text:
John Cromwell (director)

John Cromwell (born Elwood Dager; December 23, 1886 – September 26, 1979) was an American film and stage director and actor. His films spanned the early days of sound to film noir in the early 1950s, by which time his directing career was almost terminated by the Hollywood blacklist.

Early life and education
Born as Elwood Dager in Toledo, Ohio to an affluent Scottish-English family, executives in the steel and iron industry, Cromwell graduated from private high school at Howe Military Academy in 1905, but never pursued higher education.

Early acting career, 1905–1912
Upon leaving school, Cromwell immediately began his stage career touring with stock companies in Chicago, then made his way to New York City in his early 20s. Billed as Elwood Dager in his youth, he changed his name to John Cromwell at the age of 26 following a 1912 New York stage appearance.

Cromwell made his Broadway debut in the role of John Brooke in Little Women (1912), an adaptation of Louisa May Alcott's novel. The production was an immediate hit and ran for 184 performances.

Throughout Cromwell's stage career, he worked in close collaboration with one of the outstanding Broadway producers of the day, William A. Brady. Indeed, virtually all of the stage productions Cromwell participated in before he began his film career were produced by Brady. The Painted Woman (1913) marked Cromwell's first assignment as stage director. Written by Frederic Arnold Kummer, the play closed in two days. By 1914, he was acting in and co-directing productions, including "Too Many Cooks" (1914), which ran for 223 performances.

In 1915, he joined the New York Repertory Company and performed in the American premieres of two George Bernard Shaw plays: Major Barbara in 1916, as character "Charles Lomax", and in a revival of Captain Brassbound's Conversion. Cromwell's stage career was interrupted by a brief stint in the U.S. Army during World War I.

By the 1920s, Cromwell had become a respected Broadway director, often in collaboration with co-directors Frank Craven or William Brady. Cromwell frequently performed on stage in this period which included works by future Pulitzer-Prize-winners Sidney Howard and Robert E. Sherwood. In 1927, Cromwell directed and played the lead in the gangster drama, The Racket, with newcomer Edward G. Robinson debuting in a tough guy role of the type for which Robinson became known throughout his film career.

In 1928, Cromwell moved to Hollywood to serve as a dialogue director during the movie industry's transition to films with sound. Although Cromwell returned to Broadway in later years, his primary occupation after 1928 was as a movie director.

Paramount Famous Lasky, 1929
Paramount Famous Lasky film producer B. P. Schulberg signed the 42-year-old Cromwell as a screen actor in October 1928 at the time of the industry-wide transition from silent productions to the new sound technology. After a satisfactory début performance in the 1929 early talkie The Dummy which featured Ruth Chatterton, Fredric March, Jack Oakie and ZaSu Pitts, Cromwell was invited to share directorial duties with Edward Sutherland, an experienced filmmaker.

Though Cromwell had never worked behind a camera, Paramount was eager to hire experienced stage directors "because of their presumed knowledge in handling dialogue." However erroneous this assumption, Cromwell and Sutherland enjoyed a productive collaboration completing two early talkies, both in 1929: Close Harmony, a jazz-band romance, and The Dance of Life, based on the George Mankers Watters play Burlesque (Sutherland's co-direction went uncredited in The Dance of Death). Cromwell had a minor acting role in each of these productions.

In a 1973 interview with Leonard Maltin, Cromwell offered a frank assessment of his difficulties adapting to the new medium as a movie director: "I never got accustomed to the terrific range of the camera and what the choice of a shot can do to a scene...[though] I was always very aware of composition. I had to rely enormously on my cameraman, especially at first. I was never able to learn much about lighting because it seems to me that every cameraman I had was so different from the last in his technique that it became almost impossible to learn unless you just took out time and devoted yourself to it. So I had to be completely at their mercy...But I was very lucky. I had some wonderful cameramen—wonderful in that they never let me down...men like Jimmy Howe, Charlie Lang, Arthur Miller."

During Cromwell's early films with Paramount, he was tasked with directing stage and film star George Bancroft, the studio's top property. Bancroft had performed in a number successful silent films with Paramount's rising director Josef von Sternberg, culminating in a Best Actor nomination for Bancroft in Thunderbolt (1930). The Mighty (1930) was Cromwell's first of four pairings with Bancroft, and his first solo debut as director.

On his next film The Street of Chance, Cromwell formed a personal and professional bond with producer David O. Selznick in his first production, then an assistant to B.P. Schulberg. The picture, starring William Powell, Kay Francis and Jean Arthur, was a success at the box office.

Paramount-Publix, 1930–1931
In 1930, Paramount Famous Lasky Corporation changed its name to Paramount Publix Corporation because of the growing importance of the Publix Theater chain.

The Texan (1930) was Cromwell's adaptation of the O. Henry short story "A Double-Dyed Deceiver" and starring Paramount's rising star Gary Cooper.

Paramount again enlisted actors Powell and Francis in Cromwell's For the Defense (also 1930), a legal drama involving a lawyer and his criminal fiancée. He directed the second cinematic version of Mark Twain's Tom Sawyer (also 1930) with Jackie Coogan starring as the eponymous Tom.

During 1931-1932, Cromwell fulfilled his commitments to direct Bancroft in three more films. Indeed, Cromwell had agreed to continue working with Bancroft only if Paramount arranged to let him direct Gary Cooper and Helen Hayes in an adaption of Hemingway's novel A Farewell to Arms, a project that eventually was directed by Frank Borzage.

The Bancroft films include Scandal Sheet, with co-star Clive Brook, Rich Man's Folly (both 1931), an adaption of Dickens' Dombey and Son and The World and the Flesh (also 1931), a romance set in revolutionary Russia. Cromwell's professional view of Bancroft's performance in Rich Man's Folly elicited these remarks:

"[The role] should have been absolutely splendid for Bancroft except it required a consciousness of the material—of which he had none! To him it was always just another part to play in the same old manner..."

Cromwell made three more pictures for Paramount-Publix, all released in 1931: Scandal Sheet, with Bancroft, Unfaithful, with Ruth Chatterton and The Vice Squad with Paul Lukas and Kay Francis.

During pre-production of the 1932 The World and the Flesh, a tale of the Bolshevik Revolution of 1917, Cromwell became disgusted with both the quality of the scenario, as well as the Paramount's sharp curtailment in rehearsal time. Cromwell's historical outlook and stage experience informed these following comments: "The World and the Flesh was the high point of degradation from my point of view. It was such an asinine, concocted story! I had personally taken an interest in the Russian Revolution, and had heard a great deal from a journalist...Lincoln Steffens who had been in Moscow at the time it happened...And so I had an idea of what chances there were to do a real picture. Then to have this...this almost disgusting tale, the same old hash served up as a script! I made up my mind that would be the last of it, I would try to get away.""

In the early sound films the studios, having experience only with dialogue-free (silent) pictures, deferred to the Broadway dialogue-savvy stage directors, like Cromwell, who they enlisted during the transition to "talkies". In early production of For the Defense, Cromwell reports he was informed about a change in policy concerning rehearsals: "I set up the usual rehearsal schedule [of 2 $1/2$ weeks], but at the production meeting Schulberg said "We can't have anymore rehearsals, John." I asked him what he meant, and he continued: "It's a waste of time. The [film] directors don't know what to do with rehearsals..."

I had noticed this too, but I had improved every minute of my time with rehearsals, so I said "Well, you know you don't have to do that with me, you know I don't waste my time." Schulberg replied "If I give you the privilege, they'll all want it, and that will just create a situation...""

Cromwell bargained with the producer, and they agreed to trade shooting days in exchange for rehearsal days. Cromwell recalled: "I think I ended up with four days rehearsal [by] cutting two days off the shooting schedule. Incredible! I couldn't believe it years afterwards."

Radio-Keith-Orpheum (RKO): 1933–1935
Cromwell's disaffection from Paramount led him to "walk off the lot" after The World and the Flesh, and with the help of his agent Myron Selznick, he moved to RKO. At the time, David O. Selznick was running RKO, and Cromwell recalled his professional experience there fondly: "RKO was always an endearing place to me; it had a distinct feeling of independence and individuality it never lost."

Cromwell was initially assigned by RKO to direct "a series of soap operas and films about family strife". Among these were Sweepings (1933), starring Lionel Barrymore in an unusually "restrained" performance. Cromwell directed The Silver Cord, an adaptation of a play he directed in 1926. His 1933 film adaptation concerns a young wife, Irene Dunne, who battles with her interfering mother-in-law Laura Hope Crews. The picture, which disparaged "motherhood", was considered audacious in its day.

