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Michael Stanley

Michael Stanley (born Michael Stanley Gee; March 25, 1948 – March 5, 2021) was an American singer-songwriter, musician, radio and television personality. As a solo artist and with the Michael Stanley Band (MSB), and Michael Stanley and the Resonators (MS&R) his brand of heartland rock was popular in Cleveland, Ohio, and around the American Midwest in the 1970s and 1980s.

Early life, family, and education
Michael Stanley Gee graduated from Rocky River High School in 1966. He attended Hiram College on a baseball scholarship and graduated with a bachelor's degree in 1970.

Early career
While in college, Michael Stanley was in the band Silk (originally called the Tree Stumps) which released an album, Smooth As Raw Silk, on ABC Records in 1969.

A few years after his graduation, while working as a regional manager for a record store chain, Stanley released his first solo album, Michael Stanley, on Tumbleweed Records in 1973. The album was produced by Bill Szymczyk and featured contributions from Joe Walsh, Todd Rundgren, Rick Derringer, and Joe Vitale. Its first song, "Rosewood Bitters," would become a lifetime fixture in Stanley's shows and was later recorded by Walsh in 1985. Stanley's second solo album, Friends and Legends, released later in 1973 on MCA Records, was again produced by Szymczyk and included support from members of Barnstorm and Stephen Stills' Manassas, among others: Walsh, Vitale, Kenny Passarelli, Paul Harris, Joe Lala, Al Perkins, David Sanborn, Dan Fogelberg, and Richie Furay, with J. Geils contributing to the production.

Michael Stanley Band
The Michael Stanley Band was formed by Stanley in 1974 with singer-songwriter–lead guitarist Jonah Koslen, former Glass Harp bassist Daniel Pecchio and drummer Tommy Dobeck from the band Circus. There were several personnel changes over the years and by 1982 the group had evolved into a seven-piece band.

Nicknamed MSB by their fans, the band set several attendance records at Cleveland area venues including a record 20,320 at the Richfield Coliseum on July 20, 1979, and a record 40,529 for two Coliseum concerts on December 31, 1981, and January 1, 1982. The band's greatest achievement was a total attendance of 74,404 during a four-night stand at Blossom Music Center on August 25, 26, 30 and 31, 1982.

The group reached the peak of their popularity nationally in 1981 when the single "He Can't Love You" from the album Heartland (written and sung by keyboardist Kevin Raleigh) made the Top 40 (#33 Billboard, #27 Cash Box) and "In the Heartland" from the album North Coast went to #6 on Billboard's Top Tracks chart. Their video for "He Can't Love You" was the 47th video ever played on MTV. The band's last Top 40 hit was "My Town" in 1983. "My Town" has been played by the Ohio State University Marching Band since 1986. The special all-brass and percussion arrangement is a favorite in Ohio Stadium.

The band dissolved in 1987 with a series of 12 farewell shows at the Front Row Theater in Highland Heights, Ohio (suburban Cleveland) during the 1986–87 holiday season.

In 2004, the sketch comedy troupe Last Call Cleveland produced Michael Stanley Superstar: The Unauthorized Autobiography of the Cuyahoga Messiah, a play which parodied Stanley's status as a local celebrity.

 * Personnel
 * Michael Stanley – guitar, vocals
 * Jonah Koslen – lead guitar, vocals (1974–77)
 * Daniel Pecchio – bass, vocals (1974–79)
 * Tommy Dobeck – drums
 * Bob Pelander – keyboards (1976–87)
 * Gary Markasky – lead guitar (1978–83)
 * Kevin Raleigh – keyboards, vocals (1978–87)
 * Michael Gismondi – bass (1979–87)
 * Rick Bell – saxophone (1982–84)
 * Danny Powers – lead guitar (1983–87)

Television and radio
Stanley was the co-host of PM Magazine on WJW Channel 8 from 1987 to 1990 and its follow-up Cleveland Tonight until 1991. He also appeared on The Drew Carey Show, playing himself.

Following a short stint on Cleveland radio station WMMS, from 1990 until a few weeks before his death in 2021, Stanley was the afternoon drive disc jockey for classic rock radio station WNCX, in Cleveland.

In 1993 he appeared on the Howard Stern Radio Show during one of his Birthday Shows, and played Rosewood Bitters with Joe Walsh live.

Later musical career
In addition to his broadcasting career, after the breakup of the Michael Stanley Band, Stanley continued to write songs, record, and perform with bands (often with some former members of MSB) including Michael Stanley and Friends, the Ghost Poets, the Resonators, and Midlife Chryslers. In 2019, he estimated that the Resonators played about 25 shows per year, many of them in Northeast Ohio but also "from the East Coast to Atlanta to St. Louis." He released about sixteen more albums on Razor & Tie or his own label, Line Level.

Personal life
Stanley was married four times: to Libby Hill Blake, a teacher, from 1970 to 1990, when they divorced; to Mary McCrone, a television producer, for eight years until they divorced in about 2000; to Denise Skinner, a former marketing staffer, from 2002 until her death of cancer in 2011; and to her best friend, Ilsa Glanzberg, an elementary school instructional aide, from 2017 until his death in 2021. He had twin daughters, Anna and Sarah, born in 1974, and five grandchildren.

Health and death
Stanley had a first heart attack in 1991, at age 43. In 2017, he was diagnosed with prostate cancer. Later that year he suffered a second heart attack and underwent quadruple bypass surgery.

Stanley died in his sleep on March 5, 2021, after suffering for seven months with lung cancer.

He is buried in Lake View Cemetery in Cleveland, OH.

Awards and honors

 * 1987–1991 – either one, or "a couple," or eleven, local Emmy awards
 * 2012 – Cleveland Association of Broadcasters Excellence in Radio Award
 * 2019 – Cleveland Arts Prize’s Lifetime Achievement Award
 * 2019 – The City of Cleveland renamed a section of Huron Avenue in downtown Cleveland as Michael Stanley Way.
 * 2021 – March 25, which would have been his 73rd birthday, declared Michael Stanley Day by the Cleveland City Council

title: Michael Stanley


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

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User:Kelvinbottle

Kelvin Bottle
 * Passionate about Christ
 * Worked in world mission for just under 5 years with Operation Mobilisation
 * Just getting started on using wiki

title: User:Kelvinbottle


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Tornado (comics)

Tornado was a British weekly boys' adventure comic published by IPC Magazines from 24 March to 18 August 1979. The comic was partly created as a way to use up stories already commissioned for the other titles, and was marred by a difficult production. Tornado sold poorly and was merged with 2000 AD after 22 issues.

Creation
The cancellation of Valiant in 1976 and Action the following year had left IPC Magazines without a standard multi-genre boys' weekly. 2000 AD firmly established as a science fiction title (something reinforced by its merger with Starlord); Battle was likewise established as a war comic; and the venerable Tiger had become the company's best-selling weekly due to editor Barrie Tomlinson's decision to focus heavily on sport. However, this meant several stories that had been commissioned that did not fit in with the extant titles were on file at IPC, who had a policy against wasting paid-for material. As such, after overseeing the merger of 2000 AD and Starlord, Kelvin Gosnell was recruited by editorial director John Sanders to launch a new title to use some of the stories up. The launch cost would be offset by the savings in material, and should the new weekly prove a success could be continued. Gosnell picked Richard Burton as assistant editor and Jan Shepheard as art director.

