXpres. He was one of the members of the Catalan literary collective, Ofèlia Dracs. He lives in Barcelona and publishes regularly in La Vanguardia.

His fiction is characterized by an awareness of pop culture and irony. His other prose maintains this humor. One collection of his essays, Catorze ciutats comptant-hi Brooklyn, is notable for its account of New York City in the days immediately following September 11. In collaboration with Cuca Canals, he wrote the dialogue for Bigas Luna's Jamón, jamón. He has also written El tango de Don Joan, with Jérôme Savary.

In 2007 he wrote and read the opening speech at the Frankfurt Book Fair, the year in which Catalan culture was the guest. Monzó designed an acclaimed lecture written as if it were a short story, thus differing completely from a traditional speech. From December 2009 to April 2010 there took place in the Arts Santa Mònica Gallery in Barcelona a great retrospective exhibition on his life and his work, called Monzó.

Books in English

 * O'Clock, 1986. New York: Ballantine Books. Translated by Mary Ann Newman. ISBN 978-0-345-31668-4 ISBN 0345316681
 * The enormity of the tragedy, 2007. London: Peter Owen Publishers. Translated by Peter Bush. ISBN 978-0-7206-1299-8 ISBN 0720612993
 * Gasoline, 2010. Rochester, NY: Open Letter. Translated by Mary Ann Newman. ISBN 978-1-934824-18-4; ISBN 1-934824-18-6
 * Guadalajara, 2011, Rochester, NY: Open Letter. Translated by Peter Bush. ISBN 978-1-934824-19-1; ISBN 1-934824-19-4
 * A thousand morons, 2013, Rochester, NY: Open Letter. Translated by Peter Bush. ISBN 978-1-934824-41-2; ISBN 1-934824-41-0
 * Why, Why, Why?, 2019, Rochester, NY: Open Letter. Translated by Peter Bush. ISBN 978-1948830041; ISBN 1948830043

Fiction

 * L'udol del griso al caire de les clavegueres, 1976. Winner of the Premi Prudenci Bertrana (1976).
 * Self Service, 1977. In collaboration with Biel Mesquida.
 * Uf, va dir ell, 1978.
 * Olivetti, Moulinex, Chaffoteaux et Maury, 1980. Winner of the Premi de la Crítica Serra d'Or in 1981.
 * Benzina, 1983.
 * L'illa de Maians, 1985. Awarded the Premi de la Crítica Serra d'Or, 1986.
 * La magnitud de la tragèdia, 1989. Winner of the Premi de Novel·la El Temps, 1989.

 * El perquè de tot plegat, 1993. Awarded the Premi Ciutat de Barcelona in 1993, and the Premi de la Crítica Serra d'Or in 1994.
 * Guadalajara, 1996. Awarded the Premi de la Crítica Serra d'Or, 1997.
 * Vuitanta-sis contes (comprising Uf, va dir ell, Olivetti, Moulinex, Chaffoteaux et Maury, L'illa de Maians, El perquè de tot plegat and Guadalajara), 1999. Awarded the Premi Nacional de Literatura and Premi Lletra d'Or, both in 2000.
 * El millor dels mons, 2001.
 * Mil cretins, 2007. Awarded the Maria Àngels Anglada Prize, 2008.

Collected articles and essays

 * El dia del senyor, 1984.
 * Zzzzzzzz, 1987.
 * La maleta turca, 1990.
 * Hotel Intercontinental, 1991.
 * No plantaré cap arbre, 1994.
 * Del tot indefens davant dels hostils imperis alienígenes, 1998.
 * Tot és mentida, 2000.
 * El tema del tema, 2003.
 * Catorze ciutats comptant-hi Brooklyn, 2004.
 * Esplendor i glòria de la Internacional Papanates, 2010.
 * Taula i barra. Diccionari de menjar i beure, 2017.

Miscellany
He has also translated a large number of authors, including Truman Capote, J.D. Salinger, Ray Bradbury, Thomas Hardy, Harvey Fierstein, Ernest Hemingway, John Barth, Roald Dahl, Mary Shelley, Javier Tomeo, Arthur Miller, and Eric Bogosian.

Monzó has been diagnosed with Tourette syndrome.

Books about Monzó

 * Margarida Casacuberta and Marina Gustà (ed.): De Rusiñol a Monzó: humor i literatura. Barcelona: Publicacions de l'Abadia de Montserrat, 1996, ISBN 84-7826-695-X
 * Christian Camps and Jordi Gàlvez (ed.): Quim Monzó. Montpellier: Université Paul Valéry, 1998. ISBN 978-2-84269-186-8 LO
 * Antoni Mestres: Humor i persuasió: l’obra periodística de Quim Monzó. Alicante: Universitat d'Alacant, 2006. ISBN 84-611-1107-9
 * Julià Guillamon (ed.): Monzó. Com triomfar a la vida. Barcelona: Galàxia Gutenberg / Cercle de Lectors, 2009, ISBN 978-84-8109-847-1. This is a book catalog published on the occasion of the exhibition devoted to the life and work of author (Arts Santa Mònica, Barcelona, between December 2009 and April 2010).

title: Quim Monzó


text: User talk:65.99.145.21

title: User talk:65.99.145.21


text: File:King or Chief of Franks armed with the Scramasax.png


text:
CSS Raleigh

CSS Raleigh may refer to:

 * CSS Raleigh was a gunboat that served as a tender to CSS Virginia during the Battle of Hampton Roads
 * CSS Raleigh was an ironclad ram which patrolled the Cape Fear River near Wilmington, North Carolina

title: CSS Raleigh


text:
Mosses from an Old Manse

Mosses from an Old Manse is a short story collection by Nathaniel Hawthorne, first published in 1846.

Background and publication history
The collection includes several previously published short stories, and was named in honor of The Old Manse where Hawthorne and his wife lived for the first three years of their marriage. The first edition was published in 1846.

Hawthorne seems to have been paid $75 for the publication.

Analysis
Many of the tales collected in Mosses from an Old Manse are allegories and, typical of Hawthorne, focus on the negative side of human nature. Hawthorne's friend Herman Melville noted this aspect in his review "Hawthorne and His Mosses": "This black conceit pervades him through and through. You may be witched by his sunlight,—transported by the bright gildings in the skies he builds over you; but there is the blackness of darkness beyond; and even his bright gildings but fringe and play upon the edges of thunder-clouds."

William Henry Channing noted in his review of the collection, in The Harbinger, its author "had been baptized in the deep waters of Tragedy", and his work was dark with only brief moments of "serene brightness" which was never brighter than "dusky twilight".