Cromwell finished off this series with Double Harness (1933), "a shrewd and sophisticated interior drama" with Ann Harding and William Powell.

Ann Vickers (1933)
Cromwell filmed a then-controversial adaptation of the Sinclair Lewis novel Ann Vickers (1933). Irene Dunne played the eponymous character, a social reformer who exposes the degrading conditions in American prisons and has an affair with a jurist Walter Huston. Jane Murfin's screenplay reflected the characterizations in the Lewis novel, where Vickers is a "birth control advocate" who engages in an extramarital affair. The script drew the ire of the Production Code Administration and the Catholic Church. The Studio Relations Committee (SRC) chairman James Wingate called the script "vulgarly offensive". The SRC, overseeing the MPPDA, demanded an overhaul of the Murfin's script. RKO managers protested, and a compromise was reached when Dunne's character was relieved of adultery charges by a change in her marital status. Although awarded approval, the film helped spur the formation of the Production Code Administration, which later rigorously censored films for almost 25 years, largely under Catholic moral crusader Joseph Ignatius Breen.

Spitfire and This Man Is Mine (1934)
Cromwell's first two pictures of 1934 are considered "largely forgettable" according to author Michael Barson, beginning with a "miscast" Katharine Hepburn in Spitfire.

RKO's 26-year-old Hepburn as "Spitfire" (her pejorative sobriquet) was conceived as a "character study" rather than a genuine narrative, to showcase the rising young star. Based on the play Trigger by Lula Vollmer, Hepburn is improbably tasked with portraying an anti-social hillbilly-tomboy and faith healer in a rural backcountry community. Cromwell admitted that he was skeptical as to Hepburn's suitability for the part and objected to her contrived country accent. Hepburn herself tried unsuccessfully to get out of the film.

Cromwell, struggling with setting up his shots and conscious of avoiding cost overruns, disputed with Hepburn as to re-shooting of a key scene. The contretemps led to Cromwell's emphatic rejection of her requests and the director, "who did not like the film much", recalled that "I think those [disputes] were reflected in the picture." Nonetheless, Cromwell's visual compositions, along with the work of his cinematographer Edward Cronjager showcase Hepburn's "exuberant" performance, in which "her physical celebrations of the joys of life make this an eccentric and likeable film." Surprisingly, the film was successful at the box office.

Cromwell completed another soap opera with Irene Dunne and Ralph Bellamy, This Man is Mine (1934).

Of Human Bondage (1934)
Cromwell embarked on a film that proved to be highly offensive to the censors, but immensely popular among moviegoers: Of Human Bondage.

Although film historian John Baxter considers Cromwell's adaption of W. Somerset Maugham's novel Of Human Bondage "overrated", critic Jon Hopwood posited that the director "made his name" in Hollywood with this picture.

The film dramatizes forms of personal tyranny and obsession, in which an unsophisticated and heartless waitress, Mildred (Bette Davis) employs low-cunning to win the affection of a club-footed and self-effacing young medical student, Philip (Leslie Howard). The scenes are shot with great efficiency and effect in which "the camera movement seems to represent the emotional state of the characters." Cromwell adapted to studio budget limitations, employing the spartan interior sets to good effect in emphasizing the "unreality" of medical student's daily routines.

Bette Davis' Mildred saw the emergence of the actress in a "breakthrough" performance and "her first truly great film role." Davis' rendition fully conveys "the vulgarity and venality" of the character, impressing studios executives and audiences.

Like Cromwell's 1933 Ann Vickers, Of Human Bondage was received the disapproval of the Production Code Administration (PCA), led by Catholic activist Joseph Breen. The PCA demanded a number of alterations to the scenario, among them that Mildred's diagnosis of syphilis be changed to tuberculosis, and that the coarseness of Davis' interpretation of the "slatternly waitress" be toned down. RKO readily complied under threat of a $25,000 fine per violation.

Despite studio executives' submitting to the censorship, Of Human Bondage was picketed in the major cities in the Midwestern United States by the Catholic National Legion of Decency. Perhaps in response to the reputation the film acquired by these demonstrations, the picture broke attendance records at Chicago's Hippodrome Theater with hundreds of moviegoers turned away. Nationwide, the movie enjoyed a tremendous box-office success.

As to Cromwell's successful handling of Davis' role, he was never labelled a "woman's director" (as were directors such as George Cukor). Nevertheless, his extensive experience as a stage performer endowed him a sympathy which elicited fine performances from his players, especially the women. Davis' performance was an early manifestation of this salutary influence.

The last film released in 1934 directed by Cromwell was a post-WWI romantic drama The Fountain concerning an Englishwoman who must tell her devoted German husband returning from the war that she has fallen in love with her childhood sweetheart.

Film historian Kingsley Canham considers this a "key" film in Cromwell's oeuvre, showcasing the director's "elegance" and "assurance" in his handling of the décor and its relationship to performances.

The "restlessness and soul searching" of the expatriate wife Julie (Ann Harding) and her lover interned British flyer Lewis (Brian Aherne) is conveyed through camera movements, and with a minimum of dialogue. The "metaphysical" nature of this romance is made explicit by Cromwell's insertion of an excerpt from the English poet Coleridge's poem "Dejection". Canham praises The Fountain as "undoubtedly one of Cromwell's most outstanding achievements..."

After finishing Of Human Bondage, Cromwell enjoyed a pleasant interlude making Village Tale (1935), "one of Cromwell's favorite projects." Comprising a series of character studies, the picture features Guinn "Big Boy" Williams and Ann Dvorak. Jalna and I Dream Too Much(both 1935), represent a return to Cromwell's "soap opera" depictions of familial relations and marital strife. The director's wife Kay Johnson was featured in Jalna, and Henry Fonda starred in I Dream too Much.

United Artists and 20th Century Fox, 1936–1939
After his recent collaborations with Pandro S. Berman and other producers, Cromwell reunited with David O. Selznick, following him to United Artists and 20th Century Fox to make five films: Little Lord Fauntleroy (1936), To Mary – with Love (1936), Banjo on My Knee (1936), The Prisoner of Zenda (1937) and Algiers (1938).

David O. Selznick enlisted Cromwell to make a heavily invested re-make of the silent era film Little Lord Fauntleroy (1921)

The casting of child actor Freddy Bartholomew in the title role, according to Canham, was a masterstroke by Selznick and Cromwell's direction showcases the "sheer professionalism" of Bartholomew's acting abilities. Cromwell wisely selected his supporting cast from Hollywood's renowned "English Colony" of British expatriates. A film that emphasizes characterization over incident, Cromwell's handling of the camera endows the picture with a cinematic quality that avoids the impression of "filmed literature."

The first film created under Selznick International Pictures, Little Lord Fauntleroy was his most profitable production until Gone With the Wind (1939).

Banjo on My Knee (1936)
Selznick tasked Cromwell with filming "another marital drama" released by 20th Century Fox studios with Claire Trevor the interloper and Myrna Loy and Warner Baxter as the happy couple. Banjo on My Knee (1936), set in the New Orleans and a comedy-of-errors interspersed with musical productions, included a fulsome rendition of W. C. Handy's "St. Louis Blues". The film bears similarities in setting and staging to director James Whale's Show Boat released the same year.

Cromwell, according to Canham, fails to cinematically develop the characters of co-stars Barbara Stanwyck and Joel McCrea and reduces the plebeian denizens of the Mississippi River Delta to caricatures.

Walter Brennan, was cast as the rural patriarch Newt Holley, who emerges as welcome comedy relief in a picture writes Canham where "nothing ever comes easily to the people in Cromwell's films and ambition often cloaks failure or death for commoners or even Ruritanian royalty."

The Prisoner of Zenda (1937)
In reviving novelist Anthony Hope's swashbuckler The Prisoner of Zenda, David O. Selznick took a calculated risk as to popular taste. That leading man Ronald Colman was under contract to Selznick was the key factor in proceeding with the project. The decision to pick John Cromwell as director was based on his demonstrated ability to handle actors, and his disciplined observance of budgetary restraints.

Despite Cromwell's skill with both male and female actors, an amusing contretemps arose during script and storyboard development. Ronald Colman (like screen actor John Barrymore) favored presenting just one facial profile to the camera to conceal his "bad side". Co-star Madeleine Carroll soon approached Cromwell, claiming a facial defect on the same side as Colman, meaning any face-to-face on-screen close-up would put one actor at disadvantage.