The comic was initially conceived with the title Heroes. To fit into the theme, and influenced by the runaway success of the Salkinds' film version of Superman, Gosnell decided that the comic's fictional editor - a device used successfully with Tharg the Mighty in 2000 AD and the eponymous host of Starlord - would be 'the U.K.'s first real live super hero'. As a result, artist Dave Gibbons found himself talked into dressing up as The Big E (for 'editor') for photographs; the character would be introduced by Tharg in the first issue, with the Mighty One introducing his trainee. John Wagner had been the first choice to don the spandex costume, but in Gibbons' recollection asked for too much money. Despite his embarrassment, Gibbons volunteered on the grounds it would be "a day's work and it'll be a laugh". The photographs for the character were taken at the top of King's Reach Tower, and Gibbons would later recall the high winds and the Big E's cape were a bad combination. While acknowledging the unintentional amusement the modelling brought, Gibbons would see the lighter side - "Quite frankly, I don't mind at all, I'm quite at peace with my inner superhero".

New material included a Sexton Blake strip, which Chris Lowder was eager to write. However, word came down that Blake was considered outdated and the character was subtly changed to become the new Victor Drago. Lowder was deeply unhappy, and would leave the strip after contributing only a few scripts. Other sources have suggested IPC no longer had the rights to Blake, forcing the rename. Mike Dorey, a fan of Blake, particularly Eric Parker's strips in Knockout, signed up to draw the strip. "The Mind of Wolfie Smith" meanwhile was written by veteran Tom Tully, and followed a young boy with extrasensory perception, with Vanyo as artist. Alan Hebden had contributed "Death Planet" to 2000 AD and reworked an old Pat Mills idea as "Planet of the Damned" in Starlord, and worked with Massimo Belardinelli on the thematically similar "The Angry Planet" for Tornado. "Wagner's Walk" meanwhile was about a German prisoner of war escaping from the Red Army, and was credited to the pseudonymous 'R.E. Wright'; it has been speculated that the story was originally written as a continuation of "Hellman of Hammer Force" (which ended with Major Kurt Hellman captured during the closing stages of the Battle of Berlin). Meanwhile, various archival strips were featured under the banner "Triple T" - Tornado's True Tales - despite their questionable veracity, and Kevin O'Neill contributed humour cartoon "Captain Klep".

The Heroes name was dropped when an Australian member of staff pointed out that Hero was brand of condoms in his home country, and with Australia making up around 8% of the company's business a renaming was needed. Gosnell however would recall that the orders to change the name came from the board, and was not explained. Nevertheless, he came up with the name 'Tornado' based on the jet fighter, which had recently entered service with the RAF, and in keeping with Valiant, Victor and Vulcan sharing names with the V bombers. Steve MacManus, at the time acting editor of 2000 AD, remembered the change threw the launch plans into chaos. Nick Landau reportedly pointed out that Tornado was also the name of a cleaning product, but was ignored.

Gosnell meanwhile found his already-fractious relationship with IPC managing editor Bob Bartholomew get more fraught; fed up with what he felt was interference from Bartholomew, he quit as editor of Tornado. Gosnell would later describe Tornado as "a complete bag of worms" and the run-up to the launch as a "completely disastrous piece of head-fucking". While Sanders was able to persuade Gosnell to remain at IPC as a script editor, Battle editor Dave Hunt - who would describe Gosnell's actions as a "fit of pique" - moved over to supervise the inexperienced Burton on Tornado. Despite the internal reorganisation, Tornado was announced early in 1979.

Publication history
The first issue of Tornado was dated 24 March 1979, and included a free 'Turbo Flyer' - apparently "designed with the same aerodynamic manoeuvrability" as the Tornado strike-fighter - complete with instructions inside the cover to only use the thing outside. Further editorial characters were invented - mild-mannered Percy Pilbeam played the Clark Kent to the Big E's Superman, with Samantha 'Sam' Stevens as Lois Lane, while Billy Preston was apparently a gung-ho young roving reporter finding stories for Tornado. Readers were to write to Percy with their questions and Sam as - unusually for a boys' comic - an agony aunt, offering to help readers with "hassles with Big Sis' using her nail varnish on your plastic models". Big E and his cohorts also encouraged readers to be heroes themselves by performing good deeds, and write in about them.

Due to the use of some archival material, features were introduced as and when needed for space reasons. The third issue introduced gypsy nomad "Storm" by Scott Goodall, initially by Xavier Musquera and soon taken over by Cam Kennedy. The following edition debuted "Black Hawk", about a former slave in Ancient Rome. Writer Gerry Finley-Day modelled the title character on Draba, the character played by Woody Strode in the Stanley Kubrick film Spartacus. while Gosnell and MacManus would later contribute maverick cop story "The Lawless Touch". From June, Tornado ran a string of covers unrelated to the strips, instead being part of the "It's Your Turn" competition - readers were to send in a 350-word story based on the image, with the best one winning £20.

After Hunt moved on to edit new football magazine Top Soccer, Hunt was replaced by former 2000 AD subeditor Roy Preston. By this point, due to the 6-8 week cycle of preparing the comic, the first 8 or 9 issues were already complete. He would later recall "the comic launched like a stone and carried on sinking", and recalled he was pressed to include as much inventory material as possible. Alan Grant reportedly turned down a role as sub-editor on the title as he believed the comic would last than six months, and recalled betting £5 against Sanders over the prediction.

The plug was pulled on Tornado after 22 issues due to low sales, with Preston moving over to work with Hunt on Top Soccer and Tornado slated to merge with 2000 AD. Tornado was one of several IPC titles to be cancelled after 22 issues, along with Thunder, Jet and Starlord. Tomlinson would later explain that at the time this was typically because it took 22 weeks for meaningful sales trends to be analysed with the technology of the time.

2000 AD and Tornado
Following Gosnell's departure, MacManus had become editor of 2000 AD, on what was initially planned to be a temporary basis. He was on holiday when the order came to incorporate Tornado into 2000 AD, which had only recently amalgamated with Star Lord. Instead Alan Grant would oversee the merger. Sanders has dismissed rumours that MacManus refused to carry out the merger, stating he would have fired him if that had been the case - "I didn't run the sort of organisation where editors could refuse to do something I told them to".

"Black Hawk", "The Mind of Wolfie Smith" and "Captain Klep" continued in 2000 AD and Tornado, with "Dan Dare" and "Project Overkill" dropped to make space. "Mars Force", a strip developed for Tornado before its cancellation by Richard Burton and Belardinelli, was reported to be joining the 2000 AD line-up further down the line, but ultimately did not do so. While "Project Overkill" was concluded in a hurried fashion, "Dan Dare" was partway through a story. While the strip was planned to return, Dare did not feature again and his next appearance - in the 1982 revival of the Eagle - did not continue the storyline from 2000 AD.

"The Mind of Wolfie Smith" was reworked to fit in with the darker tone of 2000 AD, with Tom Tully increasing the focus on the character's ESP, and first Ian Gibson and then Jesus Redondo taking over on art duties until Mike Dorey drew the final instalment (under the pseudonym 'J. Clough'). "Black Hawk" meanwhile was transferred from Ancient Rome to outer space; Finley-Day had tired of the strip, and Grant would take over as writer.

The merger was not popular with 2000 AD readers, as after the merger issue 2000 AD and Tornado reverted to letterpress printing after a spell using web offset printing, and Grant recalled the title receiving many letters complaining of the loss of Dare in place of the Tornado stories. Nevertheless, the merger increased 2000 AD ' s circulation by 30%. The combined branding remained until the 13 September 1980 issue, when the Tornado name and "The Mind of Wolfie Smith" both ended, "Black Hawk" having finished a few months before.

Special and annuals
In common with many former IPC weeklies, the Tornado brand was still used for irregular publications - a tactic which allowed twice as many of these lucrative titles to be made. A summer special was issued alongside the weekly, and shortly after it was cancelled a Tornado Annual, with a second following ahead of the 1980 Christmas period. Like the weekly, these leaned heavily on archival material.

Reprints
Rebellion Developments had taken over publication of 2000 AD and Judge Dredd Megazine in 2001, and issued a collection of the complete "Black Hawk" in 2011.

