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The Web Planet

The Web Planet is the fifth serial of the second season in the British science fiction television series Doctor Who. Written by Bill Strutton and directed by Richard Martin, the serial was broadcast on BBC1 in six weekly parts from 13 February to 20 March 1965. In the serial, the First Doctor (William Hartnell) and his travelling companions Ian Chesterton (William Russell), Barbara Wright (Jacqueline Hill), and Vicki (Maureen O'Brien) ally themselves with the Menoptra, the former inhabitants of the planet Vortis, as they struggle to win back the planet from the malignant Animus (Catherine Fleming) and its Zarbi slaves.

When crafting an idea for the serial, Strutton recalled a memory as a child of watching two bull ants fighting, which he linked with his two sons fighting each other. Story editor Dennis Spooner found the narrative to be multilayered, with the Menoptra representing free enterprise and the Zarbi communism. Martin hired a mime artist to develop choreography for the serial, and forwent a traditional score in favour of prerecorded stock music. The Web Planet premiered with 13.5 million viewers, the highest in the series to date; it maintained high viewership across the six weeks. Reviews were mixed, with praise directed at its choreography and action, and criticism towards its costumes and confusing story; retrospective reviews applauded the serial's ambition despite its outdated visuals. The Web Planet was later novelised and released on VHS and DVD.

Plot
The TARDIS is forced to land on a planet which the First Doctor (William Hartnell) recognises as Vortis, but he is puzzled by the presence of several moons around the normally moonless planet. A force acting through Barbara Wright's (Jacqueline Hill) gold bracelet draws her outside, leaving Vicki (Maureen O'Brien) alone. The TARDIS is pulled by an unseen force across the planet surface. Barbara is drawn into a trio of the butterfly-like Menoptra who free her of the trance by removing the bracelet. She escapes but is captured by the ant-like Zarbi who use her to find the Menoptra. The Zarbi take Barbara and Hrostar (Arne Gordon), a Menoptra, to the Crater of Needles to drop vegetation into acid rivers which feed the Animus (voiced by Catherine Fleming).

The Zarbi take the Doctor and Ian Chesterton (William Russell) to the Carsinome where they find Vicki and the TARDIS. The Animus forces the Doctor to help track down the Menoptra invasion force. Ian escapes and meets a Menoptra called Vrestin (Roslyn de Winter). He learns the Menoptra and the Zarbi are native to the planet. The Animus has taken control of the planet, and the Menoptra have fled to one of the moons that the Animus has pulled into orbit. The Doctor accidentally reveals the Menoptra spearhead plan to land near the Crater of Needles, giving the Animus the opportunity to ambush them. Ian and Vrestin meet the Optera, descendants of the Menoptra who fled underground, and convince them to help fight the Animus, digging upwards beneath the Carsinome.

At the Crater of Needles, Barbara and Hrostar fail in their attempt to warn the Menoptra and the spearhead is massacred. The Doctor deduces that the Animus uses gold to channel its mesmerising force and counteracts it to control a Zarbi and escape with Vicki. They meet Barbara and the Menoptra and devise a plan to attack the Carsinome. The Doctor and Vicki are taken by the Zarbi to the Animus, a great spider-like creature. Barbara and the Menoptra attack the Carsinome from outside while Ian, Vrestin, and the Optera reach the Animus from below. They defeat the Animus with the Isoptope, a cell-destroying weapon devised by the Menoptra. The Zarbi return to their docile state, and the planet turns to its purer state. The Doctor and his companions leave in the TARDIS, and the creatures of Vortis promise to tell stories of their saviours.

Conception and writing
In 1964, Australian writer Bill Strutton viewed Doctor Who and decided that he wanted to write for it, although he had no knowledge of science fiction. After his agents at Associated London Scripts contacted the production team, Strutton was invited to discuss his story idea with producer Verity Lambert and story editor David Whitaker. They asked him to avoid robotic monsters due to the success of the Daleks. Strutton recalled a memory as a toddler, watching two bull ants fighting inside an empty kerosene can; he linked this memory with his two sons, aged six and four, fighting each other. He discussed the idea with Lambert, and Whitaker officially commissioned the story, Doctor Who and the Webbed Planet, on 28 September 1964.

Richard Martin was assigned to direct the serial. Although disappointed with the scripts, Martin observed that they were as close to a fantasy adventure as Doctor Who should get; he felt that they had visual potential, but that the available studio facilities would limit it. He disliked the dialogue and found the scripts too short, working with new story editor Dennis Spooner on amendments. Martin overspent the serial's budget to achieve the desired visuals, which led to conflict with the cost-conscious Lambert. To account for the high cost of the props and costumes, Martin forwent a traditional, original score, instead using recordings of musique concrète performances arranged by Jacques Lasry and François Baschet for Les Structures Sonores; Martin found the sounds extraterrestrial, as they were created using glass rods and steel. Lambert edited the final episode as Martin had departed for a holiday shortly after its recording; she edited out a shot of the Carsenome web dissolving, explaining in a memo to Martin that "I thought nobody would know what on earth was happening".

The scripts were due on 13 November; Strutton wrote them while in the process of relocating homes. Strutton's wife Marguerite created the name of the Zarbi. Other names originated from an encyclopedia: the Greek word Lepidoptera inspired Menoptera (later Menoptra) and Optera; and Carcinoma inspired Carsinome (later Carsenome). Spooner made edits to the script towards the end of 1964; he found the narrative to be multilayered, with the Menoptra representing free enterprise and the Zarbi communism. Spooner also made edits to tie the serial into the preceding one, The Romans; the golden bracelet used to make Barbara fall under the influence of the Animus was a gift from Emperor Nero in The Romans. Two of the Menoptra were renamed: Roster became Hrostar, and Papillus became Prapillus.

The show's main designers, Raymond Cusick and Barry Newbery, asked for a third designer to be allocated to the production block, leading to the appointment of set and effects designer John Wood; Wood welcomed working on the show as it allowed more freedom than other programmes. He used Strutton's descriptions to create sketches for the eight-foot Zarbi; he wanted them to be believable while disguising the human element. They were also based on suits of armour for balancing. Lambert was enthusiastic about the design, though other members of the team were hesitant regarding its practicality. Four costumes were constructed by Shawcraft Models; light Styrofoam was originally suggested for construction, but fibreglass was used instead. The outfits were modelled on Robert Jewell, and they took around 30 minutes to don. For a shot of the Temple of Light, Wood was inspired by the Aztec temples of Central America.

Casting and characters
The script for the third episode was structured to omit Barbara, as Jacqueline Hill was scheduled to take a week's holiday; she retained a credit in Radio Times, but not on-screen, as was common when the regular cast was absent. Hill formally complained on 1 March 1965 and requested that her credit be reinstated for overseas sales, but this was not acted upon. Lambert felt that Barbara's occupation as a schoolteacher meant that she should often work to save the day, as in The Web Planet. All guest characters in the serial are non-humanoid. Casting interviews for The Web Planet took place on 8 December 1964. Martin wanted special choreography for the insects, hiring Australian mime artist Roslyn de Winter to develop the delivery of the Optra and the hand gestures of the Menoptra; de Winter was also cast as Vrestin. For the Menoptra, the production team sought actors with dancing experience; one actor who auditioned was Peter Purves, but Martin felt that his talent would be wasted in the role and kept him in mind for later. Catherine Fleming, who voiced the Animus, stood on set with a microphone and a script to read her lines.

The three established Dalek operators—Jewell, Kevin Manser, and Gerald Taylor—were cast as the main Zarbi, alongside John Scott Martin in his first appearance on the series. Ian Thompson and Barbara Joss were cast as the Optera; Thompson had worked with Martin in the past, and Joss was an experienced dancer from Australia. Thompson and Martin collaborated to create the creatures' dialogue and behaviour. Arne Gordon, who ran an antique stall in Portobello Road, was cast by Martin as she had large eyes suitable for an insect. Martin also cast Martin Jarvis as Hilio, having met him during his performance of Poor Bitos in the West End alongside Martin's girlfriend Suzanne Neve. Jolyon Booth, cast as Prapillus, was an old friend of Martin's, while Jocelyn Birdsall, cast as Hlynia, had worked with Martin on stage in 1952. Maureen O'Brien enjoyed working with Martin—The Web Planet was their first collaboration—due to his intelligence and their shared political outlook.

Filming
Model filming for the serial began on 4 January 1965 at BBC Television Film Studios on Stage 2 and lasted for several days. It included several model shots, including the TARDIS being moved across Vortis and the establishing model shot of the TARDIS's materialisation; the one-third scale prop created for The Romans was used. Martin wanted to use a greased neutral-density filter on shots of Vortis to capture its thin atmosphere, but found that the optical glass was too expensive, opting for a cheaper alternative; two special lenses were fitted, both of which broke at some point during production. Some of the bird's-eye view shots were achieved by using mirrors. Several of the shots featuring Barbara were filmed in advance from 6–7 January to accommodate for Hill to take a holiday; she missed rehearsals of The Romans to film these. Rehearsals for the first episode began on 18 January at the London Transport Assembly Rooms in Wood Green, and weekly recording for the serial began on 22 January.

The second episode's recording session, on 29 January, overran by a costly 16 minutes due to several production problems leading to seven retakes; among the problems were broken costumes, actors walking through shots, scenery problems causing actors to forget their lines, and a cast member speaking unprompted. The third episode, recorded on 5 February, was beset by similar problems, including a delay in the delivery of some sets, camera failures, and a delay with the studio lighting; the recording overran by 37 minutes. The recording had finished so late that the dressing room lights were switched off by studio management, forcing the crew to exit in darkness. Following the recording, Lambert asked Martin to avoid allowing the actors to alter their dialogue, noting that major changes should be suggested at readthroughs with Spooner present.