As director Cromwell remembered: "I called on Jimmy Howe [the cameraman] and asked him if [Carroll] had a bad side, and he said: "You couldn't fault her if you stood her on her head!" So I went back to her, pointing out how ridiculous it was and that we wouldn't be able to shoot the picture if she had the same [bad] side as Colman. After that, she would not speak to me for the rest of the picture."

Despite the generally "fluid style of the finished work" the authorship of several of the action scenes remain in question. Selznick was adamant about engaging directors George Cukor and Woody van Dyke to instill a sharper expressive element into the acting or to provide a more graphic presentation of the action episodes. Cromwell's widely recognized "visual elegance" may have influenced Selznick's "poor opinion of him as an action director." Both Cukor and Van Dyke went uncredited as was customary under Director's Guild rules.

Film critic Michael Barson considers Cromwell's The Prisoner of Zenda as the beginning of his "golden age" among Hollywood directors, and a production that deserves designation as a "classic".

Algiers (1938)
Algiers (1938), Cromwell's re-make of director Julien Duvivier's French thriller Pepe Le Moko (1936), launched the Hollywood careers of two European actors: Charles Boyer and Hedy Lamarr. Cromwell elicited a fine performance from Boyer as an international thief who matches wits with the local police inspector played by Joseph Calleia, attempting to lure the French fugitive from his refuge in the "Casbah", the native quarter of Algiers. The dialogue, "tight and logical", was crafted by John Howard Lawson, with contributions from novelist-screenwriter James M. Cain. Cromwell and his cinematographer James Wong Howe successfully manufactured a "polished" facsimile of Duvivier's original for producer Walter Wanger.

Cromwell strained to extract an impressive American acting debut from the Austrian Lamarr, whom Wanger wished to mold into a "second Garbo". Cromwell recalled: "I could sense her inadequacy [as an actor], Wanger could sense it, and I could see Boyer getting worried...Sometimes the word personality is interchangeable with presence although they aren't the same thing. But the principle applies, and Hedy also had no personality. How could they think she could become a second Garbo?...Well, we got the picture going, and we did all right. The critics saw she couldn't act, but she got by, and they sold the picture by gushing how beautiful she was. I'll take some credit for making her acting passable but can only share credit with Boyer fifty-fifty."

Cromwell made an aborted attempt to direct producer Sam Goldwyn's The Adventures of Marco Polo (ultimately completed by director Archie Mayo and John Ford in 1938), followed briefly by a return to the stage to direct Fredric March and Florence Eldridge.

Made for Each Other and In Name Only: Carole Lombard, 1939
While Selznick was deeply immersed in pre-production for Gone with the Wind (1939), he engaged Cromwell to direct Carole Lombard and James Stewart in the romantic comedy Made for Each Other (1939). The simple narrative of young newlyweds struggling with both "the trivial and the traumatic" provided a platform to showcase Cromwell's adept handling of the cast.

Lombard was eager for a role with dramatic potential (she had been designated as "The Queen of the Screwball comedy" in her earlier roles). She benefited from the straightforward script "that allowed for a great deal of insight into the characters, and for an unusual amount of flexibility in the cast's playing." Lombard's dramatic interpretation of wife Jane Mason emerges as "casual and very human." Stewart is perfectly suited to the role of the unassertive yet endearing young husband in need of the tactful guidance of his more mature spouse.

A distinct critical success, but undistinguished at the box-office, Cromwell was delighted to have the opportunity to direct Lombard in his next feature film: In Name Only (1939). Another production in a genre that Cromwell was well-equipped to present—the marital melodrama—Lombard plays "the other woman" to the wealthy Cary Grant, trapped in an unhappy marriage with the possessive Kay Francis.

Lombard's Julie, a widow, suffering from "shattered illusions" of ever possessing Grant, must first abandon all hope before Fate intervenes on her behalf. Grant retains his "natural flippancy" to deliver a number of comic scenes which avoids undermining his character's credibility, and Kay Francis' obsessive matron agrees to give Grant a divorce with this malignant invective: "I hope you'll both be miserable!" Cromwell's overall grasp of the dramatic atmosphere serves to blend the performances and "nearly brings it off."

Historian Kingley Canham offers an insight into Cromwell's handling of "romantic illusions" inherent to melodramatic narratives: "Reality is ever present in Cromwell's work, surfacing even in his lightest offerings...the director's attitude to his 'soap opera' material differs from other artists [such as] Cukor, Borzage and Stahl...in that he is basically anti-romantic, playing down sentimentality and opting for realism and practicality instead."

Abe Lincoln in Illinois (1940)
RKO executives tasked Cromwell with adapting playwright Robert Sherwood's play Abe Lincoln in Illinois, which had been produced to great acclaim on Broadway in 1938. The Pulitzer Prize-winning stage production concerned the early career of US President Abraham Lincoln, who led the Union forces to victory in the American Civil War. The unfolding war in Europe and the Far East gave special resonance to the subject matter.

Despite the fact that 20th Century Fox was well-advanced in producing a John Ford picture starring Henry Fonda that dramatized the same events in Lincoln's life, this did not deter bids for the film rights to the Sherwood's historical drama and independent producer Max Gordon financed its purchase for $250,000, to be filmed by RKO studios. Stage actor Raymond Massey, who played the role of Lincoln in the Broadway production was selected, with Sherwood's fulsome approval, to perform in the screen role of Abe Lincoln in Illinois.

Cromwell's characterization of Lincoln is distinct from that of the Ford's in Young Mr. Lincoln (1939). Whereas Ford presents a mythological figure who rises from a humble rural lawyer to the most exalted position in the nation, Cromwell's relies less on iconography and emphasizes historic details which reveal Lincoln's early character as less exalted: "Raymond Massey [emerges] as a far less confident Lincoln than Henry Fonda."

The presentation of Lincoln's historical relationship with Ann Rutledge (played by May Howard) is used by Cromwell to establish aspects of Lincoln's essential character and avoids Ford's romantization of Rutledge in Young Abe Lincoln, which features a sentimental graveside eulogy.

Actor Ruth Gordon, in her debut screen appearance as the future Mrs. Lincoln, provides a key antidote to Cromwell's callow Lincoln who is lazy, skeptical and lacking in ambition. Gordon's Mary Todd forthrightly sets about preparing Lincoln to face his destiny in anticipation of marrying him, providing "a remarkably astute cinematic interpretation." Cinematographer James Wong Howe's lighting and camera work effectively documents the transformation in Lincoln that earned Howe an Oscar nomination.

Victory (1940)
As early as 1919, Cromwell had taken a keen interest in novelist Joseph Conrad's psychological drama Victory: An Island Tale (1915), concerning an English expatriate who attempts to withdraw as a recluse to a small Indonesian island. His solitary existence is undone when he rescues a young woman, leading to the infiltration of his sanctuary by a gang of sociopaths, with tragic results. Cromwell personally contacted Conrad shortly after publication of Victory to obtain production and dramatic rights to the work, only to discover that permission had been bestowed on producer Laurence Irving and McDonald Hastings, respectively. Cromwell directed a version of their adaptation in the United States in the 1920s that quickly folded.

Twenty years later, Cromwell filmed his screen version, Victory (1940), for Paramount with Fredrick March as the recluse Hendrik Heyst and Betty Field as Alma, and Cedric Hardwicke as the pathological Mr. Jones (also serving as narrator). Cromwell's professional relationship with March had commenced on Broadway in 1925 when he directed March in Kay Horton's Harvest.

Cromwell was dissatisfied with some of the casting in Victory, particularly with that of British actor Cedric Hardwicke : "Then [there was] Mr. Hardwicke, whom I knew—or thought I knew—pretty well. I don't know what the hell happened to him. He just conked out on me entirely, and I felt he gave no indication what the part was about…there seemed to be no effort on his part."

Cromwell considered his next project more satisfactory. In Cromwell's film adaptation, So Ends Our Night (1941), an adaption of the Erich Maria Remarque novel Flotsam (1939), Fredrick March plays an anti-Nazi fugitive pursued by fascist Austrian authorities. In his flight he encounters other exiles, played by Glenn Ford and Margaret Sullavan, and his freedom is only achieved through an ultimate sacrifice. Erich von Stroheim appears in a supporting role as Nazi SS officer Brenner.

Cromwell was particularly pleased with the script by Talbot Jennings, and although the picture was not a commercial success, Cromwell considered So Ends the Night "one of my best."