Critical reception
After the book's first publication, Hawthorne sent copies to critics including Margaret Fuller, Rufus Wilmot Griswold, Edgar Allan Poe, and Henry Theodore Tuckerman. Poe responded with a lengthy review in which he praised Hawthorne's writing but faulted him for associating with New England journals, Ralph Waldo Emerson, and the Transcendentalists. He wrote, "Let him mend his pen, get a bottle of visible ink, come out from the Old Manse, cut Mr. Alcott, hang (if possible) the editor of 'The Dial,' and throw out of the window to the pigs all his odd numbers of the North American Review." A young Walt Whitman wrote that Hawthorne was underpaid, and it was unfair that his book competed with imported European books. He asked, "Shall real American genius shiver with neglect while the public runs after this foreign trash?" Generally, most contemporary critics praised the collection and considered it better than Hawthorne's earlier collection, Twice-Told Tales.

Regarding the second edition, published in 1854, Hawthorne wrote to publisher James T. Fields that he no longer understood the messages he was sending in these stories. He shared, "I remember that I always had a meaning—or, at least, thought I had", and noted "Upon my honor, I am not quite sure that I entirely comprehend my own meaning in some of these blasted allegories... I am a good deal changed since those times; and to tell you the truth, my past self is not very much to my taste, as I see in this book."

Contents

 * "The Old Manse" (1846)
 * "The Birth-Mark" (1843)
 * "A Select Party" (1844)
 * "Young Goodman Brown" (1835)
 * "Rappaccini's Daughter" (1844)
 * "Mrs. Bullfrog" (1837)
 * "Fire-Worship" (1843)
 * "Buds and Bird-Voices" (1843)
 * "Monsieur du Miroir" (1837)
 * "The Hall of Fantasy" (1843)
 * "The Celestial Railroad" (1843)
 * "The Procession of Life" (1843)
 * "The New Adam and Eve" (1843)
 * "Egotism; or, The Bosom-Serpent" (1843)
 * "The Christmas Banquet" (1844)
 * "Drowne's Wooden Image" (1844)
 * "The Intelligence Office" (1844)
 * "Roger Malvin's Burial" (1832)
 * "P.'s Correspondence" (1845)
 * "Earth's Holocaust" (1844)
 * "The Old Apple-Dealer" (1843)
 * "The Artist of the Beautiful" (1844)
 * "A Virtuoso's Collection" (1842)

Added to second edition in 1854

 * "Feathertop" (1852)
 * "Passages from a Relinquished Work" (1834)
 * "Sketches from Memory" (1835)

title: Mosses from an Old Manse


text:
German folklore

German folklore is the folk tradition which has developed in Germany over a number of centuries. Seeing as Germany was divided into numerous polities for most of its history, this term might both refer to the folklore of Germany proper and of all German-speaking countries, this wider definition including folklore of Austria and Liechtenstein as well as the German-speaking parts of Switzerland, Luxembourg, Belgium, and Italy.

Characteristics
It shares many characteristics with Nordic folklore and English folklore due to their origins in a common Germanic mythology. It reflects a similar mix of influences: a pre-Christian pantheon and other beings equivalent to those of Norse mythology; magical characters (sometimes recognizably pre-Christian) associated with Christian festivals, and various regional 'character' stories.

As in Scandinavia, when belief in the old gods disappeared, remnants of the mythos persisted: There are: and many more generic entities such as the elf, dwarf, Kobold (with variants such as Bieresel, Gütel, Heinzelmännchen, Jack o' the bowl, and Niß Puk), Klabautermann, Schrat, Wild man, Drak, Aufhocker, Ork, poltergeist, bogeyman, Will-o'-the-wisp, various Feldgeister, and Erlking. Famous individual Kobolds are King Goldemar, Hinzelmann, Hödekin, and Petermännchen.
 * Frau Holle or Perchta, a "supernatural" patron of spinning and leader of the Wild Hunt (in German folklore preceded by an old man, Honest Eckart, who warns others of its approach) or of the Heimchen
 * solitary wild huntsmen such as the ewiger Jäger or the Türst
 * the Lorelei, a dangerous Rhine siren derived from 19th-century literature, among other nixies such as the Rhinemaidens
 * the Weiße Frauen and Witte Wiwer, white female spirits
 * the Doppelgänger, supernatural beings said to resemble the exactly similar appearance of determined person
 * the giant Rübezahl
 * the mining sprite Bergmönch
 * wood sprites such as the tiny Moss people and their matriarch Buschgroßmutter, or the man-eating Fänggen
 * nightmare-causing Alp, mare, and Drude
 * the banshee Klagmuhme
 * undead Nachzehrer and Wiedergänger
 * ghostly Feuermann, Hemann, and Uhaml
 * changeling legends

There further are mythical animals such as Bahkauv, Beerwolf, Elwetritsch, Erdhenne, lindworm, Nachtkrapp, Rasselbock, Tatzelwurm, and Wolpertinger, or mythical plants such as Alraune and Irrwurz.

Popular folklore includes Krampus, Belsnickel, and Knecht Ruprecht, a rough companion to Santa Claus; the Lutzelfrau, a Yule witch who must be appeased with small presents; the Christkind; the Osterhase (Easter Hare – the original Easter Bunny); and Walpurgisnacht, a spring festival derived from pagan customs.

Character folklore includes the stories of the Pied Piper of Hamelin, the Godfather Death, the trickster hero Till Eulenspiegel, the Town Musicians of Bremen and Faust.

History
Documentation and preservation of folklore in the states that formally united as Germany in 1871 was initially fostered in the 18th and 19th centuries. As early as 1851, author Bernhard Baader published a collection of folklore research obtained by oral history, called Volkssagen aus dem Lande Baden und den angrenzenden Gegenden. The Saxon author Johann Karl August Musäus (1735–1787) was another early collector.

Study was further promoted by the Prussian poet and philosopher Johann Gottfried von Herder. His belief in the role of folklore in ethnic nationalism – a folklore of Germany as a nation rather than of disunited German-speaking peoples – inspired the Brothers Grimm, Goethe and others. For instance, folklore elements, such as the Rhine Maidens and the Grimms' The Story of a Boy Who Went Forth to Learn Fear, formed part of the source material for Richard Wagner's opera cycle Der Ring des Nibelungen.

Some of the works of Washington Irving – notably "Rip van Winkle" and "The Legend of Sleepy Hollow" – are based on German folktales.

Within Germany, the nationalistic aspect was further emphasized during the National Socialist era. James R. Dow has written that under National Socialism, "folklore became a propaganda instrument of anti-democratic, anti-socialist, and extremely inhumane terrorist policies". Folklore studies, Volkskunde, were co-opted as a political tool, to seek out traditional customs to support the idea of historical continuity with a Germanic culture. Anti-Semitic folklore such as the blood libel legend was also emphasized.

title: German folklore


text:
Marbled murrelet

The marbled murrelet (Brachyramphus marmoratus) is a small seabird from the North Pacific. It is a member of the family Alcidae, which includes auklets, guillemots, murres and puffins. It nests in old-growth forests or on the ground at higher latitudes where trees cannot grow. Its population has declined since humans began logging its nest trees in the latter half of the 19th century. The decline of the marbled murrelet and its association with old-growth forests—at least in the southern part of its range—have made it a flagship species in the forest protection movement.