Fifteen bags of seaweed from Cornish Manures were requested as set dressing for the fourth episode; during recording on 12 February, the seaweed emanated an overpowering vegetable smell under the hot studio lights. William Russell was absent from rehearsals for the fifth episode on 16 February to film for the subsequent serial, The Crusade. Hartnell's granddaughter Judith Carney (later Jessica Carney) visited the studio during the fifth episode's recording on 19 February. The final episode was recorded on 26 February, and the session overran by 15 minutes due partly to sound problems necessitating a major retake. For the final episode, the crew treated the set more carelessly to achieve the damaged look they were seeking, as they knew it would not be used again. Throughout filming of the serial, at the insistence of Lambert, Martin avoided showing much detail for the more brutal visuals, such as deaths; Lambert retrospectively cited criticism that the crew received for a violent scene in The Edge of Destruction (1964) as her reasoning.

Broadcast and ratings
A special trailer for The Web Planet, filmed on 4 February 1965, features the Zarbi arriving at the BBC Television Centre before being shown to their dressing rooms. The trailer, screened on BBC1 on 6 February 1965, upset Martin, who felt that it undersold his work and made him feel "like a conjurer about to do an elaborate two and a half hour trick when all the audience know the secrets already"; Lambert responded that the comedic trailer was intentional to take "the curse out of the Zarbi" for younger viewers. The serial was broadcast on BBC1 in six weekly parts from 13 February to 20 March 1965. Viewership increased from the preceding serial, reaching a series-high of 13.5 million viewers for the first episode. The ratings dropped for the following episodes, with the final two hitting 12 million, but they were still considered successful, ranking among the top 20 programmes for each week; the first episode ranked joint 18th in the national charts, with an estimated viewership of 5.45 million households. The Appreciation Index began well but fell rapidly, dropping below 50 for the first time; the final episode set a new record low of 42.

The serial was believed to have been wiped in the early 1970s and presumed missing until negative film prints of all six episodes were recovered from BBC Enterprises in the late 1970s. Unedited prints were also discovered in Nigeria in 1984. The fourth episode was shown on 29 October 1983 at the National Film Theatre as part of the 20th anniversary event Doctor Who: The Developing Art; it was also screened at regional events like the Bradford Playhouse and Film Theatre on 8 June 1984. British Satellite Broadcasting screened the serial between July and September 1990, and it was broadcast in episodic form on UK Gold in December 1992 alongside a compilation version.

Critical response
The first episode was criticised by Peter Black of the Daily Mail, who described the main characters as "the dullest quartet in fiction". Comments from younger viewers read on Junior Points of View were mixed; some found the episode "exciting and hair-raising", while others complained about the "pointless, noisy, bleeping" of the Zarbi. Following the broadcast of the second episode, Patrick Skene Catling of Punch wrote that the serial was guilty of "ludicrous bathos". After the third episode, Bill Edmund of The Stage and Television Today described the lighting effects as "pointless and annoying". Following the fifth episode, the Sunday Mirror received a complaint from A. N. Thompson that the show was "slipping" due to its newly-comedic nature. At the BBC Programme Review Board in March 1965, Alasdair Milne said that the series was "difficult to follow, unless one watched every edition"; at the following Review Board, controller of programmes Huw Wheldon said that the serial was going well, while BBC1 controller Michael Peacock felt that the series had too much "mumbo-jumbo" and that the character names were difficult to follow. In April, The Scotsman's Peggie Phillips considered the serial to be a flop. An audience report prepared following the serial's broadcast indicated satisfaction with its conclusion and choreography, but confusion regarding the action and criticism of the costumes and blurred lens.

Retrospective reviews were mixed. In The Discontinuity Guide (1995), writers Paul Cornell, Martin Day, and Keith Topping praised the serial's imagination and ambition, but noted that it was "slow and silly looking" by modern standards. In The Television Companion (1998), David J. Howe and Stephen James Walker said that the story's ambition "may be seen as its great strength or its great weakness, depending on the spirit in which it is approached". In A Critical History of Doctor Who (1999), John Kenneth Muir described the serial as "a noble experiment" despite its mixed execution; he praised the costumes for the Zarbi, but criticised the Menoptra suits, alien voices, blurred lens, and Strutton's unoriginal scripts. In 2008, Mark Braxton of Radio Times acknowledged the costume design efforts and "superbly atmospheric" sets, though felt that they had not aged well; he felt that the story had an "almost total absence of excitement", but enjoyed its ambition and deeper meaning about good versus evil. In 2009, Den of Geek's Cliff Chapman ranked The Web Planet among the most underrated classic Doctor Who serials, noting that it "is a joy for being so different" even if "the ambition might outstrip the execution". In 2012, Neela Debnath of The Independent found the story "enjoyable" with ambitious writing that "lacks impact given the poor quality of the visuals". In 2015, Twelfth Doctor actor Peter Capaldi said that "the ambition and imagination was great but they just didn't have the resources to deliver".

Commercial releases
The Zarbi received several pieces of merchandise as toy manufacturers hoped that they would become as popular as the Daleks; they featured in several comic strips and in related merchandising in 1965. The serial was originally released on VHS as a double-tape set in September 1990. It was released on DVD by BBC DVD in October 2005, with special features including a making-of documentary, a copy of the Doctor Who Annual 1965, and an audio commentary by Russell, Martin, Lambert, Jarvis, and Gary Russell. BBC Audio released an audiobook of the serial in November 2005, read by William Russell. The serial was released as a vinyl record by Demon Records on 13 December 2019, with linking narration by Maureen O'Brien. The serial was released on Blu-ray on 5 December 2022, alongside the rest of the show's second season as part of The Collection.

In print
Strutton was approached by Frederick Muller Ltd to create a novelisation of the serial, which he wrote in three weeks; Doctor Who and the Zarbi was published as a hardback in September 1965, with illustrations by John Wood. It was republished in December 1975 by White Lion, retaining Wood's original artwork except for the cover painting, which instead depicted the Fourth Doctor (Tom Baker). A paperback edition was published by Target Books in May 1973, with illustrations by Chris Achilleos; Achilleos was disappointed by the BBC's insistence that the cover artwork resemble the television counterpart. The Target paperback was reissued several times: with a revised logo in August 1978, with Alister Pearson's artwork in January 1990, and by BBC Books in April 2016 with Achilleos's cover and Wood's illustrations.

A facsimile edition of the original 1965 hardback was released by BBC Books in November 2016. The book was translated and published in other countries: Doctor Who en de Zarbis, translated into Dutch by M. Hohage, was published by Unieboek BV Bussum in 1974; and Doutor Who e os Zarbi, translated to Portuguese by Eduardo Nogueira and Conceicao Jardim with cover art by Rui Ligeiro, was published by Presenca in 1986.

title: The Web Planet


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Holland Festival

The Holland Festival is the oldest and largest performing arts festival in the Netherlands. It takes place every June in Amsterdam. It comprises theatre, music, opera and modern dance. In recent years, multimedia, visual arts, film and architecture were added to the festival roster.

Performances take place in Amsterdam venues such as the city theatre, the opera, the Concertgebouw and Muziekgebouw concert halls and the Westergas factory site. Each edition is loosely themed, and the programme features both contemporary work and classical pieces presented with a modern edge.

History
The festival was founded in 1947 and features some of the world's top artists and performers, as well as lesser-known performers. Notable world premieres included Karlheinz Stockhausen's Helicopter String Quartet. The festival introduced Maria Callas in the Netherlands, and was also the first to successfully set up a large symphonic tribute to Frank Zappa with "200 motels-the suite" in 2000 (after failed attempts to have Zappa perform himself in the festival in 1981).

From 2005, the festival included off-series called EarFuel, EyeFuel and MindFuel. Outreach initiatives to new audiences include successful non-western concerts such as an Umm Kalsoum tribute by Egyptian star Amal Maher in 2010. The festival continues to serve as a beacon for other arts organisations, and is visited by a record number of international programmers and artists, seeking inspiration.

From 2005 to 2014 the Holland Festival was curated by artistic director Pierre Audi, followed by Ruth Mackenzie in 2014.

, the Holland Festival had a Director/Chief Executive who was both artistically and commercially responsible. This role was fulfilled by Annet Lekkerkerker. Her position as managing director was taken over by Emily Ansenk in September 2019.

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

title: Holland Festival


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File:Yeti (Doctor Who).jpg

A robotic Yeti comes to life (from Doctor Who - The Web of Fear).

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Academy of Fine Arts, Helsinki

The Academy of Fine Arts (Kuvataideakatemia; Bildkonstakademin) in Helsinki, Finland is part of the University of the Arts Helsinki and provides the highest university-level theoretical and practical training in the country in fine arts.

Academy
The Academy was founded in 1848 by a private foundation called The Art Society of Finland (or Finnish Art Society, or Finnish Art Association) (fi: Suomen Taideyhdistys). At that time the academy was called a Drawing School.

In 1939 it became The Finnish Art Academy School (fi: Suomen Taideakatemian koulu).

In 1985 it became The Academy of Fine Arts. In the beginning of 1993 the status of the Academy was raised to university level. 3.5 years of full-time study leads to the degree of Bachelor of Fine Arts, and the Master's degree takes two years longer to complete.

In the academic year 2012-2013 the number of students was about 280.

The Academy of Fine Arts can be found at Sörnäisten rantatie 19 in the neighbourhood of Sörnäinen.

Former Students

 * Elin Danielson-Gambogi, painter
 * Hilda Flodin, painter, sculptor
 * Henry Grahn Hermunen, contemporary artist
 * Sini Manninen, painter
 * Ebba Masalin, painter, 1892 - 1898
 * Eva Ryynänen (1915—2001), sculptor
 * Eliel Saarinen, architect, member in 1920
 * Tove Jansson, artist, illustrator, and creator of the Moomins

title: Academy of Fine Arts, Helsinki


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Bebi Dol

Dragana Todorović (Šarić; Драгана Тодоровић, Шарић; born 2 October 1962), better known under the stage name Bebi Dol (Беби Дол), is a Serbian and Yugoslav singer and songwriter. Born in Belgrade, she made her solo debut in 1981 with the single "Mustafa". Bebi Dol rose to further prominence and nationwide popularity with her debut album Ruže i krv. She represented at the Eurovision Song Contest 1991 with "Brazil". She has released four studio albums to date and had a number of hit songs in Serbia and former Yugoslavia.