Son of Fury (1942)
Cromwell's disparaged his next assignment, Son of Fury, as strictly "a studio project." Financed generously by 20th Century Fox but controlled at every phase to ensure its commercial success, Cromwell was limited to using its "lavish sets" by Darryl F. Zanuck to manufacture "a stock 20th Century Fox costume" period-piece.

The protagonist, Benjamin Blake, heir to a baronetcy, is played by child actor Roddy McDowell as a youth, then by Tyrone Power in adulthood. Curiously, although a time lapse shows the juvenile Blake's transformation from boy to man, his uncle Sir Arthur Blake George Sanders shows no discernible signs of aging.

Cromwell recalled enjoying his work with leading man Tyrone Power "and particularly with [co-star] Gene Tierney" as he "never saw her in a film I liked until Son or Fury and I think that was because I worked so hard to get her to stop acting and be simple."

Historian Kingsley Canham issued this judgement on Cromwell's direction of the picture: "Son of Fury contains the two extremes of Cromwell's career, [and] unfortunately, in the confrontation between good taste, a lavish budget and atmospheric characterization on the one hand and subservience to studio influence on the other, the latter proves to be the stronger factor."

Since You Went Away (1944)
As part of his promotion of his protégé, 25-year-old Jennifer Jones, Selznick enlisted Cromwell to direct a paean to the American family during wartime, Since You Went Away (1944).

Film historian Kingley Canham describes Since You Went Away as "undoubtedly one of the most superior, polished and effective wartime propaganda works to emerge from the cinema during the Second World War." Selznick, dissatisfied with the screenplay written by author Margaret Buell Wilder, overhauled it to create a celebration of the American homefront as an “impregnable fortress” sustaining the US war effort.

The cast features Claudette Colbert, Shirley Temple, Joseph Cotten, Lionel Barrymore, Robert Walker and Agnes Moorehead. Cromwell's handling of the scenes establish, writes Canham "a warmth and conviction" that surpasses perfunctory performances. Despite Selznick's usual heavy involvement in the production, Cromwell's deployment of the cast and technicians was such that "his reputation as a Hollywood professional could have survived entirely on the strength of Since You Went Away."

A commercial as well as critical success, the film received nine Oscar nominations - including Best Picture, virtually the entire cast and all technical credits - but winning only one, for Max Steiner's score.

The Enchanted Cottage (1945) and Anna and the King of Siam (1946)
Cromwell returned to RKO to make one of his most personally gratifying pictures, The Enchanted Cottage (1945), a remake of director John S. Robertson's 1924 silent film production, both based on Arthur Wing Pinero's 1921 play of the same name.

A romantic fantasy, “handled with perception and feeling” by Cromwell, tells the story (presented in flashbacks) of a disfigured combat veteran Robert Young returning from the Second World War and an "ugly duckling" maiden Dorothy McGuire, who marry and together discover the transformative power of love. Pianist and composer Herbert Marshall, blinded in the war, contributes to their personal triumph.

Returning to 20th Century Fox, Cromwell embarked on another satisfying project, Anna and the King of Siam (1947), "a demonstration of Cromwell's craftsmanship" earning Oscars for cinematography and art direction. The 1944 story by author Margaret Landon is based on the memoirs of Anglo-Indian Anna Leonowens, who served as governess for King Mongkut of Siam (now Thailand) in the 1860s. The King is played by Rex Harrison and the governess by Irene Dunne. Her task is to tutor his numerous children sired with his harem, and "guide the King in matters of state and household" informed by her petty bourgeois sensibilities. Cromwell avoids both minor comedy relief and spectacle, concentrating on character development of the King and Anna.

A success at the box-office and the Academy Awards, the Leonowens tale appeared as a Rodgers and Hammerstein Broadway musical in 1951 and on film in The King and I (1956).

RKO assigned Cromwell the drama Night Song (1948) starring Dana Andrews and Merle Oberon concerning a wealthy society woman who strives to advance the career of a blind pianist. Termed “a disaster [and] an unbelievable film” the picture's only saving grace is a cameo appearance by Arthur Rubinstein performing at the piano.

During the post-World War II period, Cromwell's created a number of films that are considered film noir and reflect the director's frame-up as a Fellow-traveler accused of Communist sympathies by the House Un-American Activities Committee investigators and Hollywood executives during the emerging McCarthyite era. Cromwell claimed that "I was never anything that suggested a Red, and there never was the slightest evidence with which to accuse me of being one." Nevertheless, Cromwell was blacklisted by the Hollywood film industry from 1952 to 1958.

Dead Reckoning (1947): Columbia Pictures
Warner Bros. studios, with top film star Humphrey Bogart under contract, reluctantly agreed to an actor exchange with Harry Cohn's Columbia Pictures, making Bogart available for a limited period of time to the rival studio. Bogart had the option of picking his director and screenplay, and settled on Cromwell. Cromwell recalled his earliest encounter with the actor in the 1922 Broadway production of Drifting in which Bogart was cast in the roles of Ernie Crockett and The Third Husband: "I had put Humphrey Bogart on stage when he was a kid; he used to hang around the Playhouse Theater [and] sat in on rehearsals…[once when a featured player failed to show] somebody thought of Bogart, who was at the time the most responsible, the most charming [of the young player prospects]. He was, of course, goggled-eyed to do it, and I think he said to me once: "Mr. Cromwell...Do I face the audience when I speak my lines or do I talk to the characters?" I went through all these things with him, but the play was an awful flop."

In Dead Reckoning (1947), Bogart portrays a hardened WWII veteran who engages in a deadly pursuit to locate the murderer of a comrade-in-arms. Lizabeth Scott serves as the noir femme-fatale. The often incoherent narrative reflects Cromwell's struggle to make sense of the disconcerting script. Cromwell recalled: "We had no story. [The screenwriters] provided the usual pile of stuff they always had handy to see whom they could pass it off on...I finally got this one, a noxious sort of thing, but I felt perhaps that [Bogart and I] could make something of it."

Despite these conceptual limitations, Cromwell achieves a level of coherency that delivers a vigorous film in the noir style.

Hollywood and the House Un-American Activities Committee (HUAC)
During the House Un-American Activities Committee (HUAC) 1947 investigations into the film industry, John Cromwell was identified as a person of interest linked to supposed Communist subversion in Hollywood. Cromwell described himself as "a 'liberal' Democrat" and avers he did not become politically active until the re-election campaign for US President Franklin Delano Roosevelt's third run for the White House in 1940. Most of this, according to Cromwell, was limited to collecting membership dues for the Hollywood Democratic Committee which consisted of "3,000 members". In a 1973 interview with film historian Leonard Maltin for Action magazine, Cromwell recounted studio efforts to undermine his work during the anti-Communist witch-hunts: "I began to feel the pressure alright...I had asked my agent to find out whether I was on a list of 200 names [of suspected Communists] which was supposed to be universally circulated in all the big studios, and he did what he could to find out, and said: "Absolutely not!" And I felt this was virtually a clearance because my name was on the local state [of California] list and had cropped up very often. So I got the contract from RKO."

Cromwell's agent had negotiated an excellent film contract, but within weeks RKO was purchased by film producer and anti-Communist Howard Hughes. As Cromwell remembered, "the complete freedom from inter-studio politics went up in smoke." He said that the change in ownership caused an exodus of screenwriters and technicians from the studios whose "reputations" were perceived by Hollywood executives as "tinged" with sympathies for Communism: the writers "knew it was useless to stay there".

Remaining under contract, Cromwell decided to persevere at RKO, confident that "they could not harm me much". On the contrary, Cromwell discerned a conscious effort to force him out when RKO executives presented him with an ultimatum: accept studio dictated screenplays and scripts, or violate his contract. Cromwell was convinced that a screenwriter had approached Hughes, urging him to buy the rights of a story that was so repellent to Cromwell the director would be compelled to reject it—providing RKO grounds for terminating his lucrative agreement. Cromwell describes his dilemma: "They just sent me a script and said ‘this will be your next assignment. I looked at the script and the name was I Married a Communist and I thought this was kind of funny...I never read such a bad script in my life; the more I thought about it, the more convinced I became that it could never be made...[but] I decided to stick it out."

Cromwell reports that the studio immediately assigned a screenwriter to the pre-production team who was "one of the worst [anti-Communist] 'witch-hunters' in Hollywood, and I saw that this was pretty deliberate". Multiple screenwriters were tasked with developing a workable script from the flawed story. They came to loggerheads with Cromwell, finally convincing RKO management that it was "logically" impossible to make the picture. When delays in production threatened to trigger the "triple-salary" provision in Cromwell's contract, RKO loaned Cromwell to Warner Bros. to make Caged. The final film, eventually released in 1949, had to be retitled The Woman on Pier 13.