In 2017, Rebellion reprinted "The Lawless Touch" in a free supplement with Judge Dredd Megazine #387, and did the same with "Wagner's Walk" across two Judge Dredd Megazine #391-392. In 2020, Hibernia Books licensed "The Angry Planet" from Rebellion and reprinted it as the first volume in their Fleetway Files series of collections.

The Angry Planet

 * Published: 24 March to 18 August 1979
 * Writer: Alan Hebden
 * Artist: Massimo Belardinelli

In 2002, colonisation of Mars begins in earnest. However, ninety years later the settlers soon find themselves exploited ruthlessly by Mars Incorporated. Matthew Markham leads the colonists' attempt to petition authorities on Earth for independence, but the corporation targets him for retribution.

Black Hawk

 * Published: 14 April to 18 August 1979
 * Writer: Gerry Finley-Day
 * Artist: Alfonso Azpiri

An African warrior captured by the powerful Roman army in 50 BC defies fate to join the Empire's Auxiliaries as an officer. 'Black Hawk' is given the assignment to find 100 soldiers who are eager to serve under him, and he does it while pulling his trusty desert hawk.
 * Continued in 2000 AD.

Captain Klep

 * Published: 24 March to 18 August 1979
 * Writer: Dave Angus, Nick Landau
 * Artist: Kevin O'Neill

Due to the environmental differences between Earth and his home planet of Klepton, Captain Klep naturally possesses superpowers. After raised in Hicksville, he relocates to Miniopolis to pursue his dream of being a professional superhero, enrolling with the Department of Heroes. They give him a position and a secret identity, but his inherent idiocy and clumsiness mean he is little use.
 * Cartoon; continued in 2000 AD.

The Lawless Touch

 * Published: 2 June to 18 August 1979
 * Writers: Kelvin Gosnell, Steve MacManus (as Ian Rogan)
 * Artists: Barrie Mitchell, Mike White

Johnny Lawless is the most successful thief in Britain, with his meticulous approach leaving nothing to chance. However, he soon finds his skills have put him on the radar of the European Special Corps, an organisation that uses the best criminals in the world for dangerous but vital missions.

The Mind of Wolfie Smith

 * Published: 24 March to 18 August 1979
 * Writers: Tom Tully, Ken Armstrong
 * Artist: Vanyo

Ernest Patrick Smith was born with ESP, leaving him an outcast. Others nickname him 'Wolfie' because of his piercing eyes. When he becomes a teenager, Wolfie's powers grow in magnitude. As a result, he finds himself sent to a psychiatrist and accused of cheating at school as his life grows unpredictable.
 * Continued in 2000 AD.

Storm

 * Published: 7 April to 18 August 1979
 * Writer: Scott Goodall
 * Artist: Xavier Musquerra, Cam Kennedy

Young Scots shepherd Andrew Kane finds a mysterious youth called Storm living in a cave with a cat called Skarr. He has been living in solitude for seven years and has developed tremendous physical skills, but Storm finds himself targeted by landowner Sir Gordon Forbes.
 * Early episodes credited Cam Kennedy as 'S. Kennedy' due to IPC mistakenly believing the artist's given name was Sam.

Triple T/Big E's True Tales
Anthology features
 * The Tale of Benkie
 * Published: 24 March to 7 April 1979
 * Writer: Steve Moore
 * Artist: Xavier Musquerra

 * The Search
 * Published: 12 May 1979
 * Artist: Massimo Belardinelli

 * Warrior
 * Published: 12 to 26 May 1979
 * Writer: Brian Burrell
 * Artist: John Richardson

 * Moon Ghost
 * Published: 19 May 1979
 * Writer: Roy Preston (as G. Miller)
 * Artist: David Jackson

 * The Man Behind the Gun
 * Published: 4 to 18 August 1979

 * Man Eater
 * Published: 18 August 1979

Victor Drago

 * Published: 24 March to 18 August 1979
 * Writers: Chris Lowder (as Bill Henry), Roy Preston, Frank S. Pepper
 * Artist: Mike Dorey

In the early part of the 20th century, private investigator Victor Drago regularly helps his friend police Inspector John Carter and others solve crimes. Based in Baker Street, Drago is aided by Cockney sidekick Spencer and bloodhound Brutus.
 * Drago also hosted factual feature "Victor Drago's Black Museum of Villains", which featured archival histories of the likes of Billy the Kid and Adolf Hitler. After a seven-part picture strip the story switched to prose with text illustrations for much of the rest of the comic's run.

Wagner's Walk

 * Published: 24 March to 18 August 1979
 * Artist: Eduardo Lozano, Mike White

May 1945 marks the end of the Second World War, and the Red Army is holding two million former German troops captive and subjecting them to years of arduous labour. Panzer Major Kurt Wagner and his crewmen Big Karl and Gruber, plot an escape to India.
 * The script was credited to R.E. Wright, an IPC staff pseudonym.

Spin-offs

 * Tornado Summer Special (1 edition, 1979)
 * Tornado Annual (2 editions, 1980 to 1981)

Reception
In July 1979, BEM columnist Ruan Lanihorne counted four strips from Tornado in his top twenty British comic strips then in production - "Captain Klep" (#3), "Black Hawk" (#4) (behind 2000 AD stories "Judge Dredd" and "Ro-Busters", "The Angry Planet" (#12) and "Wagner's Walk" (#19). Sanders' blunt evaluation of Tornado was that it failed "because it wasn't good enough and the staff bear the brunt of responsibility for that".

title: Tornado (comics)


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Bowes-Lyon family

The Bowes-Lyon family descends from George Bowes of Gibside and Streatlam Castle (1701–1760), a County Durham landowner and politician, through John Bowes, 9th Earl of Strathmore and Kinghorne, chief of the Clan Lyon. Following the marriage in 1767 of the 9th Earl (John Lyon) to rich heiress Mary Eleanor Bowes, the family name was changed to Bowes by Act of Parliament. The 10th Earl changed the name to Lyon-Bowes and the 13th Earl, Claude, changed the order to Bowes-Lyon.

Notable members of the family include:

 * Mary Bowes, Countess of Strathmore and Kinghorne (1749–1800), known as "The Unhappy Countess", was an 18th-century British heiress, notorious for her licentious lifestyle, who was married at one time to the 9th Earl of Strathmore and Kinghorne.
 * Claude Bowes-Lyon, 14th Earl of Strathmore and Kinghorne, (1855–1944) was a landowner, and the father of Queen Elizabeth The Queen Mother.
 * Patrick Bowes-Lyon (1863–1946), younger brother of the 14th Earl, winner of the 1887 Wimbledon doubles.
 * Fergus Bowes-Lyon (1889–1915) noted golfer killed in the First World War, brother of Queen Elizabeth The Queen Mother.
 * Queen Elizabeth The Queen Mother (born Elizabeth Bowes-Lyon; 1900–2002), Queen of the United Kingdom as the wife of George VI, and mother of Elizabeth II.
 * Princess Anne of Denmark, born Anne Ferelith Fenella Bowes-Lyon (1917–80), was the mother of royal photographer Patrick Anson, 5th Earl of Lichfield, and a first cousin of Elizabeth II.
 * Nerissa and Katherine Bowes-Lyon were the third and fifth daughters of John Herbert Bowes-Lyon, the Queen Mother's brother, and his wife, Fenella Bowes-Lyon. In 1941, when Katherine was 15 years old and Nerissa was 22, they were sent from the family home in Scotland to Royal Earlswood Hospital at Redhill, Surrey, where they would live out the rest of their days.
 * Michael Bowes-Lyon, 18th Earl of Strathmore and Kinghorne (1957–2016).