Early life
Dragana Šarić was born on 2 October 1962 in Belgrade, FPR Yugoslavia, to mother Magdalena, who worked for Television Belgrade and father Milisav, a military jazz musician. Three months after she had been born, the family relocated to Copenhagen, Denmark, and later continued moving across Europe because of her father's job, who performed in American military bases. When Šarić turned seven, they eventually moved back to Belgrade so she can attend school there. She was a student at the Mokranjac Music School.

After graduating from the 14th Grammar School in Belgrade, Šarić started studying anthropology at the University of Belgrade Faculty of Philosophy.

1980s and 1990s: Beginnings and nationwide popularity
In the late 1970s, Šarić made her first professional attempt as a singer alongside fellow-music school students as members of a band called Tarkus. Together they won a competition organized by Radio Belgrade and received an offer to make studio recordings. In 1979, Šarić served as a backing vocalist on the album Samo napred... (Go Ahead...) by the progressive/hard rock band YU Grupa, which was her debut appearance on a record, and in 1980 appeared as a guest vocalist on the 1980 album Vrt svetlosti (Garden of Light) by the progressive/psychedelic rock band Igra Staklenih Perli.

The following year, she formed short-lived band Annoda Rouge with her boyfriend, guitarist Goran Vejvoda and drummer Ivan Vdović. In 1981, Šarić also made her solo debut with the single "Mustafa" ("Mustapha"), released under PGP-RTB. The 7-inch single, which had been recorded two years prior in collaboration with Saša Habić, included the Oriental music-inspired title track and "Na planeti uzdaha" ("On the Planet of Sighs"). The song "Mustafa" featured a recording of the voice of Slobodan Konjović from the band Kozmetika, who also co-produced the single. Šarić released it under the stage name Bebi Dol, which was given to her by the members of the band Idoli. By the end of the year, Yugoslav music magazine Džuboks declared "Mustafa" the record of the year. After the release of the single, Bebi Dol started working on her debut album, Ruže i krv (Roses and Blood). The songs for the album were composed by herself, with the exception of the traditional song "Sinu Sunca i bratu Meseca" ("To the Son of the Sun and Brother of the Moon"), dating from the 17th century. The mentioned track featured recordings of dialogues by Humphrey Bogart and Ingrid Bergman from the film Casablanca. The album was produced by Saša Habić, who also played bass guitar and keyboards on the recording, and featured appearances by Goran Vejvoda (on guitar), Du Du A members Dejan Kostić (on guitar and bass guitar) and Zoran Zagorčić (on synthesizer), Beograd member Dejan Stanisavljević (on keyboards), Bebi Dol's father Milisav Šarić (on saxophone), Slobodan Marković (on keyboards), Zoran Konjović (on guitar) and Radio Television Belgrade String Ensemble.

In March 1983, Bebi Dol and Lepa Brena were chosen by Radio Television Belgrade to compete at the Jugovizija music festival in Novi Sad in order to represent Yugoslavia at the Eurovision Song Contest 1983 in Munich, West Germany. Her entry "Rudi", which referred to Rudolph Valentino, eventually placed sixth. The song was later that year released on a 12-inch single along with the cover of "Baby Love" by the Supremes. Her first solo concert was held on 13 June 1983 at Atelje 212 theater in Belgrade. Subsequently, Bebi Dol joined Zdravko Čolić on his national tour and then moved to Egypt, where she spent several years performing at the Sheraton Hotel in Cairo. During her time in Egypt, her debut album Ruže i krv was eventually released in late 1983 through PGP-RTB to critical acclaim.

After relocating back to Yugoslavia, Šarić provided singing voiceover for the character of Sonja Savić in Boro Drašković's 1985 movie Life Is Beautiful and appeared in Žika Mitrović's 1986 film Protestni album (Protest Album). In 1986, she also released the maxi single "Prove to All", which she recorded with Saša Habić. In the following years, she had the award-winning performances at the International Music Fair (MESAM) with "Inšalah" ("Inshallah"), "Slatke suze ljubavi" ("Sweet Tears of Love") and "Kad sreća odlazi" ("When Happiness Leaves") in 1986, 1988 and 1989, respectively. She also portrayed Ophelia in Hamlet, played during 1987 at Titograd National Theatre. In 1989, Bebi Dol also performed at the Gold Malaysian Festival in Kuala Lumpur and collaborated with Neil Rolnick.

She made her return to Jugovizija in Sarajevo, March 1991. There, she ended up winning the contest with "Brazil", which was written by herself and Zoran Vračević. On 4 May, Bebi Dol represented Yugoslavia at the Eurovision Song Contest 1991 held in Rome, Italy, where she received only one point from Malta and thus placed second to last. She was also the last official Eurovision entry from Yugoslavia, as the country de facto ceased to exist later that year. Šarić stated that after Eurovision she lived in Paris where she signed a two year recording contract, but ultimately decided to move back to Serbia due to political instability in her country.

In 1995, Bebi Dol released her second studio album Ritam srca (Rhythm of the Heart). She recorded the album with guitarist Mario Šeparović of the band Psihopolis and keyboardist Laza Ristovski. The album featured songs written by Bebi Dol and Zoran Vračević, as well as Serbian language covers of Madonna's "Take a Bow" (entitled "Pokloni se") and Judy Garland's "Over the Rainbow" (entitled "Iznad duge"). The album included hits like the previously released "Brazil" and "Hajde da..." ("Let's..."). At the 1999 Tomorrow's Children charity concert organized by UNICEF in Helsinki, Finland, Bebi Dol performed the song "Ruža" ("Rose"), and performed as a member of the choir consisting of musicians from around the world.

2000s-present: Later career in music and television
In 2002, Bebi Dol released her comeback album Ljuta sam... (I'm Angry...), produced by Vlada Marković, under PGP-RTS. The album was, as she stated, dedicated to all the people she lost in her life. A year later in April, she entered the Beovizija 2003 festival with "Tvrdoglava" ("Stubborn"), placing 10th. Same year, she began hosting her own talk show Bla Bla Bebi on TV Art. In late 2006, she released a cover album in English language, entitled Čovek rado izvan sebe živi (One Gladly Lives Out of Himself), through Mascom Records. The following year, she released the live album Veče u pozorištu (A Night at the Theatre) from her concert held at the Terazije Theatre in February 2007. It featured covers from Lenny Kravitz, Simon & Garfunkel, Pink Floyd, Louis Armstrong and Michael Jackson, as well as the songs from her previous release. In 2008, Bebi Dol released a compilation album, entitled ...Pokloni se... (...Take a Bow...).

Since 2009, Šarić has competed in several reality television shows, including Farma, Dvor and Zadruga. During 2017, Bebi Dol was also a contestant on the fourth Serbian season of Your Face Sounds Familiar, winning the first episode as Emeli Sandé. In 2020, she made a cameo appearance in the series Tajkun (Tycoon), directed by Dragan Bjelogrlić, as a folk singer named Martina, performing "Rano je za tugu" ("It's Early to Be Sad"), originally performed by Haris Džinović.

Collaborations
During her career, Bebi Dol made a number of guest appearances. She appeared on albums by YU Grupa, Igra Staklenih Perli, Kozmetika, Leb i Sol, Idoli, Du Du A, Zona B, Bajaga i Instruktori, Oliver Mandić, Massimo Savić and other artists. She has written lyrics for YU Grupa, Cactus Jack, Generacija 5 and other acts.

Personal life
In the late 1970s and early 1980s Šarić dated guitarist Goran Vejvoda, and during the 1980s, she dated singer Massimo Savić, with whom she recorded duet "Sunce sja, trava miriše" ("The Sun Is Shining, the Smell of Grass Is in the Air").

On 27 September 2014, she married Los Angeles-born Serbian professor of Russian language and literature, Aleks Todorović, after four years of dating. It was also reported that she has changed her name to Dragana Todorović.

Legacy
In 2006, the song "Rudi" was ranked No. 43 on the B92 Top 100 Domestic Songs list.

Studio albums

 * Ruže i krv (1983)
 * Ritam srca (1995)
 * Ljuta sam... (2002)
 * Čovek rado izvan sebe živi (2006)

Live albums

 * Veče u pozorištu (2007)

Compilations

 * ...Pokloni se... (2008)

Singles

 * "Mustafa" / "Na planeti uzdaha" (1981)
 * "Rudi" (12-inch single; 1983)
 * "Inšalah" / "Ruža na dlanu" (split single with Zana Nimani; 1986)
 * "Prove To All" / "How Good Not To Love" (1986)
 * "Brazil" (1991)

title: Bebi Dol


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Margaret's Museum

Margaret's Museum is a 1995 Canadian-British drama film directed by Mort Ransen and based on Sheldon Currie's novel The Glace Bay Miners' Museum. It stars Helena Bonham Carter, Clive Russell, and Kate Nelligan. The film won six Genie Awards, including acting awards for Bonham Carter and Nelligan.

Plot
Set in the 1940s in Cape Breton Island, Nova Scotia, the film tells the story of a young girl living in a coal mining town where the death of men from accidents in "the pit" (the mines) has become almost routine. Margaret MacNeil has already lost her father and an older brother and for her, life alone would be preferable to marrying a mine worker—that is until the charming Neil Currie shows up. Against the wishes of her hard-bitten mother they marry, but, before long, financial woes lead to his doing what every other uneducated young man does in the town: take a job underground. His death in the mine, along with her younger brother, drives Margaret to a mental breakdown and, in her surreal world, she decides to create a "special" museum to the memories of all those who have died as a result of the horrific mining conditions.

Cast

 * Helena Bonham Carter as Margaret MacNeil
 * Clive Russell as Neil Currie
 * Craig Olejnik as Jimmy MacNeil
 * Kate Nelligan as Catherine MacNeil
 * Kenneth Welsh as Angus MacNeil
 * Andrea Morris as Marilyn

Production notes
Part of Margaret's Museum was filmed in the UK. It carried significance in the local area of Newtongrange, Scotland as the screen debut of local TV celebrity David MacBeath, who appeared as an extra in the film.