Taxonomy
The marbled murrelet was formally described in 1789 by the German naturalist Johann Friedrich Gmelin in his revised and expanded edition of Carl Linnaeus's Systema Naturae. He placed it with the grebes and loons in the genus Colymbus and coined the binomial name Colymbus marmoratus. Gmelin based his description on the "marbled murrelet" that had been described and illustrated in 1785 by both the English ornithologist John Latham and by the Welsh naturalist Thomas Pennant. Both authors mention the two specimens in the Leverian Museum that had been collected in Prince William Sound during James Cook's third voyage to the Pacific Ocean. Cook described the birds in his account of the voyage. "It is about the size of a partridge; has a short, black, compressed bill; with the head and upper part of the neck of a brown black; the rest of a deep brown, obscurely waved with black, except the underpart, which is entirely of a blackish cast, very minutely varied with white; the other (perhaps the female) is blacker above, and whiter below." The marbled murrelet is now one of three species placed in the genus Brachyramphus that was introduced in 1837 by the German born naturalist Johann Friedrich von Brandt. The genus name combines Ancient Greek brakhus meaning "short" with rhamphos meaning "bill". The specific epithet marmoratus is Latin meaning "marbled". The species is monotypic: no subspecies are recognised.

The long-billed murrelet was formerly considered conspecific with the marbled murrelet. A molecular phylogenetic study published in 1998 found that the mitochondrial DNA variation was greater between these two forms than between the marbled murrelet and Kittlitz's murrelet.

Description
The marbled murrelet is a small (25 cm), chunky auk with a slender black bill. It has pointed wings and plumage that varies by season. The non-breeding plumage is typically white underneath with a black crown, nape, wings and back. The bird closely resembles its congener, the long-billed murrelet; in fact, these species were considered conspecific up until 1998. In breeding plumage, both have a brown mottled body and face. The long-billed has a pale white throat which is lacking in the marbled. In winter plumage, the marbled murrelet has a white neck collar, absent in long-billed. The marbled murrelet is shorter-billed and slightly smaller than the long-billed murrelet.

Distribution and habitat
Marbled murrelets occur in summer from Alaska's Kenai Peninsula, Barren islands, and Aleutian Islands south along the coast of North America to Point Sal, Santa Barbara County, in south-central California. They winter mostly within the same general area, except that they tend to vacate the most northern sections of their range, especially where ice forms on the surface of the fiords. They have been recorded as far south as Imperial Beach of San Diego County, California.

They are coastal birds that occur mainly near saltwater within 1.2 miles (2 km) of shore. However, they have been found up to 59 miles (95 km) inland in Washington, 35 miles (56 km) inland in Oregon, 22 miles (37 km) inland in northern California, and 11 miles (18 km) inland in central California. Over 90% of all marbled murrelet observations in the northern Washington Cascades were within 37 miles (60 km) of the coast. In Oregon, they are observed most often within 12 miles (20 km) of the ocean. Many marbled murrelets regularly visit coastal lakes. Most lakes used by the birds are within 12 miles (20 km) of the ocean, but a few birds have been found at lakes as far inland as 47 miles (75 km). All lakes used by marbled murrelets occur within potential nesting habitat.

Nesting habitat
From southeast Alaska southward, marbled murrelets use mature or old-growth forest stands near the coastline for nesting. These forests are generally characterized by large trees (>32 inches [80 cm] diameter at breast height (d.b.h.)), a multistoried canopy, moderate to high canopy closure or an open crown canopy, large snags, and numerous downed snags in all stages of decay. Marbled murrelets tend to nest in the oldest trees in the stand. In Oregon, forests begin to exhibit old-growth characteristics at about 175 to 250 years of age. Moss, on which marbled murrelets nest, forms on the limbs of Douglas-fir that are more than 150 years old.

The four tree nests found before 1990 shared the following characteristics: (1) located in a large tree (>47 inches [120 cm] d.b.h.) with an open crown structure, (2) on a moss-covered limb that is camouflaged, partially shaded, and approximately horizontal with a diameter (including associated moss) of at least 14 inches (36 cm), and (3) located within the middle or lower part of a live crown. However, Marshall stated that because of their low aerial buoyancy marbled murrelets often nest high in the treetops or on steep slopes. Habitat must be sufficiently open to allow for easy flight. All marbled murrelet nests found in Washington, Oregon, and California were located in old-growth trees that ranged from 38 inches (88 cm) d.b.h. to 210 inches (533 cm) d.b.h. with a mean of 80 inches (203 cm) d.b.h. Nests were located high above the ground and had good overhead protection but allowed easy access to the exterior forest. It was initially believed that marbled murrelets might use the same nest in successive years but there has been little evidence of this.

Stand size is also important in nest sites. Marbled murrelets more commonly occupy stands greater than 500 acres (202 ha) than stands less than 100 acres (40 ha). However, they may nest in remnant old-growth trees or groves that are surrounded by younger trees. In California, marbled murrelets are usually absent from stands less than 60 acres (24 ha) in size. In Washington, marbled murrelets are found more often when old-growth and mature forests make up over 30% of the landscape. Fewer marbled murrelets are found when clearcut and meadow areas make up more than 25% of the landscape. Concentrations of marbled murrelets offshore are almost always adjacent to old-growth or mature forests onshore, although marbled murrelets may not use the interior of dense stands.

Where large trees are absent in the northern parts of marbled murrelet range, marbled murrelets nest in depressions on the ground, in rock cavities on the ground, or on rock outcrops. Marbled murrelets are both ground nesters and tree nesters where forests and treeless areas meet.

In northern regions where coniferous forests nest sites are unavailable, marbled murrelets occupy alpine or tundra near the ocean. In Washington and Oregon, they commonly nest in Douglas-fir (Pseudotsuga menziesii) dominated stands. They also select stands dominated by mountain hemlock (Tsuga mertensiana), western redcedar (Thuja plicata), and Sitka spruce (Picea sitchensis) for nesting. In California, nests are most often located in redwood (Sequoia sempervirens) dominated stands with scattered Sitka spruce, western hemlock (Tsuga heterophylla) and Douglas-fir. Marbled murrelets also occur in stands dominated by Port-Orford-cedar (Chamaecyparis lawsoniana).