Related places

 * The Bowes Museum, a purpose-built public art gallery for John Bowes and his wife Joséphine Chevalier, Countess of Montalbo, has a nationally renowned art collection and is situated in the town of Barnard Castle, Teesdale, County Durham, England.
 * Gibside, a country estate, set amongst the peaks and slopes of the Derwent Valley, near Rowlands Gill, Tyne and Wear, North East England, which was previously owned by the Bowes-Lyon family and is now a National Trust property.
 * Glamis Castle, situated beside the village of Glamis in Angus, Scotland, is the home of the Earl and Countess of Strathmore and Kinghorne, and is open to the public.
 * St Paul's Walden Bury is a stately home and surrounding gardens of the Bowes-Lyon family located in the village of St Paul's Walden in Hertfordshire, best known for its connection to the late Queen Elizabeth The Queen Mother.
 * Streatlam Castle, a Baroque stately home owned by the Bowes-Lyon family, located near the town of Barnard Castle in County Durham, England. It proved too expensive to maintain, and so was blown up with dynamite in 1959.

Other

 * Earl of Strathmore and Kinghorne, created in the Peerage of Scotland in 1606 for Patrick Lyon.
 * Monster of Glamis, allegedly a surviving deformed member of the Bowes-Lyon family, born in 1821 and kept in seclusion in Glamis Castle.

title: Bowes-Lyon family


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Sigval Bergesen the Younger

Sigval Bergesen d.y. (27 April 1893 – 7 May 1980) was one of Norway’s leading shipping magnates and industrial entrepreneurs.

Personal life
He was born in Stavanger as a son of Sigval Bergesen (1863–1956), who was also a shipping magnate, and Rachel Racine (1866–1936). He was a grandson of Ole Bergesen, brother of Ole Bergesen and uncle of Berge Sigval Natanael Bergesen and Ole Bergesen. He was a maternal grandfather of Morten Sigval Bergesen and Petter C. G. Sundt.

He was married twice; first to Ingerid Sømme (1895–1980) from December 1916 to 1945. She was a sister of Iacob Dybwad Sømme and Sven Sømme. From 1945 he was married to Nanki de Fekete (1903–1983), a former wife of Emil Lie.

Career
In 1935 he broke with his father to form his own company, Bergesen d.y. The same year he bought the tanker President de Vogue (renamed Bergesund), in 1937 Charles Racine and in 1939 Anders Jahre (renamed Bergeland). By the time of the war he then had three major tankers, though Charles Racine was hit by torpedoes and destroyed in 1942. Bergesen used the war to position himself in the market, and by 1950 he had four ships in his fleet, by 1955 seven, and 16 by 1970.

In 1942 he also took control of Rosenberg Mekaniske Verksted, a major Norwegian shipyard. Rosenberg became a major part of Bergesen's industrial empire, and by the time it was sold to Kværner in 1970, 19 ships had been built there. By then Bergesen was one of the largest shipping companies in the world.

Bergesen was intimately involved in company affairs until an old age, but in 1976 he was forced to retire for medical reasons. Management of the company was handed over to his two grandchildren, Petter C. G. Sundt and Morten Sigval Bergesen. He had then built up a fleet totaling seven million metric tons dead weight.

title: Sigval Bergesen the Younger


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Lake Ridge Academy

Lake Ridge Academy (LRA) is an independent, nonsectarian day school in North Ridgeville, Ohio, United States.

The school was founded in 1963 and offers co-educational classes from kindergarten through grade 12. Lake Ridge Academy is the only independent college preparatory academy on the West Side of Cleveland. The school facilities include 93 acres of open fields, wooded areas, a pond, a creek, tennis courts, track and field track, playing fields.

Lake Ridge Academy is portioned into three divisions: Lower School (K–5), Middle School (6–8), and Upper School (9–12).

Campus Facilities
The buildings on the Lake Ridge campus include Lower, Middle, and Upper School buildings, the Bettcher Convocation Center, which houses classrooms, a stage, and an auditorium, the Community Resource Center, a building holding four foreign language classrooms, three computer labs, a video lab, a Kiva gathering place, and a K–12 library. The campus also includes Rob Hall, a hardwood floor gymnasium, a Fine Arts Center with Lower, Middle and Upper School art studios, four acoustical vocal and instrumental music rooms, and a Black Box theater.

Kemper Science and Engineering Building
In 2016, a new structure named the Kemper Science and Engineering building was constructed and includes a Chemistry lab, a college-level Engineering lab, and a greenhouse. The Kemper building also offers many classes to students. The two main class disciplines taught in the Kemper building are Engineering and Chemistry. The Kemper building also has a fabrication laboratory. The classes that take place in the chemistry laboratory include Chemistry, Honors Chemistry and AP Chemistry. The Kemper Building is also home to the Institute of Scientific Research and Exploration, as well as the Institute for Engineering and Innovation.

Recent events
Lake Ridge annually participates in the Ohio Center for Law-Related Education's Mock Trial competition, and took first place in the state of Ohio in the 2008 competition. The team moved on to the national competition, held in Wilmington, Delaware, and were ranked 13th in the nation. The team regularly places within the top ten within the State of Ohio OCLRE Mock Trial competition.

In the fall of 2009, the Lake Ridge Women's Soccer team won their first ever district title, narrowly defeating Firelands by a score of 1–0.

On October 25, 2008, the Men's Soccer Program won their second consecutive District Championship and earned a spot in the state's regional semifinals. They ended the season with their best record to date, 15–3–2, surpassing the 2007 record of 15–5. Both the 2007 and 2008 regional semifinals games were lost to St. Thomas Aquinas High School

Notable alumni

 * Briefly attended by Brian K. Vaughan, comic book writer.
 * Claire Sherman, artist

title: Lake Ridge Academy


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Talk:Damsel in distress

Misc old discussions
Who put "Pvt. James Ryan from Saving Private Ryan" on the movie list? Not only is he male (which would probably need a seperate article anyway - the beginning of this article states that all damsels in distress are female), but he isn't exactly helpless during the final battle scene in Saving Private Ryan.

--88.108.41.204 14:56, 6 June 2006 (UTC)

"almost always have more than a whiff of BDSM fantasy". I think I'd like to see that justified; 'almost always' is pretty strong. Firstly if this is the case, why does the hero always untie the damsel as soon as he gets the chance? Secondly lots of the damsels quoted in the article aren't 'tied up' at all, especially the modern ones. Isn't it more likely that the situation appeals to the normal male desire of wanting to be the strong rescuer? DJ Clayworth 14:33, 7 Apr 2005 (UTC)

Good question, but it's kind of hard to prove/justify that, no? :) Of course, unless it's a porn movie, the hero has to untie the damsel as soon as he gets a chance to, cause the movie makers have no more excuse for him to keep her tied up, or else they'd make the hero look evil. Well I don't think there's a way to prove that anyway.

Another question: In what part exactly is Cinderella a damsel in distress?--Mithcoriel 22:09, 3 February 2006 (UTC)

 * Good point. I've taken the liberty of editing Cinderella out. Wisco 23:37, 3 February 2006 (UTC)

I'd have to nonconcur with the inclusion of Raiders Marion Ravenwood. She was hardly helpless. On the contrary, she's quite defiant and feisty. Remember in the "Indy gets his ass kicked by the big German mechanic" scene, where she is inadvertently trapped inside the tail gunner turret on the plane? Does she start screaming and beating on the canopy? Hell no! She cocks the machine gun and begins mowing down the villains like a Weed Eater! Or when they're tossed into the cave, she's bellowing "I'll get you for this you bastard!!" If she could get her hands on him, she'd have torn off his face and pissed on his brain. And of course, she does her part by keeping the asps at bay with a torch while Indy tries to leverage an opening.Scott S 22:03, 30 March 2006 (UTC)
 * Likewise Leia Organa from the Star Wars movie trilogy. She does need help to escape early on, but for crying out loud, the Death Star constitutes a supermax security prison facility! Throughout the entire rest of the trilogy, she proves to be a competent and freedom fighter. She no more belongs on that list than Ravenwood does.--Peter Knutsen 01:48, 28 October 2006 (UTC)

The entire article has a confrontational tone that I can't quite put my finger on. To me, it seems as if it condescends to writers, etc. who've used the character...as if the whole idea of a damsel in distress is something to be laughed at. KyleGarvey 21:44, 17 April 2006 (UTC)

Isn't it?