Critical reception
Roger Ebert of the Chicago Sun-Times gave the film 3 ½ stars out 4. He praised the cast and wrote Margaret's Museum "is one of those small, nearly perfect movies that you know, seeing it, is absolutely one of a kind."

Awards and nominations
In 2001, an industry poll conducted by Playback named Margaret's Museum the 14th best Canadian film of the preceding 15 years.

title: Margaret's Museum


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Talk:Rebecca St. James

Changed photo
I have changed the photo because the last photo almost makes Rebecca St. James look mean: and i doubt her publicist would like that :) so we at wikipedia have decided to be nice & change it :p

Date change: vandalism?
These diffs were made by an anon.

-	* She Teen: Safe, Healthy, And Empowered, co-authored with Lynda Hunter Bjorklund. July 2, 2002. +	* She Teen: Safe, Healthy, And Empowered, co-authored with Lynda Hunter Bjorklund. September 18, 2005.

-	* She: Safe, Healthy, Empowered - The Woman You're Made To Be, October 30, 2004. +	* She: Safe, Healthy, Empowered - The Woman You're Made To Be, co-authored with Lynda Hunter Bjorklund. November 1, 2004.

I can't find a source, but it looks like it might be vandalism

 * It looks kind of confusing, different book store sites show different dates (and slightly different titles) for them all. I believe I used Amazon for the dates that were originally there.  I will look into it.  The page needs a lot of work anyway, some sources that back up the facts.  Been meaning to work on this but I'm not much of a fan.  --Foofy 02:44, 1 December 2005 (UTC)

 * I know for a fact that the devotional book 40 Days with God was originally released in 1996 in conjunction with Rebecca's God album. I bought it then. If I could find it, I would post a more definitive date, but I do believe the problem here is people posting the dates of the books' reprintings rather than vandalism. I will look into it, and see if I can't come up with something citable. --LonelyPilgrim 01:59, 12 March 2006 (UTC)

 * Not to mention some of the text needs to be reworded. "Encourages sex after marriage" sounds a little wrong. --24.39.223.22 01:17, 2 December 2005 (UTC)

 * Fixed that and some of the other wording. Wordbuilder

She was released in 2004, trust me i'm a HUGE Fan!!! Everything on there is right. Oh and the 40 Days with God was re-released in 2001 to go along with the TRansform album which was released in 2000.

Refresh My Heart
Is this really her first album? It wasn't actually released by any label... Foofy 20:00, 11 December 2005 (UTC)
 * Yes:   Utopianheaven 06:41, 18 February 2006 (UTC)

 * If an album receives at least a fair amount of distribution, it should be counted. That said, Refresh My Heart was released on the label DTS Music and distributed by Word Australia. The later re-release, however, doesn't appear to have an associated label. Wordbuilder 19:10, 13 July 2006 (UTC)

Should we change this picture?
This picture is not her best. We should change it to something else that is better. Later!!! Chili14 23:00, 21 May 2006 (UTC)

 * But there IS the problem of copyrights. How many pix are/are not copyrighted and whether they're better or worse. HyperSushi21 02:20, 12 July 2006 (UTC)

 * What about this pic: NonFreeImageRemoved.svg? I don't think it's copyrighted... it's the cover for the "Hark the Herald Angels Sing" single. 24.208.96.72 21:24, 22 July 2006 (UTC)

 * I'll change it. Jesussaves 23:01, 22 July 2006 (UTC)

Even though that picture isn't her best, it's the cover of her recent CD, so I'm gonna change it.

Error on song identity
The song, "Wait For Me", that appeared on The O.C., was written by Joan Jett and performed by the Runaways -- episode name, "The Girlfriend", date 9/9/03.   1diot 21:14, 7 June 2006 (UTC)

Remixes
Is "Remixes" an actual album, or is it just an EP? I think it's just an EP, but I'm not sure. Anybody know? 24.208.96.72 17:17, 30 June 2006 (UTC)
 * Nope. It is NOT an album. It is an extended play. Jesussaves 23:39, 5 July 2006 (UTC)

Plus it's out-of-print. if you have it, it's pretty valuble.

Singles?
Does anyone have a list of Rebecca's singles? If you do, it would be great if you would give me a link to their tracks so that I can add them to Wikipedia. Thanks!!! Jesussaves 23:39, 5 July 2006 (UTC)

 * A good suggestion is to look on her website and see if there are any listed on there. Or, you could go here.-- Chili14 Talk  Contribs  19:46, 6 July 2006 (UTC)

Should we add a lsit of her singles to the page? Jesussaves 21:56, 21 July 2006 (UTC)

 * Probably. It's a good idea, but a few of her singles don't have articles. btw, what's the difference between Albums and Singles? ~Sushi 03:41, 22 July 2006 (UTC)

nvm, I looked up EP ~Sushi 03:45, 22 July 2006 (UTC)

A single is a song that the artist decides to put out on the radio. All the songs you hear on the radio are singles. A single is just a song from an album that gets to radio. They don't always release a CD for a single, but sometimes they do.

Is she married?
Just wonderring if she's married or not... HyperSushi21 02:16, 12 July 2006 (UTC) 02:16, 12 July 2006 (UTC)

 * Not currently. Wordbuilder 17:42, 13 July 2006 (UTC)

 * Just so you know, she is one of the biggest advocates of sexual purity in Christian music, right along there with BarlowGirl. Wait for Me is one of her most well-known songs. If/when she gets married, we will all know.-- Chili 14 ( Talk to me! 04:05, 16 July 2006 (UTC)

 * I believe that I am one of a million who have been praying God will reward her patience and high standards with one wonderful husband. IMHO she is one of the most awesome women to ever grace the planet. —Preceding unsigned comment added by 4crates (talk • contribs) 02:17, 26 May 2010 (UTC)

 * I know, right 4crates? I'm praying that same thing. I keep coming back year after year to her website and Wikipedia to find out if she got married yet, only to see that there's no information at all on if she's even dated anyone... ever! I'd say "some fine, young Christian dude needs to step up," but it's getting to the point where we ain't so young anymore. I mean seriously. Dead serious. Is no one asking her? There're books about that. Nuclearjong (talk) 06:26, 11 November 2010 (UTC)

 * Just so everyone knows, she is engaged. Her younger sister Libby confirmed it on her Facebook page.101cantbetamed101 (talk) 07:24, 29 December 2010 (UTC)
 * Yes she is! 2600:100A:B1C9:A192:D5AA:F011:2E46:F2E6 (talk) 19:41, 24 March 2023 (UTC)

Books
How many books has she written/ What are they? ~Sushi 04:19, 15 July 2006 (UTC)
 * You can see the list of books in the "bibliography" section of the article. 24.208.96.72 18:23, 16 July 2006 (UTC)

Surfonic Water Revival
Should it be removed from the discography? It isn't a St. James album, she only sings one song on it. There are a handful of albums on which she only sings a song or two, and I don't think they should be listed in the discography. 24.208.96.72 20:21, 20 July 2006 (UTC)

 * Wikipedia defines discography as "A listing of all recordings which a musician or singer is on..." So the song itself would count, but since the rest of the list is in albums, it makes sense that the album be listed or pplz might think that the name of the song is an actual album. If you put the name of the song she sings next to the name of the album, it might clarify things a bit. ~Sushi 06:08, 21 July 2006 (UTC)

I Believe in God: RSJ Treasury
I'm not quite sure that this is actually an album so I removed it. If the user who added it could kindly give a source for proof that such an album exists, I would appreciate it. ;) 24.208.96.72 17:10, 23 August 2006 (UTC)

Oh that! Sorry... That's the list of the songs that I think should be on her next best of album. It's not a real album. Sorry... I probably should've posted it in here to see what people thought about it... Hmmm...

NEW LIVE ALBUM!!!
Yes, it's coming in the spring/summer. It's officially said that RSJ will release a live DVD/CD of her If I Had One Chance... Tour! So rad!!! Plus you can get a sneak peek if you huy the WOW HIts 2007 DVD, cuz it has "God Help Me" LIVE!!!

Hey Everyone! No Deleting...
My picture of her name! It's her official title card! Thanx! TickleTot 00:32, 22 February 2007 (UTC)

I don't know is this is true...
It says Relient K thinks she's "HOT!" Even if this is true it makes no sense to post it. So I'm deletin' it! 66.191.27.139 20:07, 13 March 2007 (UTC)

I also changed her Years Active thing. She actually technically started in '93. That's when she started recording and was signed and stuff. She even thinks of it as her 1st year, b/c she released her Best Of in 2003, 10 years after she started, so I t5hink you get my point! 66.191.27.139 20:09, 13 March 2007 (UTC)

"Rebecca is reportedly dating James Haven, Angelina Jolie's brother."
This phrase is in the introduction and doesn't cite the source. Please cite your source or I'm going to delete this as gossip. ~Sushi 07:16, 5 May 2007 (UTC)

It was reported by Perez Hilton and others. Run up an article "from Santa Angelina to Saint James" here: http://blog.beliefnet.com/idolchatter/2007/05/from-santa-angelina-to-st-james.html

http://subthemag.com/tss/tag/rebecca-st-james —Preceding unsigned comment added by 98.141.73.31 (talk) 04:27, 8 February 2009 (UTC)

She is not now, nor has she ever dated James Haven. She accompanied him to an event once. whatever Perez Hilton reports is Rubbish. The man is an idiot, and needs to be ignored. —Preceding unsigned comment added by Galentrafford (talk • contribs) 22:24, 28 December 2009 (UTC)

 * Galentrafford, I second that. Nuclearjong (talk) 06:28, 11 November 2010 (UTC)

Her Pro-Life Stance
Could someone give some more info on her pro-life stance and some citations. I know that she is radically pro-life (I'm not debating that) but I just think that subject deserves some more space. Thanks! -SeaSpray17 —Preceding unsigned comment added by 204.11.25.80 (talk) 21:28, 4 June 2008 (UTC)

Discography Page
I added all her singles and tours to her discography page and deleted them from the main page because they took up a lot of room. Hope that's okay. —Preceding unsigned comment added by 68.116.111.97 (talk) 03:09, 29 June 2009 (UTC)

Press
--Lexein (talk) 21:43, 20 October 2011 (UTC)
 * "Teen singer sends message - just wait - for the right person". Jim Varsellone, The News (Boca Raton, FL), pg. 16E, July 19, 1996.