Foraging habitat
Marbled murrelets forage in the ocean near shore and in inland saltwater areas such as bays, sounds, and saltwater passageways. Some also forage on inland freshwater lakes. Flocks of 50 or more birds have been observed near freshwater lakes. Subadults occur at sea throughout the summer. Marbled murrelets feed within 1,640 feet (500 m) of shore.

Winter habitat
Marbled murrelet winter habitat is the same as the nesting and foraging habitat. During the winter marbled murrelets use inland old-growth or mature sites for roosting, courtship, and investigating nest sites. The use of inland lakes during the nonbreeding season occurs in conjunction with visits to nesting areas.

Food and feeding
The marbled murrelet feeds at sea both in pelagic offshore areas (often associating with upwellings) and inshore in protected bays and fiords. The bird has not been known to wander from the Pacific coast of North America, all inland and eastern Brachyramphus records being of the closely related long-billed murrelet.

They feed below the water surface on small fish and invertebrates. Some principal foods include sand lance (Ammodytes hexapterus), Pacific herring (Clupea haringus), capelin (Mallotus villosus), shiner perch, and the invertebrates Euphausia pacifica and Thysanoessa spinifera.

They often forage in pairs but do not feed in large flocks as do other alcids. Loose aggregations of 500 or more birds occasionally occur in winter. Subadults feed singly; but in early July, when pairs of adults are still feeding young, mixed flocks begin to form. Marbled murrelets feed during the day and at night.

Breeding
The nesting behavior of the marbled murrelet is unusual, since unlike most alcids it does not nest in colonies on cliffs or in burrows, but on branches of old-growth and mature conifers such as western hemlock, Sitka spruce, Douglas-fir and coastal redwood, as far as 80 km inland. It lays one egg on a platform of lichen or moss on these branches (less often on the ground). In northern populations, murrelets nest on the ground among rocks, as do other related murrelet species. The egg is incubated for a month, then fed for around 40 days until the chick is able to fledge. Adults fly from ocean feeding areas to inland nest sites, mostly at dusk and dawn. They feed nestlings at least once and sometimes twice per day or night. Usually only one fish is carried to the young. The chick then leaves the nest and flies unaccompanied to the sea. Breeding success is low and chick mortality high.

Marbled murrelets do not breed until they are at least two years old. They nest from mid-April to late September. Peak activity occurs from mid-June to late July in California, and the second week of July to mid-August in Oregon. Marbled murrelets are semicolonial in nesting habits. Two nests found in Washington were located only 150 feet (46 m) apart. Not all mature adults nest every year. The clutch is a single egg. The nestlings fledge in 28 days. The young remain in the nest longer than other alcids and molt into their juvenile plumage before leaving the nest. Fledglings fly directly from the nest to the ocean.

Predators
Steller's jays (Cyanocitta stelleri) and common ravens (Corvus corax) prey on marbled murrelet eggs and nestlings.

Status
The marbled murrelet is considered globally endangered. The IUCN Red List lists their population as declining.

Conservation
Marbled Murrelet populations are affected by many environmental processes. Cooler ocean temperatures along with high availability of their prey increases their reproductive success. Loss of their nesting habitat in old-growth trees along with the warming ocean temperatures have serious negative impacts on murrelet populations. Human activity such as commercial fishing, increased boat traffic and pollution decrease the Marbled murrelet non-breeding distribution. Conservation of their inland nesting habitat and their marine breeding and foraging habitats is therefore important.

The Northwest Forest Plan (NWFP) aims at stabilizing the marbled murrelet population via maintaining and increasing their nesting habitat. The population was monitored from 2000 to 2018 and was found to have declined in Washington but increased in Oregon and northern California. This decline in the north could be attributed to habitat loss, long nest-to-sea commutes, or poor foraging habitats in Washington.

Scientists at Redwood National Park have established a connection between human presence in marbled murrelet territory and corvid predation of marbled murrelet chicks.

title: Marbled murrelet


text:
Talk:Bohr–Einstein debates

Unclear
This article is highly unclear. Which are the actual arguments, which are comments by the article's author, which are the scientific facts behind the arguments, which of the arguments are false or defective - nothing has been explained. Seriously lacks a lot.

SundarKanna 18:10, 5 January 2006 (UTC)

Einstein's second criticism
The section "Einstein's second criticism" is hard to understand. But Pais's book is listed in the bibliography. His book pages 447-448 mentions the gravitational red shift. This explanation, taken from a book by Bohr, makes things much clearer. Marvin Marmalade (talk) 03:01, 14 March 2017 (UTC)
 * We have added Bohr's calculation that uses the gravitational redshift. Marvin Marmalade (talk) 05:32, 19 March 2017 (UTC)
 * We hope to add a simple derivation of the formula $$\Delta t = c^{-2} gt\Delta q$$ for the gravitational redshift at a later time. Garfield Garfield (talk) 22:18, 19 March 2017 (UTC)

Merge
You see, here's another example. I go and break my balls writing up a lenghty and decent article on this and then find there is already an article. If no one is offended or anything, I will merge whatver useful contents I can gather from this one into my own version (much more developed, lucid, fascinating and conprehensive) and redirect this over there.--Lacatosias 11:19, 27 February 2006 (UTC)
 * Do it! --Kripkenstein 23:53, 27 February 2006 (UTC)

mediating role of Ehrenfest
I became interested in Ehrenfest's mediating role in these debates. According to Niels Bohr, in Schilpp's book:

Einstein's attitude gave rise to ardent discussions within a small circle, in which Ehrenfest, who through the years had been a close friend of us both, took part in a most active and helpful way.

I remember also how at the peak of the discussion Ehrenfest, in his affectionate manner of teasing his friends, jokingly hinted at the apparent similarity between Einstein's attitude and that of the opponents of relativity theory; but instantly Ehrenfest added that he would not be able to find relief in his own mind before concord with Einstein was reached.

The Solvay meeting in 1930 was the last occasion where, in common discussions with Einstein, we could benefit from the stimulating and mediating influence of Ehrenfest, ...