But seriously, while it may have been written, in some ways, with a more..."moderate" outlook, I don't think any one edit meant to mislead the reader or misresent the facts. Honestly, the damsel in distress is pretty hard to take seriously, especially in today's stories. Still, Looking at it again, perhaps a better writer than I could make it a bit more objective. Ace Class Shadow 22:55, 17 April 2006 (UTC)

 * When you are writing about a stock character — in other words, about a stereotype from popular entertainment — NPOV is almost by necessity going to be hard to pin down. Commenting on the cliché'd nature of the stereotypes is almost always done by people who are either hostile to the stock character because it is a "stereotype" and therefore felt as an implied insult to Womanhood or some such; or else by people who are playing it camp style and rejoice in its perceived excess.  Not sure exactly what a remedy might be.  — Smerdis of Tlön 00:00, 18 April 2006 (UTC)

That makes sense. I think my main problem was with the first paragraph, but now (after I saw it was made redundant by a much better intro) I edited it out, and I think it's much better. Sorry for the trouble - I'll take the template down. KyleGarvey 21:15, 20 April 2006 (UTC)

Wikipedia articles don't begin with quotes. This will have to be moved to contextualize it.--Eloquence* 04:23, 5 May 2006 (UTC)

This one does. Unless there is a Wikipedia policy that states articles must not begin with a quote, I don't see any reason to remove or reposition the opening quote. -- Steven 210.84.14.149 15:18, 13 May 2006 (UTC)

 * The relevant style guide is Lead section. Because the section before the first heading is meant to be a concise summary of the article itself, putting a quote there is inappropriate. In fact, there are plans to compile a concise encyclopedia only from the lead sections of Wikipedia articles. This obviously doesn't work when the lead is a quote.--Eloquence* 01:21, 15 May 2006 (UTC)

''The damsel in distress is a popular stock character in fiction. They are females who have been put into a dangerous situation by an outside force and require assistance to get out of it.'' - Ok, so who was the moron that put James Ryan from Saving Private Ryan in the example section? --VTEX 19:30, 30 May 2006 (UTC)

OK - I didn't even see Willard Whyte (the "rare male example") - This doesn't make sense. By definition a damsel is female, not male. Males in distress should be under a different heading. If you want this article to include males it should be called "characters in distress" --VTEX 19:39, 30 May 2006 (UTC)

Stock Character?
Is the damsel in distress merely a 'stock character'? Often she is the heroine of the story. 'Stock character' implies that she has a walk-on part only and that she is not to be taken seriously. Creative artists have lavished great care on the psychology of the damsel in distress and she is the title character of Richardson's 'Clarissa', one of the first novels. Arguably the damsel-in-distress character is symbolic of women's oppression in life generally.....Colin4C 10:05, 18 July 2006 (UTC)

I think that maybe the damsel in distress BECAME a stock character with Victorian melodrama which vulgarised a previous more tragic conception (such as Margarite in Faust for example). The melodramatic tradition was then continued in the silent films in such features as 'The Perils of Pauline' which reduced the character to the camp cliche she is today....Colin4C 14:16, 22 July 2006 (UTC)

The question of stock character has nothing to do with how prominent a role is. Stock characters are archetypal, recurring roles. A particular exemplar could be prominent, pivotal, or simply cameo dressing. They could be fully fleshed-out, well rounded characters, or completely one-dimensional with no detail. None of that figures into the question of stock character - a damsel in distress is unquestionably a regularly recurring stock character / archetype. Rifter0x0000 (talk) 16:13, 31 January 2013 (UTC)

Mary Jane Watson
I removed the Spider-Man character Mary Jane Watson from the comics section, because almost every time she's ever been in danger, she's rescued herself or at least very nearly done so. She might play the role sometimes, but I think she's a weak example of the stereotype. In fact, she seems more like a reaction against it sometimes. (Left her in the movies section though. She doesn't beat anyone up with pool cues in the movies.)  - HKMARKS 04:19, 12 August 2006 (UTC)

List a bit long.
I think the current list is a bit too long; do we really need so many examples? Especially considering the subjective nature of the issue, only characters who really fit the stereotype to a T should probably be added. I think some hacking could definitely be done. SnowFire 07:21, 27 August 2006 (UTC)

 * Yes, some of the examples look really dubious or of marginal relevence to me: 'Co-co Bandicoot' from 'Crash Bandicoot'??? Please....Colin4C 10:16, 27 August 2006 (UTC)

Kagome Higurashi
I would like to know if Kagome Higurashi from the InuYasha animé series, A damsel in distress. If Kagome Higurashi a notable damsel in distress character. Please add the character Kagome Higurashi on to the "notable damsel in distress" characters and Category:Damsels in distress. I found a notable damsel in distress. So, let all the users know about Kagome Higurashi. Thank You. Steam5 06:21, 16 December 2006 (UTC)
 * She's a heroine, not a damsel in distress. She does sometimes get captured and need rescuing, but so do many heroes. Rifter0x0000 (talk) 16:17, 31 January 2013 (UTC)

Christine Daae
I've removed Christine from the opera list...The Phantom of the Opera is not an opera. It's a musical. I have, however, added her to the novel list.63.228.234.239 22:10, 25 December 2006 (UTC)

The New Section
The new section provided some excellent material. However, a lot of it was a reprise of info in the History section. To avoid redundancy I have therefore incorporated it into that section. Hope that is OK with everyone. Colin4C 16:45, 21 January 2007 (UTC)
 * Looks good to me. Goldfritha 18:57, 21 January 2007 (UTC)

 * Thanks Colin4C 19:03, 21 January 2007 (UTC)

Perils of Pauline
I think there's a real question as to whether the cliche scenes with the damsel tied to a railroad track or in peril at a sawmill were ever a part of the original 1914 version of The Perils of Pauline. I don't dispute that these plot devices were seen in a number of silent movies at around that time, nor do I dispute that Perils of Pauline was a suspense melodrama where the heroine was put in "damsel-in-distess" situations in the broader sense. But the harder I look the more it seems there is a distinct lack of solid evidence that these particular threats were among the various perils Pearl White's character faced. It seems there's a strong chance we've got an urban myth on our hands here. I've posted a longer piece about this on the talk page for the Perils of Pauline article. Unless and until there is some citable proof that those scenes were in the movie I think we should avoid wording that implies something which is questionable and unproven, eg:
 * "Such melodrama influenced the silent cinema, where the damsel in distress makes a dramatic debut, tied to a railway track by a sleazy villain with trademark waxed curly moustache, in The Perils of Pauline."

I'll change this to something that doesn't make specific reference to that movie. Circusandmagicfan 15:54, 11 May 2007 (UTC)Circusandmagicfan

Taming of the Shrew analogy
I'm dubious about the following sentence that's recently been added into the "Critical and Theoretical Responses" section.
 * These remakes often attempted to portray the concept of women's rights as a one-way road to trouble, not unike William Shakespeare's play, The Taming of the Shrew.