Moved
I moved this claim from the article to here for discussion and sourcing:
 * In Brazil,Rebecca,has some versions of her songs By Rafaela Pinho: Above all(Por Amor-2003),Song of Love(Canção de Amor-2003),Breath(Tu és o meu viver-2003)e The Power of your Love(O poder do amor-2005).

I've revised it thus:
 * In Brazil, Rafaela Pinho sings some of St. James' songs: Above all(Por Amor-2003), Song of Love (Canção de Amor-2003), Breath(Tu és o meu viver-2003) and The Power of your Love (O poder do amor-2005).

Are there any supporting sources for this (news, mag, book)? At the moment, Rafaele Pinho does not yet have her own Wikipedia article: is she Notable per Wikipedia standards? Thanks. --Lexein (talk) 02:11, 31 October 2011 (UTC)
 * Note: Song titles should be in quotes. Also, don't create redlinks.
 * I found a video for "Por Amor" and it's a translated version of "Above All", however the song is written by Lenny LeBlanc and Paul Baloche. St. James only recorded a cover version (and so did Michael W. Smith).
 * I also found a video for "Canção de Amor" and it is "Song of Love".
 * http://www.youtube.com/watch?v=RcRTSlWU82w - "Tu és o meu viver" is "Breathe" but is by Marie Barnett.
 * http://www.youtube.com/watch?v=Idcb58eJv0g - "O poder do amor" is "The Power of Your Love", but that's by Geoff Bullock.
 * In short, it has very little to do with St. James and it makes little sense to include in her article. A mention of the cover of "Song of Love" would be appropriate in the Worship God article. --Walter Görlitz (talk) 02:31, 31 October 2011 (UTC)

Connections
Moved here after deletion as non-notable:
 * Rebecca St James is the niece of Ian Smallbone. Ian Smallbone is a member of the Christian music band "Family" who began their career in 1972. Rebecca's uncle Ian still performs occasionally with the other members of "Family" in Queensland Australia. More information on Ian Smallbone and "Family" can be found here on Family's official website

Less about notability, its only source is self-published. This may have a place later, rewritten and with reliable sources, as part of a section on connections with other groups. --Lexein (talk) 16:53, 21 December 2012 (UTC)
 * Is Ian Smallbone notable? If not see WP:BLP. A family vanity page is not a reliable source. In other words, we could list all of the subject's uncles and aunts, however if they are not notable in a Wikipedia sense (see general notability guidelines) then mentioning them is not appropriate. Her brothers are mentioned as their band is notable. Her father, who also recorded music in Australia is not mentioned either. --Walter Görlitz (talk) 17:49, 21 December 2012 (UTC)
 * I can confidently assure you that WP:N explicitly does not refer to content items in articles, only to whole article topics - its says so itself. I agree that the above paragraph doesn't belongs in the article now, because of lack of secondary sources and lack of apparent relevance. Did the uncle or Family help Rebecca get started or have any other connection to her career? No? Then he and Family are not particularly relevant. Just as advice, we try not to use "notable" when referring to specific content, we use "verifiable in independent reliable source(s)" instead, because that's the focus, for content items, or as I refer to them, "claims." For whole articles, then it's all about capital-N Notability.--Lexein (talk) 18:54, 21 December 2012 (UTC)
 * It doesn't? Oh, WP:BLPNAME is under the scope and it states:
 * "The names of any immediate, ex, or significant family members or any significant relationship of the subject of a BLP may be part of an article, if reliably sourced, subject to editorial discretion that such information is relevant to a reader's complete understanding of the subject. However, names of family members who are not also notable public figures must be removed from an article if they are not properly sourced."
 * As I said, BLP issue. --Walter Görlitz (talk) 19:51, 21 December 2012 (UTC)
 * Here are some problems with the most recent entry:
 * Incorrect formatting. (see this edit)? I have provided a list of links on the editor's talk page.
 * The link provided states that one of the musicians is "Ian Smallbone". There is no indication that the subject is related to St. James despite having the same family name and being in the same country, there's no support that this is her uncle. This goes against verifiable sources.
 * A vanity page is not a reliable source. I can create one that says the exact opposite of anything made on that "official" page with as much credibility as that one.
 * Even if this were all true, mentioning the musicians is not appropriate. Adding that link as the first external link is also against WP:EL, specifically WP:ELYES.
 * Wikipedia articles about any organization, person, website, or other entity should link to the subject's official site, if any. See Official links below.
 * An article about a book, a musical score, or some other media should link to a site hosting a legally distributed copy of the work, so long as none of the Restrictions on linking and Links normally to be avoided criteria apply.
 * Sites that contain neutral and accurate material that is relevant to an encyclopedic understanding of the subject and cannot be integrated into the Wikipedia article due to copyright issues, amount of detail (such as professional athlete statistics, movie or television credits, interview transcripts, or online textbooks), or other reasons.
 * The supplied site does not fall into any of those categories. It's certainly not number three because there's not addition to an encyclopedic understanding of St. James. Placing it first is also unduly promotional. It screams "look at me first since I'm most important".
 * Since the editor who most recently added it is named Chris4shon and the editor of that page is Chris Fauchon, this is a quite blatant promotion.
 * That the editor is sandboxing an article for the band is also interesting. That band doesn't meet notability requirements (see above). --Walter Görlitz (talk) 17:00, 22 December 2012 (UTC)

 * Walter, I don't know why you're being so prosecutorial about this, but my point about N stands, and your point about BLPNAMES does not refute it, because of "if they are not properly sourced." In other words, N is not relevant for content: only if there are RS, which was my point: V via RS is not the same as N, and is not required to be. As for the rest, I never said the vanity page was reliable, so why bang on about it? I don't care about the EL or the vanity site, because I'll never cite them as sources. Cheer up. http://xkcd.com/386/ -Lexein (talk) 17:25, 22 December 2012 (UTC)
 * Sorry. I don't mean to be adversarial about it. Notability does apply to discussing related individuals in articles. It's a well-standing point at BPL.
 * Also, I'm making my case (there's that adversarial language again!) with the editor who keeps adding the material (Chris4shon), not you. I agree that the N and BLP issue is not clearly defined at BPL. --Walter Görlitz (talk) 21:52, 22 December 2012 (UTC)
 * Ok, so basically, people who aren't mentioned in WP:RS (meaning non-"public") shouldn't be roped into somebody else's BLP - with that, I totally agree and have no problem. I think we're getting hung up on BLPNAMES's "However, names of family members who are not also notable public figures must be removed from an article if they are not properly sourced ." Emphasis mine:
 * From WP:N - "These notability guidelines only outline how suitable a topic is for its own article or list. They do not limit the content of an article or list." Emphasis mine, and of course this does not remove the requirement for V in RS for content.
 * There's an annoying inconsistency in language. There's WP:N (V by substantive discussion in RS over time) (article topics), and just plain old WP:V in an RS or two (a claim in an article). That second one has no single-word name, other than "verified" which has the same meaning as "reliably sourced"- the more commonly used phrase. Above, the phrase " properly sourced " is a sort of I-know-what-you-mean colloquialism, and maybe should be revised to the more formal "reliably sourced".
 * I guess I'm just saying that "properly sourced" and "reliably sourced" don't a) guarantee or b) imply Wikipedia "notability" so we shouldn't raise the bar on some related band beyond "reliably sourced." Keeping in mind my agreement about relevance.
 * --Lexein (talk) 07:29, 23 December 2012 (UTC)

Pregnancy & Walter Gorlitz' edit-warring
Something needs to be done to end Walter Gorlitz' territorial reign over this article. Rebecca St. James publicly announced her pregnancy almost a month ago, yet he seems obsessed with keeping this information out of the article, despite citations to both St. James' official Facebook page and to the Christian Music Makers blog. Not only has he reverted the edits of at least three different editors on the subject of her pregnancy, but he falsely accused me of IP-hopping (I wasn't; several editors have tried to add the same information to the article) and threatened to have me blocked! He is also dangerously close to violating Wikipedia's three-revert rule; all of his recent reversions have been without merit or explanation. While he screams "WP:BLP" at every turn, all the edits he's reverting are clearly supported with valid citations.

I also note, upon reading the older comments on this talk page, that he has a vituperative history with other posters. It is clear that Mr. Gorlitz has a personal obsession with monitoring the details of Rebecca's personal life and attacking anyone who makes a good faith edit, but whatever the reason, his nasty gatekeeping (including reversions without explanation, empty threats, false accusations on others' talk pages) needs to stop.