I included a brief paragraph on this in the article on Paul Ehrenfest, perhaps it should be brought up here as well. JdH 03:28, 27 March 2006 (UTC)

In 'Revisiting the Einstein-Bohr Dialogue' by Don Howard it becomes clear that according to Ehrenfest, Einstein did not intend to discuss the validity of the uncertainty relations, as Bohr supposed he did. Einstein had said to Ehrenfest, that "for a very long time already, he absolutely no longer doubted the uncertainty relations". Einstein actually anticipated some sort of EPR argument to show the incompleteness of QM. Are we dealing with a flaw in Bohr's memory or with him rewriting the history of QM in favor of the Copenhagen interpretation? This important fact should be taken into account! Someone? 4-12-2013 Pim van der Heijden (heijden.pvd@gmail.com) — Preceding unsigned comment added by 145.18.110.53 (talk) 19:33, 4 December 2013 (UTC)

Louisa Gilder's 'The Age of Entanglement' clarifies what happened (based on Howard's re-translation of a letter by Ehrenfest to Bohr): Einstein's box was the precursor to EPR, but was misunderstood by Bohr to be a challenge to uncertainty. (It was, but only in the sense that it was not obvious how there was no violation of uncertainty.) The point of Einstein's box was that you could, by measuring the box, determine either the position or momentum of a photon half a light-year distant, which would require either a violation of realism or of locality. I may or may not make this edit myself. Emvan (talk) 02:18, 22 January 2014 (UTC)

small suggestion/question
This article writes:

"Einstein pointed out how it was possible to take advantage of the (universally accepted) laws of conservation of energy and of impulse (momentum) in order to obtain information ..."

I was wondering if Einstein or Bohr actually called it "impulse", because as far as I can see - we now think of it as conservation of momentum not impulse, although they of course have the same implications and use. My suggestion is that we put that word impulse in quotes. Fresheneesz 02:22, 20 April 2006 (UTC)

 * They of course spoke German; they probably called it "Impulsmoment" when speaking German (and "Drehmoment" for angular momentum). In Bohr's account of the disccusons, which is written in English, he uses the two expressions interchangebly JdH 09:05, 20 April 2006 (UTC)

 * impulse is represented as the change in momentum or delta-p so conservation of impulse and momentum are synonymous** — Preceding unsigned comment added by 38.108.232.2 (talk) 17:00, 23 December 2013 (UTC)

a second small suggestion/question
One title reads: Einstein's second attack

Is attack the best word considering the friendly relationship Einstein and Bohr had.

EPR
A few thoughts about the EPR section: I'll try and make some changes when I get some time, but I just wanted to throw that out there. I think the section is also unnecessarily slanted towards Einstein's position which it ironically does not explain very well in the first place. As the text notes, most people thought Bohr won the debate; it is worth trying to explain why. --Fastfission 12:46, 20 September 2006 (UTC)
 * It does not explain in plain language what the point of the dispute was. This is not because it is impossible; the formulation of the gedanken-experiment is not the most important part of the EPR argument.
 * I've read in a number of sources that the EPR paper was written only by Podolsky (though it came out of conversations with the other). This is probably worth noting: Einstein's most famous disagreement over QM was not written by Einstein at all. And Einstein himself felt that it was bogged down in formalism and not clear.
 * Bohr's response here is not really given a fair shake at all. While I'd be the last to suggest that Bohr was clear, there have been reasonable interpretations of what his objections were, which are much more comprehensible than the version given here.
 * There is no mention of the role that the correspondence principle played, implicitly, in this part of the debate, which I think is rather crucial to it.

 * I was certainly taught that "Bohr won the debate" but it certainly wasn't my own thought. Now if history is written by the winners the history of the Bohr-Einstein debate was written by Bohr disciple Léon Rosenfeld. After reading more (Quantum Profiles by Jeremy Bernstein and Lousia Gilder's The Age of Entanglement) I think that it isn't so clear. My current understanding is that Einstein didn't care much about the uncertainty principle and was fumbling towards EPR but hadn't yet articulated it clearly. Now it may well be that the majority of the Solvay

attendees thought Einstein didn't accept the uncertainty principal and that they did indeed think he got clobbered by Bohr but to explain what "most people thought" would require a poll. I don't know that one was taken. I'm guessing that most people didn't understand either one of them very well but that they accepted that Bohr had knocked something down and thus "won" but some evidence in support of that contention would be nice. Whether the thing that Bohr knocked down was Einstein's position or Bohr's straw man caricature of Einstein's position could probably stand clarification. — Preceding unsigned comment added by 76.113.29.12 (talk) 19:04, 13 March 2019 (UTC)

 * Ease up. Ease up, please. I am not god!! You have valid points and seem to be quite knowlegable about the matter. I would appreciate your contribution, especilly on simplifying the prose. Why do you find it necessary to be insulting about it?--Francesco Franco aka Lacatosias 16:53, 20 September 2006 (UTC)

Has someone vandilized this page??? (photo) Surely thats not them smoking a joint??? Thanks.

I'm new, frist edit, sorry for mistakes.

121.72.24.108 22:41, 26 March 2007 (UTC)

 * Just a comment--- EPR wasn't written by Einstein, but the argument clearly belongs to him. Einstein's english just wasn't very good. In the new biography of Einstein, they say that he was upset with the final form, which he felt was too formal. I think the reason Bohr won the debate on this matter is mostly political--- by then nobody thought (or thinks now) that quantum mechanics is wrong in any measurable way. It was just that Einstein was arguing that this type of theory involves a nonlocal construction--- the wavefunction--- which allows for the physical phenomenon of entanglement between distant objects. He could not accept such a construction as the foundation of an objective physical reality. Neither could Bohr, but Bohr didn't care because he did not think that physics is in the business of describing a reality.Likebox (talk) 02:30, 4 January 2008 (UTC)

principle of equivalence
Just a small thing... towards the end of the section on Einstein's box, the article states

"[Bohr] arrived at this conclusion by appealing precisely to one of the great ideas of Einstein: the principle of equivalence between gravitational mass and inertial mass."

But it seems to me that we're not talking about the equivalence between gravitational and inertial mass (which I thought was due to Newton anyway -- Einstein's great equivalence principle was between acceleration and gravitational fields) but the effect of gravitational fields on clocks in general relativity: the reason there is uncertainty about the time the photon is released is (it seems to me) because there is uncertainty about position in a gravitational field, and position in a gravitational field has an effect on the measurement of time.

Anyway, I'd recommend that the text be changed to

"...one of the great ideas of Einstein: the effect of a gravitational field on the measurement of time,"

but I don't feel I'm enough of an expert to make the change myself.

Nathanielvirgo (talk) 22:11, 29 May 2009 (UTC)

BKS/Einstein HJ equation
This article said "The revolution in quantum mechanics occured in the 1920's with little input from Einstein or Bohr". That's complete and total nonsense. The Schrodinger equation came directly from Einstein's 1924 paper analyzing the equation for DeBroglie waves. Einstein gave it in the semi-classical limit, as the Hamilton Jacobi equation, and Schrodinger long acknowledged his indebtedness to Einstein in this. The step from Einstein to Schrodinger is probably smaller than the step from DeBroglie to Einstein. One must also keep in mind that DeBroglie was generalizing Einstein's relations for photons to matter waves.

As for Bohr, he led the whole school that developed matrix mechanics which included Born, Heisenberg, Jordan, Pauli. His correspondence principle and attempts to deal with radiative transitions as orbital harmonics were the inspiration for the 1920s Heisenberg/Kramers calculations. His 192-something BKS theory with Kramers and Slater tried to put the whole thing right, and failed. But parts of it were seminal for Heisenberg's reasoning.