It looks a bit like "original research" and, more troublingly, I'm not sure it's entirely true. I don't want to be too aggresive on this because I still need to dig out proper citations for some parts of the preceeding text. I think the rest of the paragraph is broadly speaking true and is worded to avoid sweeping assertions that go beyond the sources. But the sentence I've picked on makes some assertions that seem open to challenge whilst also being a little vague. I presume it's talking about remakes of The Perils of Pauline but that's not absolutely clear. My main difficulty is to do with the wording "...these remakes often attempted...". What is meant by "often"? Does it mean the majority of the remakes conveyed an "anti- womens' rights" message? Or does it mean such a message occurred many times within individual films? There were three "remakes": the 1934 serial, the 1947 feature film and the 1967 feature film (although the last was more a biopic of Pearl White than a remake of the original Perils..). Which of these were "anti-rights" and what sources can be referenced to support the claim? Also, I think the word "attempted" is a bit contentious because it suggests that any "anti-rights" message was deliberately inserted by the film makers rather than being something that has been read into the story by audiences or critics. Perhaps film makers half a century ago thought that, by the standards of the time, they were making movies which promoted the idea of strong independent women and it's only when you look back at it from a later context that you read the the "shrew" message into it. There's good evidence that the black and white serial queen melodramas were marketed at female audiences as much as at men and that the original Perils of Pauline portrayed its liberated central character as heroic. So it would've entailed some significant changes to remake it as an anti-emancipation story. Is there a citable source that spells out such changes or is was this sentence a matter of personal observation? Circusandmagicfan 17:10, 28 June 2007 (UTC)Circusandmagicfan

 * As there has been no response to the above I'm editing out the sentence in question. Seems reasonable in the absence of citation of a source.Circusandmagicfan 16:17, 5 October 2007 (UTC)Circusandmagicfan

Didcaps re-titled to Fetish
"Didcaps" is a specialist term within a special interest field. I don't think it warrants a specific section here. If it is to be mentioned then it needs to be within a section that presents it in context. I have done that by editing and re-titling the section to explain that the damsel in distress is, for some people, a fetish image. Within that it is mentioned that "Didcap" has been coined as a term to describe a particular type of image. Also, the previous text was rather labouring the point in explaining what these images are - it needed to be shorter and to the point. Circusandmagicfan 21:01, 11 October 2007 (UTC)Circusandmagicfan

 * boobi is a idiot —Preceding unsigned comment added by 69.56.121.153 (talk) 20:57, 18 December 2007 (UTC)

Wrong Gender
There is a picture of Apoolo and Hyacinth (mythology) in the 18th and 19th Century sections. It depicts the God Apollo with a young man, not a woman...

What the deuce?!?
I know Wikipedia isn't censored, but could we please not have a nude pic at the top of the article? --Luigifan (talk) 23:14, 21 May 2008 (UTC)

 * I agree that the image in question isn't necessarily the best choice to represent this whole topic. However I see no problem with having a Rembrant painting in a Wiki article. I've re-arranged the pictures a little as an experiment. Let's see what people think. Maybe you could could come up with some new images that better represent the concept of a damsel in distress.Circusandmagicfan (talk) 13:44, 22 May 2008 (UTC)Circusandmagicfan

Female Masochists
On a politically incorrect note I am fairly certain that the damsel in distress scenario is a fantasy which appeals to female masochists or 'subs'. Possibly worth looking further into the literature on this subject...Colin4C (talk) 10:51, 29 June 2008 (UTC)

Male Damsel in Distress in Fetishism
I am wondering, is there such a thing as males wishing to be the woman as a damsel in distress and if so, should this be added to the article? For example, some guys might want to be a woman, just for being a damsel in distress. Not so much for the rescue, but for the kidnapping or whatever. Of course this might also appear to certain homosexual relationships.--4.233.17.170 (talk) 07:36, 8 September 2008 (UTC)Anonymous

Males who want to be saved don’t necessarily want to be women or saved by another man, but most choose to remain male and be saved by a female.

Too much detail

 * I think the two items above ("Female masochists" and "male damsel in distress...") are probably too specialised to warrant extensive text within this article. This is a very broad article about the damsel-in-distress icon/character/stereotype/cliche in all incarnations and contexts. There is a limit to how much detail is sensible or appropriate within any specific section. If a particular section or sub-topic really is worthy of extensive coverage in its own right then (as per Wikipedia guidelines) it should be broken out into its own article - this article should then have a summarised version of the material with a link to the break out article at its head.
 * At best the topic of female masochists might warrant a sentence or sub-clause noting that the types fetishists who enjoy damsel-in-distress imagery include women with masochistic desires or fantasies. I don't know where you'd find a reliable source for that though.
 * As for "Male damsel in distress fetishism" I'm at a loss for words. My first reaction was that its an oxymoron because damsels are female by definition. However I don't want to be homophobic, so if anyone can find a reliable, third-party published source which identifies male homosexual empathy with damsels-in-distress as an established fetish then I guess it could have a passing mention.
 * Circusandmagicfan (talk) 11:23, 8 September 2008 (UTC)Circusandmagicfan
 * All I know was that there were some males that would like to be in the damsel in distress role. Go browse AnonTalk, that is where I found out. I only said that this might be a fetish in male homosexuality. Which may involve crossdressing. But I could see how this would fit into the forced feminization fetish where straight males rather be in the damsel role, while the female is in control. Perhaps they rather just be held captive by a female, what is the opposite of a damsel for a male? Is it called a hostage? --72.67.244.179 (talk) 08:46, 9 September 2008 (UTC)Anonymous
 * I just think that's too much detail on a sub-topic that is, at best, peripheral to the main subject of this article. If you want to write about that sort of stuff then it's probably better to see if you can contribute to specialised articles on fetishism.Circusandmagicfan (talk) 08:05, 10 September 2008 (UTC)Circusandmagicfan

Correct name for Male
Gentlemen, we need to come up with the correct name for Male. I know it's not Dork in distress. Jidanni (talk) 20:17, 5 July 2009 (UTC)
 * A Male Damsel in Distress would be a Dude in Distress. It's pretty much a guy who is put in danger, often but not always involving bondage.  Steven Trevor from Wonder Women would probably be a good example.  There are a number of people into it, not al of them gay men.  While Pics of Damsels in Distress are called DID Caps, thier male Counterparts are called DUD Caps.  Yeah I know the acronym doesn't work (though some say Dude Under Duress) .  It can also be seen asa sub fetish for male bondage in general.  However, the only citation I know of are web sites, forums on the  subject. 70.238.153.224 (talk) 10:25, 27 February 2009 (UTC) Anon

OK, but what is the real male equivalent of "damsel".? Jidanni (talk) 20:17, 5 July 2009 (UTC)

Image copyright problem with Image:Perilsofnyoka.JPG
The image Image:Perilsofnyoka.JPG is used in this article under a claim of fair use, but it does not have an adequate explanation for why it meets the requirements for such images when used here. In particular, for each page the image is used on, it must have an explanation linking to that page which explains why it needs to be used on that page. Please check

 * That there is a non-free use rationale on the image's description page for the use in this article.
 * That this article is linked to from the image description page.