Mr. Gorlitz has stated that he wants to lock this article. Go ahead and do that, if you wish, but it won't resolve the issue. Wikipedia users will always free to add any information to an article, as long as it's accurate and supported by citations. Rebecca's pregnancy is both, and therefore it validly belongs in this article, whether you like it or not. The problem is not editors providing proper citations--they're already doing that. The problem is you.67.169.76.129 (talk) 07:25, 1 November 2013 (UTC)

 * I"m sorry. If you can't provide a reference to support the supplied date, it will have to be removed. Whether you like it or not, it's a violation of WP:BLP. While the edits may be made in good faith, they cannot stay with a support of the date. There's no question the subject is pregnant, but the date of birth is not supported. We have a "20 weeks pregnant" statement, but that the picture may have been taken that date or two months earlier. Walter Görlitz (talk) 07:35, 1 November 2013 (UTC)

You are both edit warring over this, and both of you have been blocked for 24 hours. , my determination is that this material is not sufficiently contentious to count as an edit-warring exception under BLP, especially given that you have a history of edit warring. The material could have been reworded in such a way as to avoid the topic of the due date without a wholesale revert. , you could have avoided an edit war by coming to the talk page sooner, and I can understand why Walter had problems with the sources you were citing -- but that doesn't make either of you "right". The next step will be (full) article protection if this continues. —Darkwind (talk) 08:27, 1 November 2013 (UTC)

1987? No way
There is no way she was at 9, a little baby singing on stage, just no way! Her career is more like 1997 to present!2602:304:CFD3:2EE0:ECE2:34BC:8BA8:D0EE (talk) 06:54, 27 September 2014 (UTC)
 * First, babies are usually considered children under the age of two. Infants are under the age of about four. She was clearly a child. My daughter has been leading worship at various churches from the age of eight and I don't doubt that she could have been doing so since the age of nine, particularly since her father was a musician and the article doesn't say anything about her at the age of nine. The earliest mention of her age is twelve. Walter Görlitz (talk) 16:50, 27 September 2014 (UTC)

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Second pregnancy
Rebecca has announced she's pregnant with her second child on both facebook and instagram. I would consider this to be worthy of being put on the page, as it relates to her life (which includes her personal life - she shares it online and was vocal for many years about it). So why was the adding of this news removed? — Preceding unsigned comment added by Little blue bird (talk • contribs) 13:29, 20 April 2018 (UTC)
 * Every time I reverted you, I pointed you to WP:NOTNEWS. Have you read that?
 * If a WP:SECONDARY source can be found to support the announcement, then we could add it, but it's probably safer to wait until the child is born. If a secondary source can't be found, it's not really encyclopedic. Did People publish it? How about Christianity Today? What about a Christian music website? In short, not everything that a notable person does or writes about has to be included in their Wikipedia article. Even if those events are major life events. Walter Görlitz (talk) 14:31, 20 April 2018 (UTC)

Where we going nowadays new days new age always got to keep the promise of God in me I love God bless and smiles
To the best we can and not know what they do some 23.88.191.226 (talk) 08:12, 4 March 2023 (UTC)

title: Talk:Rebecca St. James


text:
File:Warhammer fantasy roleplay cover.jpg

cover of Warhammer Fantasy Roleplay, published by Black Industries

Fair use rationale for article Warhammer Fantasy Roleplay
I believe that use of this image in the Wikipedia article Warhammer Fantasy Roleplay qualifies as fair use under United States copyright law for the following reasons: -- the wub "?!"  10:51, 15 July 2007 (UTC)
 * The image is irreplaceable; a free analogue is impossible to produce
 * Only a small portion of a copyrighted work is used
 * The image is used solely to illustrate the role-playing game in question
 * The use of this image does not compete with the copyright holders' usage
 * The image is of inferior quality compared to that of an original.


text:
Philip Guston

Philip Guston (born Phillip Goldstein, June 27, 1913 – June 7, 1980) was a Canadian American painter, printmaker, muralist and draftsman. "Guston worked in a number of artistic modes, from Renaissance-inspired figuration to formally accomplished abstraction," and is now regarded as one of the "most important, powerful, and influential American painters of the last 100 years." He frequently depicted racism, antisemitism, fascism and American identity, as well as, especially in his later most cartoonish and mocking work, the banality of evil. In 2013, Guston's painting To Fellini set an auction record at Christie's when it sold for $25.8 million.

Guston was a founding figure in the mid-century New York School, which established New York as the new center of the global art world, and his work appeared in the famed Ninth Street Show and in the avant-garde art journal It is. A Magazine for Abstract Art. By the 1960s, Guston had renounced abstract expressionism and was helping pioneer a modified form of representational art known as neo-expressionism. "Calling American abstract art 'a lie' and 'a sham,' he pivoted to making paintings in a dark, figurative style, including satirical drawings of Richard Nixon" during the Vietnam War as well as several paintings of hooded Klansmen, which Guston explained this way: "They are self-portraits … I perceive myself as being behind the hood … The idea of evil fascinated me … I almost tried to imagine that I was living with the Klan." The paintings of Klan figures were set to be part of an international retrospective sponsored by the National Gallery of Art, the Tate Modern, the Museum of Fine Arts, Houston, and the Museum of Fine Arts, Boston in 2020, but in late September, the museums jointly postponed the exhibition until 2024, "a time at which we think that the powerful message of social and racial justice that is at the center of Philip Guston's work can be more clearly interpreted."

The announcement spurred an open letter, published online by The Brooklyn Rail and signed by more than 2,000 artists. It criticizes the postponement and the museums' lack of courage to display or attempt to interpret Guston's work, as well as the museums' own "history of prejudice". It calls Guston's KKK themes a timely catalyst for a "reckoning" with cultural and institutional white supremacy, and argues that that is why the exhibition must proceed without delay. On October 28, 2020, the museums announced earlier exhibition dates starting in 2022.

Early years
The child of Ukrainian Jewish parents who escaped the persecution of pogroms by immigrating to Canada from Odessa, Guston was born in Montreal in 1913 and moved to Los Angeles in 1919. The family were aware of the regular Ku Klux Klan activities against Jews and Blacks which were taking place across California. In 1923, possibly owing to persecution or the difficulty of securing an income, his father hanged himself in the shed, and the young boy found the body.

Guston's interest in drawing led his mother to enroll him in a correspondence course from the Cleveland School of Cartooning. In 1927, at the age of 14, Guston began painting and enrolled in the Los Angeles Manual Arts High School, where he met Jackson Pollock, who became a lifelong friend. The two studied under Frederick John de St. Vrain Schwankovsky and were introduced to European modern art, Eastern philosophy, theosophy and mystic literature. The pair later published a paper opposing the high school's emphasis on sports over art, which led to expulsions, although Pollock eventually returned and graduated.

Apart from his high school education and a one-year scholarship at the Otis Art Institute in Los Angeles, which left him dissatisfied, Guston remained a largely self-taught artist, influenced by, among others, the Italian painter Giorgio de Chirico, whom Guston repeatedly acknowledged throughout his career. He died in 1980 at the age of 66, of a heart attack, in Woodstock, New York.

Political murals
As an early activist, in 1932, the 18-year-old Guston produced an indoor mural with the artist Reuben Kadish in an effort by the communist-affiliated John Reed Club of Los Angeles to raise money in support of the defendants in the Scottsboro Boys Trial, in which nine Black teenagers were falsely accused of a rape in Alabama and sentenced to death." The mural was then defaced by local police forces, organized into violent anti-communist Red Squads. The subsequent court ruling found no fault on the part of the L.A. police, even though irreversible damage was sustained to many works of art.

In 1934, Philip Goldstein (as Guston was then known) and Kadish joined their friend the poet Jules Langsner on a trip to Mexico, where they were commissioned to paint a 1,000 sqft mural on a wall in the former summer palace of the Emperor Maximilian in the state capital of Morelia. They produced the impressive The Struggle Against Terror, whose antifascist themes were clearly influenced by the work of David Siqueiros. The mural "includes the hooded figures that became a lifelong symbol of bigotry for the artist." A two-page review in Time magazine quoted Siqueiros's description of them: "the most promising painters in either the US or Mexico." In Mexico he also met and spent time with Frida Kahlo and her husband Diego Rivera.

In 1934–35, Guston and Kadish also completed a mural that remains to this day at City of Hope Medical Center, a tuberculosis hospital at the time, located in Duarte, California.

WPA murals
In September 1935, aged 22, Guston moved to New York, where he worked as an artist in the WPA program during the Great Depression. In 1937, he married the artist and poet Musa McKim, whom he first met at Otis, and they collaborated on several WPA murals. During this period his work included strong references to Renaissance painters such as Piero della Francesca, Paolo Uccello, Masaccio, and Giotto. He was also influenced by American Regionalists and Mexican mural painters. In 1938 he painted a post office mural in the US post office in Commerce, Georgia, entitled Early Mail Service and the Construction of Railroads, and in 1944, he completed a mural for the Social Security building in Washington, D.C.

Abstract expressionism
In the 1950s, Guston achieved success and renown as a first-generation abstract expressionist, although he preferred the term New York School. During this period his paintings often consisted of blocks and masses of gestural strokes and marks of color floating within the picture plane, as seen in his painting Zone, 1953–1954. These works, with marks often grouped toward the center of the composition, recall the "plus and minus" compositions of Piet Mondrian or the late Nymphea canvases by Monet.

Guston used a relatively limited palette, favoring black and white, grays, blues and reds. It was a palette that would remain evident in his later work, despite Guston's attempts to expand his palette and reintroduce abstraction to his work late in life, as evidenced in some of his untitled work from 1980 that has more blues and yellows.

Neoexpressionism
In 1967, Guston moved to Woodstock, New York. He was increasingly frustrated with abstraction and began painting representationally again, but in a personal, cartoonish manner. "It disappointed many when he returned to figuration with aplomb, painting mysterious images in which cartoonish-looking cups, heads, easels, and other visions were depicted against vacant beige backgrounds. People whispered behind his back: "He's out of his mind, and this isn't art," curator Michael Auping said. "He could have ruined his reputation, and some people said he did." The first exhibition of these new figurative paintings, including The Studio, Blackboard, and City Limits, was held in 1970 at the Marlborough Gallery in New York. It received scathing reviews from most of the art establishment. Memorably, New York Times art critic Hilton Kramer ridiculed Guston's new style in an article entitled "A Mandarin Pretending to Be a Stumblebum", referring to "mandarin" in the sense of an influential figure and "stumblebum" meaning a clumsy person. He called the act of changing styles an "illusion" and an "artifice". The initial reaction of Robert Hughes, critic for Time magazine, who later changed his views, was put into a scathing review entitled "Ku Klux Komix".

According to Musa Mayer's biography of her father in Night Studio, the painter Willem de Kooning was one of the few who instantly understood the importance of these paintings, telling Guston at the time that they were "about freedom." Cherries III from 1976, held in the collection of the Honolulu Museum of Art, is an example of his late-style representational paintings. Although cherries are a mundane subject, their spiky stems can be a metaphor for the crudeness and brutality of modern life.