It was Bohr's prodding for a physical interpretation of the canonical commutation relation which led to the uncertainty principle, and it was Bohr who put it to best use. Bohr's physical insight was tremendous, probably equal to that of Einstein. But Einstein by this point had aquired a better formal mathematical ability. Both were leaders in this transformation.

It was largely because of the dual leadership of Einstein and Bohr, with their different emphasis, that quantum mechanics came in two flavors. Matrix mechanics, and wave mechanics.Likebox (talk) 02:24, 23 June 2009 (UTC)

Cites Please?
This article strikes me as one man's opinion, and it is an idiosyncratic opinion at that. There are no citations anywhere. This isn't what a Wikipedia article should be. Just look at the final paragraph, and its rather silly characterization of the Copenhagen interpretation as a "total renunciation of all realism". What the Copenhagen interpretation actually says is that the variables that are real are not necessarily the ones our macroscopic intuition tells us are real, and don't obey the kinds of laws (i.e. locality) that we would naively expect them to based on our macroscopic experience. That is, even though we imagine particles moving in lines, what are actually present are wavefunctions propagating, interfering, and collapsing (with an element of randomness involved). Those wavefunctions are perfectly real. No one is renouncing realism; least of all, physicists. Xezlec (talk) 19:30, 29 July 2010 (UTC)

 * The article is one-sided from beginning to end. The reader would never guess that most physicists decided that Bohr won the debates. Roger (talk) 18:59, 9 March 2011 (UTC)

File:Ebohr1.svg
There is a slight error in the interference pattern of this drawing. The central fringe should be bright band instead of dark band. I have made a new drawing shown at right which has the correct interference pattern. If no one objects, I would replace the incorrect drawing with correct drawing next week. --LaoChen (talk)06:22, 12 April 2012 (UTC)

The Double Slit Thought experiment was preformed
I was in a Physics group doing a discussion on a practical experimental adaptation for the first of Einstein's critics of the physics, the article we read was from "Physical Review Letters" week ending 6 september 2013, the article was "Momentum Transfer to a Free Floating Double Slit: Realization of a Thought experiment from the Einstein-Bohr debates." I could Find the article but I did not have the subscription required to show it to you all. It does actually perform the thought experiment of the first point and as a result can actually lead to a result of the debate. As an actual experiment with results is rather important is science, it would be wise to link it in. Plus it has many References that could help expand this article. JonathonWilliam (talk) 06:07, 27 June 2014 (UTC)

I went ahead and made the edit with the reference. It is the first time that I have done an edit to an article, so if someone would please proof it so that it is well put together. Thank you JonathonWilliam (talk) 01:00, 28 June 2014 (UTC)

scanned figures violate copyright
The scanned figures from Bohr's writings on the Einstein-Bohr debates are still under copyright. Elsevier is the current copyright holder. ISBN-13: 9780444898920.
 * please identify the copyrighted material and/or the revisions that need attention. Nthep (talk) 13:39, 12 April 2022 (UTC)

 * Figure B and C, and the unnumbered "clock in a box" are all scans of copywritten published material. Bohr kept the original copyright and this work is not public domain until 2033.  Elsevier apparently controls the copyright as they are the publisher of the collected works of Bohr as curated by the Bohr foundation/institute which likely qualifies as the estate of Bohr. Please get permission from Elsevier or the Estate of Bohr. 130.132.173.14 (talk) 16:18, 12 April 2022 (UTC)
 * Not done, you think they are in breach of Bohr's copyright then you remove them from the article. Then I'll consider if it's appropriate to revdel the edits in the article. Nthep (talk) 18:49, 12 April 2022 (UTC)
 * If you mean this image 150px, then it's described as "Information |Description={ {en|1=Stationary single-slit diffraction experiment } } |Source=http://zh.wikipedia.org/wiki/File:Ebohr3.gif |Author=User:Acepectif, I made some modifications |Date=2007-09-07 |Permission={ {GFDL}} |other_versions= " It's not a scan from a copyrighted paper. Artem.G (talk) 18:56, 12 April 2022 (UTC)
 * For this and the other images, unless there is a clear copyvio in which case WP:F9 applies, these need to go to WP:Files for deletion. This is not the forum to resolve the copyright issue. Nthep (talk) 19:13, 12 April 2022 (UTC)

Unlikely claim about Bohr's point of view.
The article says about Bohr:

"He made his own peace with the contradictions by proposing a principle of complementarity that emphasized the role of the observer over the observed."

This is a common and I believe erroneous claim. The reference on the sentence points to Pais's book on Einstein. I've not read it but I have read Bohr. That would not at all be his summary. Johnjbarton (talk) 00:12, 22 August 2023 (UTC)

 * Change to use a different source. BTW I think Pais is reliable, so I suspect a misunderstanding of what he wrote. Johnjbarton (talk) 16:46, 22 August 2023 (UTC)

Fourth phase?
Was there an additional exchange between Bohr and Einstein after EPR? ReyHahn (talk) 11:38, 29 January 2024 (UTC)

 * Only this I think: https://archive.org/details/einsteinhislifeu0000isaa_w6x6/page/539/mode/1up?q=Bohr (hope you can access it) Jähmefyysikko (talk) 12:26, 29 January 2024 (UTC)

title: Talk:Bohr–Einstein debates


text:
Category talk:Stubs by region

Untitled
I have removed the Category:Geography stubs from this category, because in practice this category and its sub-categories are not sub-categories of the 'Geography stubs' category. The 'Geography stubs' category clearly says:

 * This category is for stub articles about geographical locations.

However the country level sub-categories of 'Stubs by region' typically contain articles on any subject within that country, as opposed to just articles about locations within that country. -- Chris j wood 22:37, 5 Dec 2004 (UTC)

Notice
I have added the template WPSS-cat into the main category page. This is to make navigation easier for stub articles. However, most importantly, this is to create awareness among users to pay more attention to these stub articles. The purpose here is to decrease the number of stub articles here and improve the quality of them. -- S iva1979 Talk to me  16:31, 4 September 2006 (UTC)

title: Category talk:Stubs by region


text:
Léonide Massine

Leonid Fyodorovich Myasin (Леони́д Фёдорович Мя́син), better known in the West by the French transliteration as Léonide Massine (9 August 1896 – 15 March 1979), was a Russian choreographer and ballet dancer. Massine created the world's first symphonic ballet, Les Présages, and many others in the same vein. Besides his "symphonic ballets," Massine choreographed many other popular works during his long career, some of which were serious and dramatic, and others lighthearted and romantic. He created some of his most famous roles in his own comic works, among them the Can-Can Dancer in La Boutique fantasque (1919), the Hussar in Le Beau Danube (1924), and, perhaps best known of all, the Peruvian in Gaîté Parisienne (1938). Today his oeuvre is represented by his son Lorca Massine, who stages his works around the world.