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --07:15, 1 October 2008 (UTC)

 * Hopefully now addressed by the addition of a rationale to the image's description page.Circusandmagicfan (talk) 09:23, 1 October 2008 (UTC)Circusandmagicfan

Critical and theoretical responses
Reads more like a laundry list of examples than an examination of critical and theoretical responses. Dlabtot (talk) 23:36, 12 February 2010 (UTC)
 * Almost 5 years since this editor has written this, the issue has not been corrected. Furthermore, except for the first paragraph in this really long section, there are absolutely no citations. -Xcuref1endx (talk) 04:49, 25 January 2015 (UTC)

Samus Aran
Should we include Samus Aran from Metroid? Because every story they make for her, her character takes a step backwards from a super heroine to a damsel in distress. It wouldn't surprise me if the next game of her will be the last, because the ratings will drop so low that the franchise will likely be stabbed in the back in the near future. --203.206.73.28 (talk) 11:10, 4 June 2012 (UTC)

 * WP:NOTAFORUM, seriously. And I'm not sure of including Samus in an article... -- Hounder4 (T)  (C) 11:13, 18 December 2011 (UTC)

Go on the site http://second-truth.blogspot.com/2010/09/samus-is-slowly-shrinking.html and see why she has gradually become just another Damsel in Distress before the plug of the Metroid franchise is pulled altogether. --203.206.73.28 (talk) 11:10, 4 June 2012 (UTC)

 * That site is a blog with personal opinions, which is not a reliable source by Wikipedia's standards, thus it cannot be used for sourcing — in that case, we're not including her here. Hounder4  (Talk)  15:05, 29 March 2012 (UTC)

They are not personal opinions of her but general opinions both from the writers and the viewers perspectives so she needs to be included in the article. --203.206.73.28 (talk) 11:10, 4 June 2012 (UTC)

Anita Sarkeesian
Was wondering if, since that "Tropes Vs. Women In Games" video about this topic got so much heat around it, Anita Sarkessian's video and the controversy that came from it should be included in some way. If it does, it needs to be made sure that it's not vandalized in any way by either side. One side has the whole vitriol thing of wanting her to be killed/raped/pillaged, while the other side might white knight the video and her. It needs to provide a fair representation of what she created and what happened as a result. Darkpower (talk) 22:23, 10 May 2013 (UTC)
 * I am wondering too, that Anita Sarkeesian is not mentioned in this article. Why? --Lkl ★ 18:47, 21 September 2014 (UTC)
 * Sarkeesian is not a notable critic or theorist. Her notability generally stems from being center of the gamergate controversy. It would give Sarkeesian undue weight to mention her in this article. Until there is a sizable amount of reliable secondary literature dedicated to her thought, there should be no reason why she should be included. -Xcuref1endx (talk) 04:51, 25 January 2015 (UTC)

 * Regardless of what anyone thinks of Sarkeesian (and to say that she isn't notable is a tad daft; she was notable long before the Gamergate stuff), she isn't a "damsel in distress" at all. Not even close. Luke no 94  (tell Luke off here) 12:43, 25 January 2015 (UTC)
 * No she wasn't. Either way, she doesn't belong in the article. -Xcuref1endx (talk) 00:29, 27 January 2015 (UTC)

The king's daughter
The claim that Hebrew references to 'the king's daughter' make her a damsel in distress is not proven by the quotation given from Tikunei haZohar 29b. There she is plainly the reward of the dragon-slayer, not the dragon's victim. I am therefore deleting this passage and making a direct link to the Kabbalah commentary, which is more convincing. Mzilikazi1939 (talk) 20:43, 3 September 2013 (UTC)

"Empowered damsel"
IMO this section is greatly off-topic and full of original research. Unless there are sources which specifically discuss role reversal, this section is to trimmed mercilessly.

By the way the term "ED" itself IMO has insufficient scholarsip. From what I briefly see in the internets, the term is used in two senses: Are there any really reliable sources about this kind of stock character(s)? Staszek Lem (talk) 23:22, 20 September 2017 (UTC)
 * "empowered damsel-in-distress": an originally damselly-damsel falls into a distress to emerge victorious
 * powerhouse damsel like Xena or, the mostest recentest example, Wonder Woman

Move discussion in progress
There is a move discussion in progress on Talk:Damsel in Distress (disambiguation) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 19:18, 18 June 2019 (UTC)

title: Talk:Damsel in distress


text:
Morgan, South Australia

Morgan is a town in South Australia on the right bank of the Murray River, just downstream of where it turns from flowing roughly westwards to roughly southwards. It is about 161 km north east of Adelaide, and about 315 km upstream of the Murray Mouth.

History
Several Indigenous names are recorded: Korkoranna for Morgan itself, Koolpoola for the opposite flats, and Coerabko ('Katarapko'), meaning meeting place, for the bend locality. Morgan is in the traditional lands of the Ngaiawang people. Nganguruku people moved to the Morgan area when they lost access to their traditional lands further south.

The first Europeans to visit were the expedition of Charles Sturt, who passed by in a rowboat in 1830. The first Europeans to visit overland, by horseback, in March 1838, was the expedition of Hill, Oakden, Willis, and Wood. They noted a large Indigenous population. The locality was originally known to Europeans as the North West Bend, or Nor'west Bend, or Great South Bend, due to an acute change in the trend and direction of the Murray. The westward flowing stream of the river turns here to flow southward. The nearby pioneering pastoral station, Northwest Bend Station, established in the 1840s, still bears that name.

The town was proclaimed in 1878, the year the railway line from Adelaide via Kapunda was opened, and was named at that time after Sir William Morgan, then Chief Secretary, later Premier of South Australia. A large wharf was built, and Morgan, being the railway terminus (hence the name of a local hotel), became one of the busiest ports on the Murray. It handled nearly all the goods that were being imported and exported (particularly wool) to and from a vast region upstream from Morgan along the Murray and Darling rivers. At its peak, Morgan was the second busiest port in South Australia (behind only Port Adelaide), with six trains a day carrying freight from the Murray to the sea at Port Adelaide. As road transport improved through the early part of the 20th century, river transport declined. The railway to Morgan finally closed in 1969.

Heritage listings
Morgan has a number of heritage-listed buildings, including:

 * Railway Terrace: Morgan railway station and Station Master's House
 * 11 Railway Terrace: Post Office Row
 * 25 Railway Terrace: Landseer's Store
 * Morgan Wharf

Modern Morgan
Morgan today is well known for its number of houseboat moorings and services, and a houseboat marina is currently under construction. A free road transport ferry service operates 24 hours for river crossings. Just southward (downstream) from Morgan is a riverfront development named Brenda Park, which has flourished since WWII, originally as rustic shacks, but now as prestige waterfront holiday homes.

Despite these new developments, many historic buildings remain in the town. A number of these buildings have signs showing their former use and appearance. The two hotels, both historic, sit opposite each other, facing the riverfront. A caravan park is sited near the riverfront. Morgan is in the Mid Murray Council local government area, the state electoral district of Stuart, and the federal Division of Barker.

During World War II, the Morgan-Whyalla pipeline was built from the Murray River at Morgan to supply fresh water to the city of Whyalla.

The wasp Pseudofoenus morganensis Jennings & Austin 2002 (Hymenoptera: Gasteruptiidae) is named after the town of Morgan.

title: Morgan, South Australia


text:
Pleather (album)

Pleather is an EP by the grunge band Toadies. It was released in 1993 on Grass Records. The EP gained the attention of Interscope Records who signed the band and released their first full-length album (Rubberneck) in 1994. Interscope re-released Pleather on June 17, 1997.

Personnel

 * Toadies
 * Todd Lewis – vocals
 * Charles Mooney III – guitar
 * Lisa Umbarger – bass
 * Mark Reznicek – drums
 * Darrel Herbert – guitar

 * Additional
 * Tracey Sauerwein – guitar (tracks 2 and 5)
 * Keith Rust – engineer
 * David Gibson – cover art

title: Pleather (album)


text:
Lear (play)

Lear is a 1971 three-act play by the British dramatist Edward Bond. It is a rewrite of William Shakespeare's King Lear. The play was first produced at the Royal Court Theatre in 1971, featuring Harry Andrews in the title role. It was revived by the Royal Shakespeare Company in 1982 with Bob Peck, and revived again at the Crucible Theatre, Sheffield, in 2005 with Ian McDiarmid.

Bond, a socialist, was attempting to reverse modern trends which focused on the Shakespeare play as an artistic experience, at the expense of more practical elements of social critique. By creating a politically effective piece from a similar story, he was more likely to cause people to question their society and themselves, rather than simply to have an uplifting aesthetic experience. According to one critic, his plays "are not meant merely to entertain but to help to bring about change in society." Also, according to Hilde Klein, "Bond argues that Shakespeare gave an answer to the problems of his particular society, which is not valid for our age."