As a result of the poor reception of his new figurative style, Guston isolated himself even more in Woodstock, far from the art world that had so utterly misunderstood his art.

In 1960, at the peak of his activity as an abstractionist, Guston said, "There is something ridiculous and miserly in the myth we inherit from abstract art. That painting is autonomous, pure and for itself, therefore we habitually analyze its ingredients and define its limits. But painting is 'impure'. It is the adjustment of 'impurities' which forces its continuity. We are image-makers and image-ridden." From 1968 onward, after moving away from abstraction, he created a lexicon of images such as Klansmen, light bulbs, shoes, cigarettes and clocks. In late 2009, the McKee gallery, Guston's long-time dealer, mounted a show revealing that lexicon in 49 small oil paintings on panel painted between 1969 and 1972 that had never been publicly displayed.

A catalogue raisonné of the artist's work was compiled by the Guston Foundation in 2013, coinciding with recent scholarly interest that explored the periods he spent in Italy.

Public collections

 * Art Institute of Chicago
 * Detroit Institute of Arts
 * Governor Nelson A. Rockefeller Empire State Plaza Art Collection (Albany, NY)
 * High Museum of Art
 * Honolulu Museum of Art,
 * Metropolitan Museum of Art
 * Museum of Modern Art (MoMA)
 * Modern Art Museum of Fort Worth
 * National Gallery of Art
 * Tate Modern
 * Virginia Museum of Fine Arts

In 2022, Guston's daughter, Musa Mayer, gifted 96 paintings and 124 drawings from her personal collection to the Metropolitan Museum of Art; this acquisition of more than 200 pieces is the largest collection of Guston's work held by a single institution.

Academic affiliations
Guston was a lecturer and teacher at a number of universities, and served as an artist-in-residence at the School of Art and Art History at the University of Iowa from 1941 to 1945. He then served an artist-in-residence at the St. Louis School of Fine Arts at Washington University in St. Louis, Missouri until 1947. He continued with his teaching at New York University and at the Pratt Institute in Brooklyn and, from 1973 to 1978, he conducted a monthly graduate seminar at Boston University.

Among Guston's students were two graduates of the University of Iowa, painters Stephen Greene (1917–1999) and Fridtjof Schroder (1917–1990), as well as Ken Kerslake (1930–2007), who attended the Pratt Institute. Rosemary Zwick was a student at Iowa. Among those who attended his graduate seminars at Boston University were painter Gary Komarin (1951–), sculptor and painter Susan Mastrangelo (1951–) and new media artist Christina McPhee (1954–).

He was also posthumously elected to the National Academy of Design as an Associate Academician.

2020 controversy
In the fall of 2020, Philip Guston Now, a long-planned traveling retrospective of Guston's work, which included 24 of the Klan paintings, was postponed until 2024 by the traveling show's four sponsoring institutions: the National Gallery of Art; the Tate Modern; the Museum of Fine Arts, Houston; and the Museum of Fine Arts, Boston. In a joint press release issued by the museums, they wrote: "The racial justice movement that started in the U.S. and radiated to countries around the world, in addition to challenges of a global health crisis, have led us to pause," explaining that the international tour, which had already been rescheduled because of the coronavirus, was best delayed "until a time at which we think that the powerful message of social and racial justice … can be more clearly interpreted." Public response led to a "deluge of criticism from inside the art world," as well as major articles in New York magazine, The New York Times, CNN, Artforum, Tablet, and The Wall Street Journal, among other publications.

The most scathing response was collective, and organized in an open letter published online by The Brooklyn Rail. The letter featured a "list of signatories [that] reads like a roll call of the most accomplished American artists alive: old and young, white and Black, local and expat, painters and otherwise," including Matthew Barney, Nicole Eisenman, Charles Gaines, Ellen Gallagher, Wade Guyton, Rachel Harrison, Joan Jonas, Julie Mehretu, Adrian Piper, Pope.L, Martin Puryear, Amy Sillman, Lorna Simpson, Henry Taylor, and Christopher Williams. Strongly criticizing the museums' lack of courage to display the work, attempt to interpret it, or come to terms with the institutions' own "history of prejudice", the signers unanimously described the exhibition as a timely prompt for a "reckoning" — adding that that was why it must proceed as scheduled. As of October 3, 2020, more than 2,000 artists had signed the letter, but the exhibition organizers did not respond until they rescheduled the exhibition for dates beginning in 2022. Philip Guston Now opened at the Museum of Fine Arts in Boston on May 1, 2022.

Popular culture
In "Cat and Girl versus Contemporary Art," part of the Cat and Girl webcomic series, author Dorothy Gambrell critiques the difficulty and purpose of finding the meaning behind art using Guston's iconic Head and Bottle painting.

Auction record
In May 2013, Christie's set an auction record for the artist's work To Fellini, which sold for US$25.8 million.

title: Philip Guston


text:
Déodat de Séverac

Marie-Joseph Alexandre Déodat de Séverac (20 July 1872 – 24 March 1921) was a French composer.

Life
Séverac was born in Saint-Félix-de-Caraman, Haute-Garonne. He descended from a noble family, profoundly influenced by the musical traditions of his native Languedoc.

He first studied in Toulouse, then later moved to Paris to study under Vincent d'Indy and Albéric Magnard at the Schola Cantorum, an alternative to the training offered by the Conservatoire de Paris. There he took organ lessons from Alexandre Guilmant and worked as an assistant to Isaac Albéniz. He returned to the southern part of France, where he spent much of the rest of his rather short life. His native south was a region that attracted a number of his contemporaries—artists and poets he had met in Paris. His opera Héliogabale was produced at Béziers in 1910.

He died in Céret, Pyrénées-Orientales, Roussillon aged 48.

Music
Séverac is noted for his vocal and choral music, which includes settings of verse in Occitan (the historic language of Languedoc) and Catalan (the historic language of Roussillon) as well as French poems by Verlaine and Baudelaire. His compositions for solo piano have also won critical acclaim, and many of them were titled as pictorial evocations and published in the collections Chant de la terre, En Languedoc, and En vacances.

A popular example of his work is The Old Musical Box ("Où l'on entend une vieille boîte à musique", from En vacances). His masterpiece, however, is the piano suite Cerdaña (written 1904–1911), filled with the local color of Languedoc. His motet Tantum ergo is also still in current use in church settings.

Operas

 * Les Antibels (1907, lost) based on a novel by Émile Pouvillon
 * Le Cœur du moulin, poème lyrique in two acts (1908)
 * Héliogabale, tragédie lyrique in three acts (1910)
 * Le Roi Pinard, opérette (1919)

Works for Piano

 * Le Chant de la terre (1900)
 * En Languedoc (1904)
 * Le Soldat de plomb (1904), for piano duet
 * Baigneuses au soleil (1908)
 * Cerdaña. 5 Études pittoresques (1904–1911)
 * En vacances. Petites pièces romantiques (1912)
 * Sous les lauriers roses (1919)
 * Où l'on entend une vieille boîte à musique (An Old Music Box)

Chamber music

 * Barcarolle (1898), flute and piano
 * Élégie héroique (1918), violin/cello and piano/organ
 * Trois Recuerdos & Cortège nuptial catalan (1919), string quintet and brass
 * Minyoneta (1919), violin and piano
 * Souvenirs de Céret (1919), violin and piano

Choral music

 * Sant Félix (1900)
 * Mignonne allons voir si la rose (1901)
 * La Cité (1909)
 * Sorèze et Lacordaire (1911)
 * Sainte Jeanne de Lorraine (1913)

Songs

 * numerous art songs, including À l'aube dans la montagne (1906) and Flors d'Occitania (1912).

title: Déodat de Séverac


text:
User:Dharris

Doug Harris

Personal Site

Wikipedia Projects

 * U.S. Soccer mens national team player page cleanup
 * Fixing Rolling Stones timeline

title: User:Dharris


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File:Spearhead from Space.jpg

The Autons, deadly mannequins animated by the alien Nestene Consciousness, go on a rampage through London (from Doctor Who - Spearhead from Space).

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Kingdom of Westphalia

The Kingdom of Westphalia was a client state of France in present-day Germany that existed from 1807 to 1813. While formally independent, it was ruled by Napoleon's brother Jérôme Bonaparte. It was named after Westphalia, but this was a misnomer since the kingdom had little territory in common with that area. The region mostly covered territory formerly known as Eastphalia.

Napoleon imposed the first written modern constitution in Germany, a French-style central administration, and agricultural reform. The kingdom liberated the serfs and gave everyone equal rights and the right to a jury trial. In 1808 the kingdom passed Germany's first laws granting Jews equal rights, thereby providing a model for reform in the other German states. Westphalia seemed to be progressive in immediately enacting and enforcing the new reforms.

The country was relatively poor but Napoleon demanded heavy taxes and payments and conscripted soldiers. Few of the men who marched into Russia with Napoleon in 1812 returned. The kingdom was bankrupt by 1812. When Napoleon was retreating in the face of Allied advances in 1813, the kingdom was overrun by the Allies and (in 1815) most of its territories became Prussian. Most of the reforms, however, remained in place.

Formation
The Kingdom of Westphalia was created by Napoleon in 1807 by merging territories ceded by the Kingdom of Prussia in the Peace of Tilsit, among them the region of the Duchy of Magdeburg west of the Elbe river, the Brunswick-Lüneburg territories of Hanover and Brunswick-Wolfenbüttel, and the Electorate of Hesse. Hesse's capital Cassel (modern spelling Kassel) then fulfilled the same function for Westphalia, and the king kept the court at the palace of Wilhelmshöhe, renamed Napoleonshöhe. The state was a member of the Confederation of the Rhine.

Since it was intended as a Napoleonic "model state", a constitution was promulgated on 15 November and enacted by King Jérôme on 7 December 1807, the day after he had arrived in Cassel, making Westphalia the first monarchy in Germany with a modern-style constitution. The constitution made all male residents citizens with equal rights. Thus serfs were liberated, Jews emancipated, and socage abolished. The Napoleonic code was enacted, doing away with guilds and providing for the right of capitalism. A metric system of weights and measures was introduced.