Caged (1950)
Cromwell's noir picture Caged (1950) is an indictment of an American social and sexual hierarchy set in the microcosm of a woman's prison. Among Cromwell's "bitterest films", historian Kingsley Canham describes its formulation: "It builds up in a progression of accusations structured in terms of their importance. Men are seen as woman's downfall; harsh treatment in prison brutalizes them; official indifference and chicanery prevents liberal aid; and their corruption is completed by their contact with the hardened criminals who are themselves victims."

A Warner Brothers production, Cromwell adopted the visual effects, subject matter and dramatic music characteristic of the studio's pictures, including its “hard-boiled” dialogue.

At the center of Cromwell's work—and “casting against type”—are the strong performances by Eleanor Parker, Agnes Moorehead, Hope Emerson, Betty Garde and Lee Patrick, through whom he “makes his case”.

Cromwell returned to RKO (with John Houseman producing) in the studios’ bid to duplicate the success of Caged, again a crime drama, where Dennis O'Keefe is the love object of Jane Greer and Lizabeth Scott: The Company She Keeps (1951). Cromwell failed to fully make use of the talented cast and to effectively dramatize the confusing script.

The Racket (1951)
Cromwell's last film before his expulsion by the Hollywood studios under the anti-Communist blacklist was The Racket (1951). The play by Bartlett Cormack had been produced on Broadway in 1927, with Cromwell in the leading role of Capt. McQuigg (with future film star Edward G. Robinson in a bit part). In the 1928 silent film adaption of the play directed by Lewis Milestone and produced by the 22-year-old Howard Hughes, Robinson is elevated to the role of gangster Nick Scanlon for this silent film version. Robert Mitchum reprises the role of the honest police Captain Thomas McQuigg, the same character director Cromwell had performed on Broadway in 1927.

Cromwell's film version is a dark and pessimistic noir that parades the gangsterism of "the business corporation structure…the brainless thugs...the crooked bail bondsmen and cops and corrupt judges to the unseen 'Man' at the top." The film, which includes suspenseful and effective fight scenes delivers "capable entertainment".

As familiar with the material as Cromwell was, RKO's Howard Hughes rejected his final cut and enlisted director Nicholas Ray to shoot additional scenes. Cromwell is reported to have walked off the set in disgust. Due to his blacklisting by the Hollywood studios, Cromwell did not work in the film industry again until later in the decade.

The Goddess (1958)
During the years of forced studio inactivity beginning in 1952, Cromwell's only engagement in Hollywood was a small acting role in Top Secret Affair (1957), directed by H.C. Potter and starring Kirk Douglas and Susan Hayward. Historian Kingsley Canham reports that the erstwhile director was "active in the theater" during these intervening years. Cromwell was enticed to return to film directing when Columbia Pictures promised him the option make "first cut" on the proposed feature. The Goddess (1958) was his last major cinematic work, and "in many respects one of his best films."

The story and script by dramatist Paddy Chayefsky details the tragic rise and fall of a fictitious Hollywood actress, Emily Ann Faulkner/Rita Shawn. Cromwell chose to present the saga in three chronological and dramatic episodes: "Portrait of a Young Girl, Maryland 1930" (Faulkner played by the 9-year-old Patty Duke), "Portrait of a Young Woman," and "Portrait of a Goddess” (the later two performed by Kim Stanley).

Cromwell uses the film as a platform on which to "bitterly parody the emotionalism of his earlier films", linking the episodes together by the repetition of fragments of dialogue from the characters that "echo" throughout the film.

The Goddess emerges as Cromwell's reckoning with the Hollywood film industry. The characterization of Emily Ann Faulkner and Rita Shawn emerge as an indictment of the Hollywood system. Film historian Kingsley Canham observes: "Cromwell's heroine is both victim and monster; she is allowed an ambiguity of character that many of his villainesses share, but he shows no mercy or pity for the mechanics of the film industry whom he indicts for her downfall. The film offers him an opportunity to vent his love/hate relationship for a lifetime in the film industry."

Cromwell discovered that his “first cut” rights were inadequate to preserve his work, and in subsequent editing effected through the efforts of writer Chayefsky, The Goddess was reduced to half its original length. Cromwell ultimately walked off the project.

Cromwell's film career closed with two lackluster films: The Scavengers (1959) starring Vince Edwards and Carol Ohmart, made in the Philippines, and a low-budget drama, A Matter of Morals (1961), made in Swede with Maj-Britt Nilsson and Patrick O’Neal.

Life after Hollywood
Cromwell devoted the rest of his career primarily to the theater where he had begun. He wrote three plays, all staged in New York; starred opposite Helen Hayes in a revival of What Every Woman Knows, directed the original Broadway company of Desk Set, and eventually found artistic satisfaction in four seasons at the Tyrone Guthrie theater in Minneapolis, founded by the expatriate British director in 1963 when he, like Cromwell, had grown disenchanted with Broadway's increasing commercialism.

Cromwell was cast by Robert Altman in the role of Mr. Rose for the film 3 Women (1977) starring Shelley Duvall and Sissy Spacek, and as Bishop Martin in A Wedding (1978) starring Desi Arnaz, Jr., Carol Burnett, Geraldine Chaplin, Mia Farrow, Vittorio Gassman and Lillian Gish. His wife Ruth Nelson also appeared in both Altman films.

Personal life
Cromwell married four times. His first wife, stage actress Alice Lindahl died of influenza in 1918. He and stage actress Marie Goff divorced. Cromwell next married actress Kay Johnson in 1928, divorcing in 1946. His final marriage, to actress Ruth Nelson in 1947, lasted until his death in 1979. Cromwell and Johnson had two sons; one is actor James Cromwell.

Death
He died at age 92 in Santa Barbara, California of a pulmonary embolism.

Stage career
From 1912 to 1928.

title: John Cromwell (director)


text:
Tashkurgan Tajik Autonomous County

Tashkurgan Tajik Autonomous County  (often shortened to Tashkurgan County and officially spelled Taxkorgan) is an autonomous county of Kashgar Prefecture, in western Xinjiang, China. The county seat is Tashkurgan. The county is the only Tajik (Pamiri) autonomous county in China.

History
During the Han dynasty, the town of Tashkurgan was known as Puli ; during the Tang dynasty, it was a protectorate of the Sassanids, during the Yuan dynasty it was part of the Chaghatai empire. It was part of China during the Qing dynasty.

Many centuries later, Tashkurgan became the capital of the Sarikol kingdom (色勒库尔), a kingdom of the Pamir Mountains, and later of Qiepantuo (朅盘陀) under the Persian Empire. At the northeast corner of the town is a huge fortress known as the Princess Castle dating from the Yuan dynasty (1279–1368 CE) and the subject of many colourful local legends. A ruined fire temple is near the fortress.

The region came under Chinese rule from Qing dynasty, to the Republic of China and later on to the People's Republic of China.

On September 17, 1954, Tashkurgan was made an autonomous region. In February 1955, it was made an autonomous county.

In 1955, Bulungkol was transferred to Akto County from Tashkurgan County.

In August 2013, the Chinese Academy of Social Sciences announced that they excavated a cluster of Zoroastrian tombs in Tashkurgan.

In May 2017, the county was hit with a magnitude 5.5 earthquake that killed eight and injured 29.

Geography
Tashkurgan County is located in the eastern part of the Pamir Plateau, where the Kunlun, Karakoram, Hindukush and Tian Shan mountains come together, at the borders with Afghanistan (Wakhan Corridor), Tajikistan (Gorno-Badakhshan Province), Pakistan (Gilgit-Baltistan) and India (Ladakh). The county seat is Tashkurgan Town.

The territorial expanse of the county is 178 km from north to south and 140 km from east to west, the total area is about 25000 km2, with an average altitude above 4000 m. The county includes a significant part of the Trans-Karakoram Tract, disputed by India and Pakistan in the ongoing Kashmir conflict; while Pakistan and China settled the border issue in 1963, India continues to claim it as part of the state of Jammu and Kashmir.

The Muztagh Ata, at 7546 m, and the Kongur Tagh, at 7719 m, are the main peaks in the county, while the two main rivers are the Tashkurgan River and the Tiznap River. By including the Trans-Karakoram Tract, the county also borders several eight-thousanders, including K2, at 8611 m the second-highest mountain in the world. There are several hot springs and resources of gold, iron, and copper.