In Bond's play, Lear is a paranoid autocrat, building a wall to keep out imagined "enemies". His daughters Bodice and Fontanelle rebel against him, causing a bloody war. Lear becomes their prisoner and goes on a journey of self-revelation. He is blinded and haunted by the ghost of a Gravedigger's Boy, whose kindness towards the old King led to his murder. Eventually Lear, after becoming a prophet, makes a gesture toward dismantling the wall he began. This gesture leads to his death, which offers hope as an example of practical activism.

The play also features a character called Cordelia, wife of the murdered Gravedigger's Boy who becomes a Stalinist-type dictator herself.

Lear features some punishing scenes of violence, including knitting needles being plunged into a character's eardrum, a bloody on-stage autopsy and a machine which sucks out Lear's eyeballs. The play's emphasis on violence and brutality was mentioned in mixed reviews by top critics. Although some critics praised its message against violence (and its cast), others questioned whether the play was convincing enough to garner the reaction it sought from the audience.

Original production
The English Stage Company presented the play at the Royal Court Theatre, where it opened on 29 September 1971, directed by William Gaskill. The cast was as follows:

 * Foreman - Geoffrey Hinsliff
 * 1st Workman - Matthew Guinness
 * 2nd Workman - Struan Rodger
 * 3rd Workman - Ron Pember
 * Soldier - Bob Hoskins
 * Lear - Harry Andrews
 * Bodice - Carmel McSharry
 * Fontanelle - Rosemary McHale
 * Warrington - Anthony Douse
 * Old Counsellor - George Howe
 * Engineer - Gareth Hunt
 * Firing Squad Officer - William Hoyland
 * Bishop - Gareth Hunt
 * Duke of North - Eric Allen
 * Duke of Cornwall - Alec Heggie
 * Soldier A - Bob Hoskins
 * The Gravedigger's Boy - Mark McManus
 * The Gravedigger's Boy's Wife - Celestine Randall
 * Carpenter - Oliver Cotton
 * Sergeant - Bob Hoskins
 * Soldier D at the Gravedigger Boy's House - Ray Barron
 * Soldier E at the Gravedigger Boy's House - Geoffrey Hinsliff
 * Soldier F at the Gravedigger Boy's House - Anthony Milner
 * Judge - William Hoyland
 * Usher - Gareth Hunt
 * Old Sailor - Matthew Guinness
 * Ben, a prison orderly - Matthew Carpenter
 * Soldier H, guard in the prison - Geoffrey Hinsliff
 * Soldier I, guard in the prison - Richard Howard
 * Soldier J, Guard in the Prison - Bob Hoskins
 * Old Prison Orderly - Anthony Douse
 * Wounded Rebel Soldier - Matthew Guinness
 * Bodice's Aide (Major Pellet) - Struan Rodger
 * Soldier J, Convoy Escort - Bob Hoskins
 * Soldier K - Convoy Escort - Geoffrey Hinsliff
 * Soldier L, Convoy Escort - Richard Howard
 * Prisoner 1 - Struan Rodger
 * Prisoner 2 - Ron Pember
 * Prisoner 3 - Derek Carpenter
 * Prisoner 4, later Prison Doctor - William Hoyland
 * Prison Commandant - Gareth Hunt
 * Soldier M, Prison Guard - Ray Barron
 * Soldier N, Prison Guard - Matthew Guinness
 * Soldier O, Prison Guard - Eric Allen
 * Farmer - Geoffrey Hinsliff
 * Farmer's Wife - Marjorie Yates
 * Farmer's Son - Anthony Milner
 * Thomas - Alec Heggie
 * John - Richard Howard
 * Susan - Diana Quick
 * Small Man - Ron Pember
 * Officer - Gareth Hunt
 * A Boy - Ray Barron
 * And other soldiers, Workers, Strangers, Court Officials, Guards

Sets designed by John Napier

Costumes designed by Deirdre Clancy

Lighting by Andy Phillips

Context
In the late 1970s, the British theatrical community was interested in the failure of the postwar socialist promise, and used historical drama to offer, in the words of Keith Peacock, “a clear reflection of the aspirations, activities, and worries of the Left during the 1970s”. According to Louise Geddes, Bond's Lear is "often read as part of the renewed interest in the historical epic, and viewed as a nostalgic response to a troubled time."

Critical reception
David L. Hirst wrote in his book Edward Bond, “it may be that the excessive amount of realistic violence in the play—far greater than in any of Bond’s previous dramas and never equaled in any play since—considerably alienated reviewers and public alike when the play was first performed". Conversely, Ronald Bryden of The New York Times reported in 1974 that Lear had by then become a "standard play in the European repertory" and garnered acclaim from critics, but that Royal Court audiences reacted unfavorably. Richard Scharine dubbed the events of the play "grotesque and difficult to believe." Charles Spencer wrote in The Daily Telegraph, "Unlike Shakespeare, Bond has a tendency to preach...his play lacks the richness and compassion of the Shakespeare original".

In 1973, Mel Gussow of The New York Times derided the ending as "sentimental and unaffecting", and argued that Lear "is so determinedly a thesis play, an intellectual exercise, that there is scant consideration for drama". Gussow stated that the play "lacks transitions and credibility. [...] Bond has allowed his philosophy to overcome his artistry." Walter Kerr compared it unfavorably to Saved (1965) in the same paper, and stated that the playwright "has here become so obsessed with the idea of violence that he has neglected to give it plausible, or even theatrically coherent, organization. [...] I do not necessarily quarrel with what he says [about violence in society]. The trouble with “Lear” is that he is saying it: his characters aren't, his narrative isn't. Everything is imposed by the author from the outset; the ' people' on stage can only do his bidding.mindlessly,’ without personality or so much as rationalized purpose."

However, Benedict Nightingale wrote, "The play’s horrors. . . have their perhaps overemphatic place in plot and theme: they also, you feel, reflect authentic pain and anger....Yet another horror, you say; but not one that quite eradicates the impression of human nobility, briefly and precariously achieved." A critic for The Observer dubbed it "one of the most powerful plays to have emerged in years...Although its tragic scale is unimaginable except in the theatre, it is not primarily a play for 'theatregoers', but is meant for anyone concerned with our apparently hell-bent course towards self-destruction." In Comparative Drama, Leslie Smith argued that "Bond sets up in his play a real, creative dialogue with the original, out of which comes a theatrical experience of impressive power, a Lear as seen by one of the most original and versatile dramatists of our time."

In 1987, Ray Loynd of Los Angeles Times wrote, "The play’s ending may not chasten you (as intended) but its bleak vision is not easily dismissed." Actor Paul Freeman stated in 1994, "Seeing Saved and Lear changed my life. They said something directly about my world - [Bond's] world too - of surburban London." In a 2001 article for The New York Times, Nightingale lauded the work as "grimly imaginative". Lyn Gardner of The Guardian awarded Jonathan Kent's 2005 production a full five stars, praising the "dazzling directness of Bond's writing" and stating that the production "restores Bond to his place as the greatest of post-war British playwrights."

Lynne Walker of The Independent wrote that "Bond's glittering and brittle dialogue is searing in its intensity." Dominic Cavendish argued in The Daily Telegraph that Kent "can't hide the monotonous rhythm of some of the writing, which often steamrollers characters into flattened mouthpieces, but the bleak, barbed comedy is all there". The critic also said that "after a while, we become inured to the grisly spectacle, and more and more aware of the moral force of Bond's writing." Charles Spencer lauded one sequence as an "improvement" on Shakespeare's original sequence due to a "revoltingly ingenious" addition. The Independent 's Paul Taylor dubbed Lear a "mighty riposte to Shakespeare's tragedy".

title: Lear (play)