The organisers used French terms to designate the regional territories within the kingdom: departments received names based on watercourses (Elbe, Saale, Weser, Fulda, Leine, Oker) and mountains (Harz), regardless of their traditional names. These departments were generally composed of territories taken from a number of petty states. Compared to the departments of France itself, the Westphalian departments were relatively small and sparsely populated.

While administrative divisions (departments, districts and cantons) were certainly less unequal than the previous territorial divisions, uniformity does not appear to have been a determining factor in their creation. The desire to break from the past, and not just from the random territorial divisions of the former manorial justices, especially influenced the cantonal distribution. Just as before the conquest, freedom of expression remained curtailed and censorship was instituted. In December 1810 the coastal and northern départements North (capital: Stade) and Lower Elbe (capital: Lunenburg) were ceded to the French Empire.

Jews
Following the French example, Jewish congregations were reorganised and a Consistory supervising them was established. The former Brunswick-Wolfenbüttel merchant and man of letters, Israel Jacobson, became its consistorial president, assisted by a board of officers. Jacobson did his best to exercise a reforming influence upon the various congregations of the country. He opened a house of prayer in Cassel, with a ritual similar to that introduced in Seesen. Napoléon's infamous décret infâme, again restricting the rights of many French Jews, did not apply in Westphalia.

Russian conquest
A significant burden on the kingdom was the requirement to supply troops and financial support for the Napoleonic wars. Large numbers of Westphalian troops fought in the Russian campaign of 1812; the Westphalian Guards heroically but unsuccessfully charged the Raevski Redoubt during the Battle of Borodino.

In September 1813, Russian troops surrounded Cassel, defeated the French completely, and took the city. By October 1 they had conquered the whole kingdom, but three days later Jérôme returned with French soldiers and managed to recapture Cassel. The Elector of Hesse-Kassel arrived soon after and the Russians besieged the city again. After France lost the Battle of Leipzig on 19 October 1813, the Russians dissolved the kingdom and restored the status quo of 1806 except for Rietberg and Stolberg-Wernigerode, which went to Prussia.

Coat of arms
The arms reflect the incorporated territories. The first quarter shows the silver horse of Westphalia; the second the lion of Hesse over the counties of Dietz, Nidda, Ziegenhain and Katzenelnbogen; the third was newly designed for non-specified territories around Magdeburg; and the fourth combined Brunswick, Diepholz, Lüneburg and Lauterburg. Around the shield are the Order of the Crown of Westphalia and the French Grand Aigle of the Légion d'honneur. Above is Napoleon's star. Typical of Napoleonic heraldry are the crossed sceptres.

title: Kingdom of Westphalia


text: Category:110s BC births

title: Category:110s BC births


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Category:100s BC births

lv:Kategorija:100. gadā p.m.ē. dzimušie

title: Category:100s BC births


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File:Three Doctors.jpg

The insane Time Lord Omega parades before the two Doctors (Jon Pertwee and Patrick Troughton) and Sergeant Benton (from Doctor Who - The Three Doctors).

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Yale Golf Course

The Yale Golf Course, or Yale University Golf Course, is a golf course in New Haven, Connecticut, owned and operated by Yale University. Yale is home to the men and women's Yale Golf Team and hosts three collegiate invitational tournaments each year. The course is primarily open to university students, alumni, and the university community.

History
In October of 1895, Yale students began playing the no-longer-existing New Haven Golf Club in the Newhallville neighborhood of New Haven. That course expanded to 18 holes in 1899 and was home to the students and team until 1910 when the course was developed into housing. From there, Yale students joined the newly opened Race Brook Country Club in Orange, Connecticut. However, it was relatively far away and not convenient to campus. After witnessing much enthusiasm among his undergraduates, George Adee wrote a proposal to the Yale Athletic Association out of concern and frustration in 1922. By this time, Princeton already had a university golf course while Harvard had begun discussions for a golf course of their own. Adee's proposal revolved around asking Sarah Wey Tompkins, the window of Ray Tompkins, to purchase and donate a plot of land on which Yale could build a course of their own. Ray Tompkins was a former Yale football captain in 1882 and 1883. Tompkins had amassed a large wealth while serving as the president of the Chemung Canal Trust Company in New York. Upon his death in 1918, Tompkins left his wife Sarah an estate worth over a million dollars. However, in his will existed a provision that upon the death of his wife the remainder of his wealth would be given to Yale "to furnish facilities for extending and developing the practice of athletic exercises on the part of students of the University." In 1923 following Adee's proposal, Yale approached Sarah Tompkins in hopes that she would purchase a plot of land known of the Greist Estate and donate it to the University. She accepted without hesitation and the 720 acre was purchased for $375,000.

Following the donation of the Griest Estate by Sarah Tompkins, a Yale Golf Committee was formed. With George Adee as its first chairman and J.F. Byers and Jess Sweetser on the committee, they contacted golf course architect Charles Blair Macdonald to confirm the possibility of having a golf course on the estate. Upon viewing the property and seeing its potential, Macdonald agreed to serve as a consultant to the project. Macdonald pushed for the hiring of a former associate of his, Seth Raynor, to be the course architect. Raynor was paid $7,500 to complete the project and began surveying the land in the summer of 1923.

To fund the golf course, the Board of Control of the Yale Athletic Association reached out to alums with the opportunity to become either a patron of the Ray Tompkins Memorial, a founder, or a member of the Yale Golf Club. To become a patron, one would have to pay $1000 but would be granted, “all privileges of the Ray Tompkins Memorial, including unrestricted lifetime use of the Yale Golf Course, and the option to make during lifetime one transfer of his rights, subject to the approval of the Board of Control.” Some of the alums who supported became patrons include Edwin Herr, George Adee, W. T. Adee, Charles Tiffany, Edward S. Harkness, M.N. Buckner, M.J. Warner, Clarence Blakeslee, Oliver Gould Jennings, J. Frederic Byers, Eben Byers, Charles Merrill, S. Brink Thorne, Julian Curtiss, Henry Havemeyer, Harry Rosenbaum, and S.B. Rosenbaum. Founders of the Yale Golf Club received lifetime use of the course, subject to restriction during the college year based on undergraduate use of the course. Founders within a 25-mile radius of the University paid $750 while those beyond 25 miles paid $500. Members of the Yale Golf Club received use, of course, subject to restrictions during the college year based on undergraduate use of the course. The initiation fee was $250 in addition to annual dues of $40 for those within a 25-mile radius of the university, or $20 for those beyond the 25-mile radius.

The clearing of the Griest Estate began during the summer of 1923. The crew had to blast, dig and drain the land that was mostly swampland.

Macdonald described it: "The building of it was a difficult engineering problem. The land was high, heavily wooded, hilly, and no part of it had been cultivated for over forty years. There were no roads or houses upon it. It was a veritable wilderness when given to Yale ... When in the timber one could not see fifty feet ahead, the underbrush was so thick."

In total 120 acres of the estate was made available for the course. Heavier construction began in April 1924. The project initially began with 60 workers and rose to 150 at the height of the project. Although the crew ran into irrigation issues that required 35,000 ft of pipes to correct and the project itself ran way over budget, the course officially opened for play on April 15, 1926. Upon opening, the course set up as a 6552 yd par 71. The courses' final cost was a then-record $400,000. One reviewer, the legendary sportswriter Herbert Warren Wind, wrote that the Yale Golf Course was, "a back-breaking job over an untouched plot of rugged land whose hazards and greens have the kind of dimensions that one would have expected of Michelangelo."

In 1983, Ben Crenshaw referred to the course as a "national treasure."

In 1994, Yale hired a new Athletic Director, Tom Beckett. He was "shocked" to find the course in such "poor condition." Beckett improved the financial situation of the course, which included an investment program and alumni support base. With the additional funds Yale was able to advance the quality of the course through tree removal, improved irrigation, and regular visits from USGA agronomists. Staffing on the course also increased which "made a tremendous difference in the conditions of the golf course." By 2004, "a restored and beautiful course" had manifested itself.

In 2006, the course was voted the top university golf course in the country. In 2019, the course was ranked #53 in Golfweek's Top 200 Classic Courses. It was also voted Best Campus Course in 2019 by Golfweek. According to the USA Today, it is the "perennial" #1 pick.

Tournaments hosted
Yale Golf Course has hosted many significant golf tournaments. These include significant amateur tournaments like the U.S. Junior Amateur Golf Championship and Connecticut Amateur. In addition, the course has hosted many significant college tournaments including the NCAA Regional Championships, Macdonald Cup, and the Yale Spring Invitational. The course has also hosted some significant professional tournaments. It hosted the Connecticut Open in 1931 and 1981. The course also hosted a Ben Hogan Tour event, New Haven Open, in the early 1990s.

David Patterson, the Scottish-born Yale Bulldogs golf coach during the late 20th century, also helped establish a number of significant tournaments at Yale Golf Course during his tenure. These included the 1988 USGA National Junior Championship, 1991 and 1995 NCAA Regional Championships, 1995 World Special Olympics Golf Championship, and the Yale Golf Classic, a senior event.

Like many courses, the course has a club championship. Reverend William T. Lee, who won the Connecticut Amateur three times, has won the club championship 11 times.

In 2004, the course hosted the NCAA Eastern Regional tournament. Bill Haas, from Wake Forest University, won the tournament at two-under-par.

title: Yale Golf Course


text:
Click (comics)

Click! is a series of erotic Italian comic books written and illustrated by comic book creator Milo Manara. It was first published in 1983 as Il gioco in the Italian Playmen and as Déclic in L'Écho des savanes in France. Three sequels have followed, in 1991, 1994 and 2001.

Synopsis
The first volume features an attractive but passionless woman, Ms. Claudia Cristiani, who is married to an older, rich man. After she is abducted by a scientist and a remote-controlled device is surgically implanted into her brain, its activation makes her become sexually insatiable. The three sequels roughly follow a similar story.

Adaptations
Il gioco was the basis for the 1985 French film, Le déclic.

title: Click (comics)