Early life and education
Massine was born into a musical family on 9 August 1896 in Moscow, Russia. His mother was a soprano in the Bolshoi Theater Chorus and his father played the French horn in the Bolshoi Theater Orchestra. Leonid was one of five children. He had three brothers, Mikhail, Gregori, and Konstantin — as well as one sister — Raissa. Due to their small age difference, Leonid and Konstantin were very close during childhood. Beginning when Leonid was seven, the Massine family spent most summers at their summer dacha in Zvenigorod-Moskovsky.

In 1904, Leonid successfully auditioned for the Moscow Imperial Theater School. At only eight years old, he began his formal dance training. The next year, the director of the Bolshoi Theater, Alexander Gorsky, was looking for a small boy to play the role of Chernomor in the ballet Ruslan and Ludmilla. Leonid was selected for the role. This performance and rehearsal period ignited his lifelong passion for acting. Leonid was selected for three more professional roles at the Bolshoi and Maly Theaters through the 1908–1909 season.

In 1909, Konstantin was killed during a hunting accident. Leonid never seemed to fully recover from the shock and devastation of this personal tragedy.

In August 1913, Massine graduated from the Moscow Imperial Theater School and almost immediately joined the Bolshoi Ballet. In December of the same year, Sergei Diaghilev came to Moscow in search of a dancer for a new production of The Legend of Joseph. His favorite Vaslav Nijinsky had originally been cast in the role, but Diaghilev terminated Nijinsky's contract upon his marriage to Romola de Pulszky. Diaghilev was attracted to Massine's onstage presence and acting, and invited him to audition for the choreographer, Mikhail Fokine. After the audition in St. Petersburg, Massine joined Diaghilev and his Ballets Russes.

Ballets Russes
From 1915 to 1921 Massine was the principal choreographer of Sergei Diaghilev's Ballets Russes.

Following the departure of Vaslav Nijinsky, the company's first male star, Massine became the preeminent male star and took over Nijinsky's roles. His first ballet, in 1915, called Le Soleil de Nuit, used Russian folklore elements. The ballet Parade premiered at the Theatre du Chatelet in Paris, on 18 May 1917. The ballet is based on a libretto by Jean Cocteau. Parade is about a group of circus performers trying to lure a reluctant audience into the tent before the show begins. The sets and costume designs were by Pablo Picasso, who designed large cubist structures for the dancers to wear. The score was composed by Erik Satie, who used sounds from an airplane's engine, pistol shots, and a ship's siren to accompany the music. Le Tricorn, better known as The Three Cornered Hat, premiered at the Alhambra Theater in London, on 22 July 1919. Manuel de Falla composed the score and Pablo Picasso designed the sets and costumes. Massine's collaborators, all Spanish, helped to make this ballet more authentic to its subject matter. Le Tricorn was a triumphant success. The story was inspired by the novel El sombrero de tres picos (1874) by Pedro Antonio de Alarcón. In order to authentically depict the Spanish character dances, Massine carefully studied the authentic Spanish character dance style.

Col. de Basil's Ballets Russes de Monte-Carlo
When George Balanchine left de Basil's company in 1933, Massine replaced him as resident choreographer. Massine's ballets during this period were reminiscent of Fyodor Lopukhov's Tanzsymphonia, in that an emphasis on the music drove the choreography. He continued to use symphonic music by well-known composers.

In 1932 he created  to libretto by Boris Kochno, scenic design was by Joan Miró. In 1933, Massine created the world's first symphonic ballet, Les Présages, using Tchaikovsky's Symphony No. 5. This caused a furor amongst musical purists, who objected to a serious symphonic work being used as the basis of a ballet. Undeterred, Massine continued work on Choreartium, set to Brahms' Fourth Symphony, which had its premiere on 24 October 1933 at the Alhambra Theatre in London. Massine also choreographed a ballet to Hector Berlioz's 1830 Symphonie Fantastique and danced the role of The Young Musician with Tamara Toumanova as The Beloved at its premiere at Covent Garden, London, on 24 July 1936 with Colonel Wassily de Basil's Ballet Russe de Monte Carlo.

Massine & Blum's Ballet Russe de Monte-Carlo
Leaving Col. de Basil's company, in 1937 Massine and René Blum (himself a former associate of de Basil's) acquired financing from Julius Fleischmann, Jr.'s World Art, Inc. to create a new ballet company, with Massine as the resident choreographer. Massine soon discovered that the ballets he had choreographed while under contract with Col. de Basil were owned by his company. Massine sued Col. de Basil in London to regain the intellectual property rights to his own works. He also sued to claim the Ballet Russe de Monte Carlo name. The jury decided that Col. de Basil owned Massine's ballets created between 1932 and 1937, but not those created before 1932. It also ruled that both successor companies could use the name Ballet Russe — but only Massine & Blum's company could be called Ballet Russe de Monte Carlo. Col. de Basil finally settled on the Original Ballet Russe.

The new Ballet Russe de Monte Carlo debuted in 1938; Massine choreographed Gaîté Parisienne, set to music by Jacques Offenbach, which premiered on 5 April at the Théâtre de Monte Carlo. Gaîté Parisienne was one of Massine's most celebrated works during this time. Instead of a whole, singular composition for the score, Offenbach created a series of divertissements. This allowed Massine to use a wide variety of dancers and tempi, all while conveying a single narrative. Massine revived the piece for American Ballet Theatre in 1970. Lorca Massine and Susanna della Pietra mounted an additional revival for ABT in 1988. In this production, the costumes were designed by Christian Lacroix, who created animated and eccentric costumes based on his own 1987 haute couture collection.

A month after premiering Gaîté Parisienne Massine produced Seventh Symphony, to Beethoven's score. It premiered on 5 May 1938 in Monte Carlo, with Alicia Markova, Nini Theilade, Frederic Franklin, and Igor Youskevitch as the principal dancers.

Massine left Ballet Russe de Monte Carlo in 1943.

San Francisco Bay Area
In 1977 Massine moved to the San Francisco Bay Area to begin a series of choreographic workshops, as well as revive his work Le Beau Danube for the Marin Ballet. At the same time, Massine was working on plans for Parisina, which was to be performed by Natalia Makarova. However, Makarova began to suspect her part was originated on another dancer and pulled out of the project. Massine was appointed resident choreographer of the Marin Ballet. He began work on a new production of The Nutcracker, which was never seen outside the studio.