Climate
Tashkurgan has a cold desert climate (Köppen BWk), influenced by the high elevation, with long, very cold winters, and warm summers. Monthly daily average temperatures range from −11.9 °C in January to 16.4 °C in July, while the annual mean is 3.58 °C. An average of only 68 mm of precipitation falls per year

Administrative divisions
The county administers 2 towns, 9 townships and 1 ethnic township, which then administer 50 village-level divisions.

 * Mazar sheep breeding farm (麻扎尔种羊场)
 * Buhoi Jirap farm (布候依吉拉甫农场))
 * Dairy farm (牛奶场)
 * Bazadax forest farm(巴扎达什牧林场)

Notes
 * 1) Official Kyrgyz name of Kokyar Kyrgyz Township: كۅكجار قىرعىز ايىلى (Көкжар Кыргыз айылы / Kökcar Kyrgyz ayyly)

Demographics
As of 2018, Tashkurgan County had a population of 40,999, up slightly from the 40,381 reported in 2015, and the 37,843 counted in the 2010 Chinese census.

Ethnic composition
Mountain Tajiks make up a supermajority of the county's population, with recent figures indicating they make up somewhere from 80.9% of the population, to 82.24%. Other prominent ethnic groups include the Han Chinese, the Kyrgyz, and Uyghurs.

In 1999, 6.28% of the population of Tashkurgan County was Han Chinese and 5.08% of the population was Uyghur.

In 1995, the total population of Tashkurgan was 27,800, among them 84% Tajiks of Xinjiang, who speak the Sarikoli language, 4% Han and 12% other nationalities.

Economy
Animal husbandry is the primary economic mode with agriculture. The well-known Dunbashi fat-tailed sheep (敦巴什大尾羊) are raised in the county as well as domestic yaks. Agricultural products include highland barley, wheat, and others. Mineral resources include iron, sulfur, and asbestos. In 2011, the county was considered relatively poor. 90% of the residents were engaged in animal husbandry.

The annual per capita disposable income 2018 totaled ¥29,053 for the county's urban residents, and ¥7,630 for the county's rural residents. These figures increased 6.7% and 10.2%, respectively, from 2017.

In 2019, the county government reported that the county has 17 impoverished villages, and 893 households with 3682 people in poverty.

Transportation
The county is served by Karakoram Highway, which runs through Tashkurgan. As of September 2016, China has begun building an elevated road which is expected to be completed in a few years. Tashkurgan Khunjerab Airport is now under construction and will be in service in 2022.

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

title: Tashkurgan Tajik Autonomous County


text:
Talk:AirAsia Zest

Untitled
may i ask if who is the present manager of asian spirit in puerto princesa city? pls response. thank u.
 * This may be a little bit too late for comment (nine-month gap), but the manager of Asian Spirit ticketing office in Puerto Princesa City is a Mr. Leonardo Tianco. --Akira123323 06:48, 31 March 2006 (UTC)

Destinations section, and other things
I looked at the Asian Spirit Schedule valid 15 Nov - 30 Nov 2006, which lists destinations serviced as: International from Davao: Palau
 * Domestic from Manila hub: Caticlan, Basco, Baguio, Busuanga, Calbayog, Catamaran, Davao, Masbate, Pagadian, San Fernando, San Jose, Surigao, Virac
 * Domestic from Cebu hub: Cagayan de Oro, Caticlan, Surigao, Tandag, Siargio
 * International from Manila: Palau

The Asian Spirit Destination map only shows domestic destinations. It shows Clark as a destination from Manila, does not show Surigao as a destination from Manila and shows Caticlan aliased as Boracay. It also shows a planned Zamboanga hub serving Tawi-Tawi, Jolo, and Davao.

The Destination section of this page shows Angeles (DSIA) as a destination; aliasing that to its more widely-known name as Clark international Airport would be useful, IMO. It also shows Malay (Godofredo P. Ramos Airport); aliasing that to its more widely known names of Caticlan and Boracay would be useful IMO. It also shows San Jose, Antique (Evelio Javier Airport), contradicting the Asian Spirit destinations map, which shows their San Jose destination apparently located in Oriental Mindoro. That location contradicts the Wikipedia List of airports in the Philippines, which lists airports in towns named San Jose only in the provinces of Antique and Occidental Mindoro. Looking at Mapquest, I see a San Jose in Occidental Mindoro, but none in Oriental Mindoro.

This section also lists destinations in Macau(PRC) and in Kaohsiung(Taiwan), plus a planned destation in Sandakan(Malaysia) which I cannot find mentioned on the Asian Spirit web site.

The History section says that the airline flies to 32 towns and cities throughout the Philippines, which does not match the info in the Destinations section. Also, the page provides a lot of detailed info which is unsupported by cites.

Could some of this be verified, corrected if needed, and information sources cited? -- Boracay Bill 03:31, 28 November 2006 (UTC)

Destination section, again
I see that User:PikDig has reverted my recent revision to the Destinations section without explanation. PikDig, why was my revision reverted? This airport, which is the tourism gateway to Boracay Island, is known to travelers and is referred to by Asian Spirit as Caticlan Airport. You have it listed as Malay (Godofredo P. Ramos Airport). Yes, Caticlan is one barangay of the municipality of Malay, Aklan, but few airline travelers are aware of that. Yes, the official name of the airport is as you list it, but nobody knows it by that name. Even the wiki page List of airports in the Philippines lists that airport as "Godofredo P. Ramos Airport (Caticlan Airport)". My revision which you reverted listed it that way. actually, I think that it should be listed in the Asian Spirit wiki page as: Malay (Godofredo P. Ramos Airport) (Caticlan airport, gateway to Boracay island). That would not only be completely factual, but would also be much more useful to readers of the page than the way it is presently listed.

Also, I note that you have made some revisions to the Destinations section of the page which contradict info posted in the Flight Schedules section of the Asian Spirit website. It would be useful if, in line with WP:Cite, you would cite your sources. -- Boracay Bill 23:48, 21 March 2007 (UTC)

Zest Air made one flight to Seoul on December 04, 2009 and none anymore. So the flights to Seoul will be totally cancelled soon. The same is true for the flights from Clark to Hongkong. Please refer to their webpage under flight plan. —Preceding unsigned comment added by 114.108.253.105 (talk) 17:29, 12 December 2009 (UTC)

Dubious assertion
I've tagged the assertion, "Asian Spirit has the distinction of being the first airline to serve Boracay." as Dubious. I personally flew from Caticlan to Manila on a scheduled flight with another airline in 1992 or 1993 -- years before Asian Spirit began operations. The aircraft was a Britten-Norman Islander. I'm not sure of the airline name, but it was probably Pacific Air. As I recall, several small airlines flew between Manila and Caticlan back then. Perhaps there is some nitpicky distinction by which Asian Spirit could be called "first" (e.g., something like, "Asian Spirit was the first regularly-scheduled passenger airline operating out of Manila Domestic airport to serve Caticlan/Boracay") but, as a practical matter, Manila-Caticlan scheduled airline passenger service was available years before Asian Spirit began operations. -- Boracay Bill 00:08, 5 July 2007 (UTC)

Asian Spirit Angeles service vs. Wikipidia verification standards
I dropped in to the Asian Spirit office here in Boracay today and asked about Angeles service. They told me that all Angeles operations have been shut down. As I am a WP:V fanatic, I urge contributers to this article not to acdept my unsupported word about this but, rather, to rely on sources such as the the official Asian Spirit website. -- Boracay Bill 11:04, 2 September 2007 (UTC)

Accident
There was an other accident today or yesterday. This was a runway overrun. 81.182.157.191 (talk) 08:25, 2 January 2008 (UTC)

A320 Order
Zest Air has only 4 MA60 and one crashed one (original delivery was 5, one lost in Boracay)

The new order from Airbus is only one plus one option —Preceding unsigned comment added by 114.108.192.47 (talk) 12:20, 13 June 2009 (UTC)

Zest Air has at the moment only 3 MA60 of which 2 are operating. The order of the six additional MA60 never pushed through. —Preceding unsigned comment added by 114.108.192.46 (talk) 17:32, 12 December 2009 (UTC)

Zest Air has no orders for three A320! They can't even operate both aircraft at this time! —Preceding unsigned comment added by 202.78.71.210 (talk) 16:15, 26 January 2009 (UTC)

 * Per this press release Zest Airways presented one of its A320s in Diosdado Macapagal International Airport last December 17. It also states that they will start flights from Manila, not Clark, to Cebu and Davao on December 20, meaning they have one A320 based in Manila as well. It also states that another A320 is set to arrive on January 3, 2009 and another two on mid-2009. Therefore you can conclude that right now they have 3 A320s and 2 additional orders coming. pikdig (talk) 03:33, 27 January 2009 (UTC)

Don't believe newspapers. Presently Zest Air has the following fleet operating : DHC7 (0) MA60 (3) A320 (1)

If Wikipedia takes newspaper releases as god's given source of information than its wrong.

Zest Air operates with the A320 2 flights daily Manila - Cebu (fact) with RP-C8897 (MSN 2141 ex JetBlue N581JB), RP-C8898 (MSN 2147 ex N582JB) is still on the ground in Manila because of lack of crew. One MA60 is grounded in Clark because of ground damage during start-up [quote]"Guess what"!!!!! For the first time the FIFTH brand new MA60 Failed to be ferried from CLARK to MANILA because the pilot Capt.LINE CHECKER forgot to apply parking brake while he was strarting the A/c and he blame the mechanic for not placing the chocks on the wheels. from what i know who would go out there and get those chock while the A/C is starting?!!!.btw, there was a damaged to the wing i dont know where it hit maybe some tree! LOL!.[/quote] —Preceding unsigned comment added by 202.78.71.210 (talk) 23:02, 27 January 2009 (UTC)

 * Per WP:V newspaper press releases pass as a reliable source, however forums (the link you gave) and blogs do not.pikdig (talk) 04:16, 28 January 2009 (UTC)

 * Per this press release they currently have 1 A320, adding up with the other press release, that means they have 4 on order. pikdig (talk) 04:25, 28 January 2009 (UTC)

 * The Zest website says it has two A320s and from other sources they are RP-C8897 delivered 13 December 2008 and RP-C8898 delivered on the 8 January 2009, it is unclear from the references how many they have on order (as they will probably be second-hand) but the first ref quoted by PikDig indicates only two on order. So it looks like two current and two on order. MilborneOne (talk) 19:36, 28 January 2009 (UTC)

There are no new orders of Zest Airways in the books of Airbus. There might be some talks between Zest Air and A320 owners to sell them used aircraft but they are not considered orders. Further, presently only one A320 is operating (RP-C8897), the second aircraft is parked in RPLL for reasons only know to the airline. —Preceding unsigned comment added by 202.78.71.210 (talk) 07:12, 30 January 2009 (UTC)

 * The only thing that appears in the books of Airbus are newly ordered and built aircraft. Second-hands don't appear in their books. pikdig (talk) 00:51, 31 January 2009 (UTC)

Mate, and from where should the orders come? Aircraft built in the sky or again in China as an A320 copy. Guess you have to learn a lot about aviation. Further, you look through the press releases of Zest Air and do you see tha they are flying to all the destinations they announced to fly? Guess you wanna be a guy who knows everything and can not accept facts, so be it. Now I tell you facts: There are no additional orders of Zest Air! They would be happy if they could operate even their 2nd A320! —Preceding unsigned comment added by 202.78.71.210 (talk) 13:42, 31 January 2009 (UTC)

 * Per WP:V and WP:RELIABLE, I have a verifiable source, which is a newspaper article! Your source is a forum which is not verifiable! If you still want to insist that you're correct, although I'm not insisting that I am, please discuss with WP:V on Wikipedia talk:Verifiability. Thank you. pikdig (talk) 00:06, 1 February 2009 (UTC)

Why separate articles?
Is there a reason why there are two articles -- AirAsia Philippines and AirAsia Zest? Shouldn't they be merged? --180.191.114.158 (talk) 07:27, 17 October 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on AirAsia Zest. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20080626023508/http://www.manilatimes.net:80/national/2007/sept/13/yehey/business/20070913bus12.html to http://www.manilatimes.net/national/2007/sept/13/yehey/business/20070913bus12.html

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers.—cyberbot II  Talk to my owner :Online 18:07, 10 January 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 1 one external link on AirAsia Zest. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive http://www.webcitation.org/6CgKliGs4?url=http://ec.europa.eu/transport/modes/air/safety/air-ban/doc/list_en.pdf to http://ec.europa.eu/transport/modes/air/safety/air-ban/doc/list_en.pdf
 * Added tag to http://www.abs-cbnnews.com/storyPage.aspx?storyId=113440
 * Added tag to http://www.bworldonline.com/BW093008/content.php?id=045

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at ).

Cheers.— InternetArchiveBot  (Report bug) 17:49, 12 November 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on AirAsia Zest. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added tag to http://n5e.interaksyon.com/Top.aspx?g=56EF24B8FE5348C&c=1001
 * Added archive https://web.archive.org/web/20090817230608/http://www.mb.com.ph/articles/213962/zest-air-eyes-dmia-hub-int-l-flights to http://www.mb.com.ph/articles/213962/zest-air-eyes-dmia-hub-int-l-flights
 * Added archive https://web.archive.org/web/20110527144347/http://www.mb.com.ph/articles/319737/zest-air-expands-route-fleet-plans-fly-regional-international to http://mb.com.ph/articles/319737/zest-air-expands-route-fleet-plans-fly-regional-international

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 16:08, 28 June 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 3 external links on AirAsia Zest. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20070819232458/http://www.asianspirit.com/about.html to http://www.asianspirit.com/about.html
 * Added archive https://web.archive.org/web/20071016023622/http://www.philippinebusiness.com.ph/archives/magazine/vol13-2006/13-8/cover_2.htm to http://www.philippinebusiness.com.ph/archives/magazine/vol13-2006/13-8/cover_2.htm
 * Added archive https://web.archive.org/web/20071209153819/http://www.manilatimes.net/national/2007/nov/06/yehey/business/20071106bus10.html to http://www.manilatimes.net/national/2007/nov/06/yehey/business/20071106bus10.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 06:59, 10 September 2017 (UTC)

title: Talk:AirAsia Zest


text:
Wikipedia:Articles for deletion/Fallen Desire

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. — Xezbeth 07:29, Jun 18, 2005 (UTC)

Fallen Desire
THIS PAGE SHOULD BE KEPT BUT USER: WEYES AND HIS MINIONS KEEP ABUSING THEIR POWER AND LISTING IT FOR SPEEDY DELETE DESPITE THE FACT THAT IT SHOULDNT BE ON THERE BrowardBulldawg 05:50, 8 Jun 2005 (UTC)