Film work
Massine appeared in two feature-length films by the British directors Michael Powell and Emeric Pressburger: The Red Shoes (1948) and The Tales of Hoffmann (1951). He also had a cameo appearance in Powell's later film Honeymoon (1959). Massine starred in several films of ballet short subjects. For Warner Brothers, he starred with the Ballet Russe de Monte Carlo in a short Technicolor film of his ballet Capriccio Espagnol, entitled Spanish Fiesta (1942). He choreographed and danced in the 1947 20th Century Fox color film Carnival in Costa Rica, and also choreographed and appeared as Pulcinella in the film Carosello Napoletano. In 1941, Warner Bros made an attempt at a film version of the ballet of Gaîté Parisienne, entitled The Gay Parisian. The attempt was not well received, partly due to the fact that the signature role, played by Alexandra Danilova in the original work, was recast on a lesser dancer, Milada Mladova.

Personal life
In his youth, Massine was the protégé and lover of Diaghilev. In later life he enjoyed numerous love affairs with beautiful women and had four wives. His first two wives, Vera Savina (née Vera Clark) and Eugenia Delarova, were both ballet dancers. With his third wife, Tatiana Orlova, he had two children, a son, Leonide Massine II (who later changed his name to "Lorca Massine"), and a daughter, Tatiania. He and Orlova divorced in 1968. He subsequently married Hannelore Holtwick, with whom he had two sons, Peter and Theodor, and made his home in Borken, West Germany, where he died on 15 March 1979.

In 1968 Massine published his autobiography, entitled My Life in Ballet.

Awards
Massine was inducted into the National Museum of Dance and Hall of Fame in 2002.

Major works

 * 1915: Soleil de Nuit (Midnight Sun, to the music of Nikolai Rimsky-Korsakov, set and costumes by Mikhail Larionov)
 * 1916: Las Meninas (music by Gabriel Fauré)
 * 1917: The Good-Humoured Ladies (music by Domenico Scarlatti, arr. Vincenzo Tommasini)
 * 1917: Parade (music by Erik Satie)
 * 1919: La Boutique fantasque (music by Gioacchino Rossini, arr. Ottorino Respighi)
 * 1919: The Three-Cornered Hat (music by Manuel de Falla)
 * 1920: Pulcinella (music by Igor Stravinsky)
 * 1924: Le Beau Danube (music by Johann Strauss, arr. Roger Desormière)
 * 1928: Ode (music by Nicolas Nabokov, scenario by Boris Kochno, design by Pavel Tchelitchew)
 * 1930: Le Sacre du printemps (music by Igor Stravinsky)
 * 1933: Les Présages (to the music of Symphony No. 5 by Pyotr Tchaikovsky)
 * 1933: Choreartium (to the music of Symphony No. 4 by Johannes Brahms)
 * 1936: Symphonie fantastique (to the music of Symphonie fantastique by Hector Berlioz)
 * 1938: Gaîté Parisienne (music by Jacques Offenbach, arr. Manuel Rosenthal)
 * 1938: Seventh Symphony (music by Ludwig van Beethoven)
 * 1938: Nobilissima Visione (music by Paul Hindemith)
 * 1939: Capriccio Espagnol (music by Nikolai Rimsky-Korsakov; filmed in Warner Bros.' 1941 short Spanish Fiesta)
 * 1942: Aleko (music by Pyotr Tchaikovsky)
 * 1943: Mam'zelle Angot (music, Charles Lecocq)
 * 1944: Mad Tristan (with sets, costumes, and artwork by Salvador Dalí)
 * 1948: Capriccio (music by Igor Stravinsky)
 * 1952: Laudes Evangelii (music by Valentino Bucchi, filmed for TV by Joan Kemp-Welch in 1961).

title: Léonide Massine


text:
Hieronymus Praetorius

Hieronymus Praetorius (10 August 1560 – 27 January 1629) was a Northern German composer and organist of the late Renaissance and early Baroque whose polychoral motets in 8 to 20 voices are intricate and vividly expressive. Some of his organ music survives in the Visby Orgel-Tabulatur, which dates from 1611. (He was not related to the prolific Michael Praetorius, known as a theorist and for Terpsichore, but the large Praetorius family tree produced many distinguished musicians during the 16th and 17th centuries.)

Life
He was born in Hamburg and spent most of his life there. He studied organ with his father (Jacob Praetorius, the elder (1520-1586), also a composer), before moving to Cologne for further study. In 1580 he became organist in Erfurt but remained there only two years. After returning to Hamburg in 1582 he worked with his father as assistant organist at Sankt Jacobi, becoming principal organist in 1586 when his father died, a post he retained until his own death 43 years later. His son, Jacob, was born that same year, and was also destined to become a composer. His younger son Johann was also a composer and organist. In 1596 Hieronymus visited Gröningen where he met Michael Praetorius and Hans Leo Hassler; presumably he became acquainted with their music and, through them, the music of the contemporary Venetian School.

Music and influence
Praetorius wrote Masses and ten settings of the Magnificat in addition to the mostly Latin polychoral motets. Much of his music uses voices divided into several groups, probably the first of its kind in Northern Germany in polychoral style; choir sizes range from 8 to 20, with the voices divided into two, three or four groups. Praetorius must have had sophisticated musicians at his disposal, considering both the amount and the difficulty of music he wrote for these ensembles. While progressive in writing in the Venetian style, he was conservative in using Latin and avoiding the basso continuo, which was eagerly adopted by many other contemporary German composers. Most of his vocal music is a cappella.

Praetorius was also the first composer to compile a collection of four-part German chorales with organ accompaniment, a sound which was to become a standard in Protestant churches for several centuries. The music in the collection was compiled from four churches in Hamburg; 21 of the 88 settings are of his own composition. Some of his organ compositions survive, including nine settings of the Magnificat, which are in a highly contrapuntal cantus firmus style. In addition to these settings, numerous anonymous pieces in north German collections of the time are now attributed with reasonable certainty to Hieronymus Praetorius.

References and further reading

 * Article "Hieronymus Praetorius," in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol.  London, Macmillan Publishers Ltd., 1980.  ISBN 1-56159-174-2
 * Manfred Bukofzer, Music in the Baroque Era. New York, W.W. Norton & Co., 1947.  ISBN 0-393-09745-5

title: Hieronymus Praetorius


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David Kozlowski

David "Koz" Kozlowski is an American tennis teaching professional and tennis commentator.

Kozlowski is one of the first 17 Master Professionals in the world, as certified by the USPTA. He was named the USTA Broadcaster of the Year in 2000 and Pro of the Year three times – 1978 in Alabama, 1997 in Florida, and National Pro of the year in 2001.

Koz produces and hosts the "Inside Tennis with the Koz" program, which was broadcast for five years on The Tennis Channel, before continuing on IndieTennis.com.

title: David Kozlowski