*Speedy delete as patent nonsense and obvious hoax. --Idont Havaname 05:54, 8 Jun 2005 (UTC)
 * Besides the fact that this band comes up with no google hits and the fact that it provides no information that if conforms to anything within WP:MUSIC and the fact that you have been warned for vandalism many times, there is no choice, if you insist on a VfD, the i nominate a Strong Delete. and the admins are not abusing power and do not make personal attacks, read WP:Wikiquette. Sasquatch′↔Talk↔Contributions 05:53, Jun 8, 2005 (UTC)
 * Delete, according to mp3.com the band has no label, no offline relases and the members are incorrectly listed, does not meet mucis guidelines --nixie 05:54, 8 Jun 2005 (UTC)
 * OBVIOUS HOAX AND PATENT NONSENSE? I THINK THE ONLY WHO HAS PROVED HE IS INEFFECTIVE AT THESE VOTES IS YOU IDONT HAVEANAME -BrowardBulldawg 05:56, 8 Jun 2005 (UTC)
 * Ok, given the recent edit to the article (which previously showed Richie Rich as a member of the band), I'll change my vote to delete as non-notable per WP:MUSIC. By the way, have you read any of my other VfD votes, or just this one?  I've voted on VfD for about 500 articles since last November.  --Idont Havaname 07:17, 8 Jun 2005 (UTC)
 * I marked this as a speedy under criterion 3 (vandalism). A look at the names of the band members and the user's previous edits depletes all the good faith I have to assume. It is nice to know I have minions though. --W(t) 05:57, 2005 Jun 8 (UTC)
 * Aw man! I want minions too! NOT FAIR! lol Sasquatch′↔Talk↔Contributions 06:03, Jun 8, 2005 (UTC)
 * Delete Can I be your minion, W? Even after the fix, it's still not notable. Google still only turns up one hit for ("fallen desire" bryan houston justin) --Xcali 06:00, 8 Jun 2005 (UTC)
 * Keep NOTABLE -BrowardBulldawg 05:58, 8 Jun 2005 (UTC)
 * Again, stop the personal attacks and come up with proof that this band exists from a verfiable source. If you have no proof and continue these personal attacks, you will be banned from editting Wikipedia. I'm trying to be nice here but you are pushing it. If you want to say its notable, PROVE IT! Sasquatch′↔Talk↔Contributions 05:59, Jun 8, 2005 (UTC)
 * WHERE HAVE I MADE PERSONAL ATTACKS?????? AND LOOK AT THE LINK IN THE ARTICLE ITSELF. DID U THINK TO READ THE ARTICLE BEFORE YOU NOMINATED IT FOR SPEEDY DELETE??? -BrowardBulldawg 06:02, 8 Jun 2005 (UTC)
 * 2 issues first: "OBVIOUS HOAX AND PATENT NONSENSE? I THINK THE ONLY WHO HAS PROVED HE IS INEFFECTIVE AT THESE VOTES IS YOU IDONT HAVEANAME" would be a personal attack on Idont haveaname, and "USER: WEYES AND HIS MINIONS KEEP ABUSING THEIR POWER" would also be a personal attack on Weyes... second, i read the page, still doesn't prove anything under WP:MUSIC. Please read that page. You will then come to the conjecture, along with the rest of us, that the band is non-notable and everything we have done is fair considering we have only been able to find 1 hit on it... Sasquatch′↔Talk↔Contributions 06:07, Jun 8, 2005 (UTC)
 * The comment to idont haveaname is not a personal assault, i was pointing out that he claimed it was an obvious hoax and patent nonsense dispite the fact that if you click one link you will see it is a real band. that is a CRITICISM of his voting technique, not an attack. ALSO it is my opinion that Weyes and his followers ARE abusing their power, that is not an attack, the only attack was there continued Speedy Deleting of the page. AND my comment to you to read the page had nothing to do with MUSIC, it had to do with the fact that you asked me to proof to you that this band EXISTS, please read what you wrote, you asked to prove it exists, and i told you to click the link to see it did. NOW you change the subject and ignore your original comments, how conveniant. -BrowardBulldawg 06:11, 8 Jun 2005 (UTC)
 * Example: You asked: "Again, stop the personal attacks and come up with proof that this band exists from a verfiable source. " I replied: "AND LOOK AT THE LINK IN THE ARTICLE ITSELF. " then you completely change the subject and IGNORE your first comments in order to discredit me by saying: "... second, i read the page, still doesn't prove anything under WP:MUSIC." THAT IS NOT WHAT YOU ORIGINALLY ASKED. YOU CHANGED TO DISCREDIT ME. -BrowardBulldawg 06:15, 8 Jun 2005 (UTC)
 * If you read the rest of my post, it also talks about notability... and the first post i made was about WP:MUSIC... so i don't see how that really applies, plus, you really brought up the issue of notability by editting the original page to that the band member's name actually match up... Sasquatch′↔Talk↔Contributions 06:29, Jun 8, 2005 (UTC)
 * First, under the original page and the band members listed, it turned up 0 hits, therefore, that was a valid hoax. After you edited the page, you then changed the band members to the correct name. After you did that, this brings up the issue of notability brought upon the page by yourself by correcting your nonsensical origial page which indeed contained false information about the band members. So really, you yourself are responsible for the change of topic because you EDITED the page. So therefore, even after the edits, it still is a valid Delete because it fails the WP:MUSIC test. As for your excuse the it is your opinion the Weyes are abusing their power, it is still as personal attack. The second you express your opinion, it can be interpreted as so (i.e. "I think < > is an idiot because of his edits" would just be an opinion of an person, but also a peronal attack). Again, I reitterate, the original page, seen here was to be speedied as it was a hoax and did not contain the link at the time. Hope that answers your questions, either way, the page is not Wikipedia material. Sorry for any misunderstandings. Sasquatch′↔Talk↔Contributions 06:22, Jun 8, 2005 (UTC)
 * HOW IS SAYING HE IS ABUSING HIS POWER AN ATTACK? ARE YOU SAYING THAT SAYING THE TRUTH IS WRONG? ARE YOU SAYING THAT IF SOMEONE ABUSES THEIR POWER IT IS AN ATTACK TO POINT THAT OUT?! -BrowardBulldawg 06:24, 8 Jun 2005 (UTC)
 * If you say it without hard evidence, it is called slandering. Simply because it is your opinion, doesn't make it fact. And he is not abusing otherwise he would have deleted the page himself. The fact that he put a notice up to let other admins to decide, is a sign that he didn't abust power. Again, opinion is not fact, don't slander and in general, just don't say anything about anybody unless it's to compliment them. Try Ethic of Reciprocity. Also, just calm down. if your going to post anything else here, let it be something that refutes the current claim that it doesn't satisfy WP:MUSIC as that is the current issue. You proved the band exists, but not notability. Sasquatch′↔Talk↔Contributions 06:29, Jun 8, 2005 (UTC)
 * Delete as the band does not have a label, and there is no evidence of major tours as defined in the Wikipedia guidelines on WP:MUSIC. Also I'd suggest to BrowardBulldawg that he turns off the Caps Lock, as writing in all caps on the internet is generally taken as impolite or a sign of lunacy (no, I'm not saying you're a lunatic, but it's the equivalent of screaming at the top of your lungs, which tends to get you strange looks if you do that in the street). Average Earthman 06:41, 8 Jun 2005 (UTC)
 * Delete garage band vanity. JamesBurns 06:52, 8 Jun 2005 (UTC)
 * Delete. No evidence of WikiProject Music guidelines being complied with. Capitalistroadster 06:59, 8 Jun 2005 (UTC)

What are those ppl talking about that say this band is not on a label? It is signed to Drive Thru records which is an important indpeendent label and has released two albums under it, they have also toured nearly all of the United States and receieved considerable radio airplay. -BrowardBulldawg 07:07, 8 Jun 2005 (UTC)
 * They are? Granted, they do have a letter from a Drive Thru exec that expressed interest in their band.  But that letter's from 2003, and Drive Thru Records would have certainly posted something about them on their website by now.  I just went to Drive Thru's website and looked for Fallen Desire on their bands list.  They're not there.  And furthermore, "Fallen Desire" gets only 142 Google results, and only 8 of those (all of which are on mp3.com.au, which is not MP3.com) have anything to do with the band. --Idont Havaname 07:29, 8 Jun 2005 (UTC)
 * YELL YELL YELL YELL YELL YELL YELL YELL YELL YELL YELL YELL YELL YELL,  delete  nn. --Jeffrey O. Gustafson 07:21, 8 Jun 2005 (UTC)
 * Delete NN, possible vanity; btw, I want dark minions -) Lectonar 07:24, 8 Jun 2005 (UTC)
 * Delete. I think this quote from their web page says it all: We are currently still searching for a singer! We have all of our stuff together, and we are ready to start playing shows, we just need that finial piece of the puzzle! If they ever find that elusive singer, and bring out an album, then they can have an article on WP. -- Silversmith  Hewwo 08:42, 8 Jun 2005 (UTC)
 * Delete, and somebody show this guy how to turn off his caps lock. Radiant_ >|< 09:13, Jun 8, 2005 (UTC)
 * Delete: Garage band with no singer and a self made website.  Vanity page. Abusive user shouldn't be tolerated. Possibly the bass player? MrHate 09:41, Jun 8, 2005 (UTC)
 * Delete. I automatically vote delete when creators invade VfD and write in capitals. I'm usually right. Censure BrowardBulldawg. JFW | T@lk  11:24, 8 Jun 2005 (UTC)
 * Delete and redirect to Don't create articles about yourself. --Fazdeconta 11:34, 8 Jun 2005 (UTC)
 * Utterly insignificant; delete. -- Hoary 12:36, 2005 Jun 8 (UTC)
 * delete. Dunc|☺ 13:05, 8 Jun 2005 (UTC)
 * Speedy delete. Page and page's creator are out of line and out of hand.  Might as well put them out of mind, too. Jasonglchu 14:54, 8 Jun 2005 (UTC)
 * Keep WINP, this is verifiable info, etc... Sam Spade 15:57, 8 Jun 2005 (UTC)
 * Sure, WINP, but that doesn't mean that it is a census, listing of every band (signed and unsigned), &c. Verifiability is not a reason to keep an article - unverifiability is a reason to delete an article. Jasonglchu 17:16, 8 Jun 2005 (UTC)
 * Delete - non-notable. The rest of this thread is further support for deletion that I will not restate.  Gblaz 16:06, 8 Jun 2005 (UTC)
 * Delete nn band vanity. --Etacar11 16:49, 8 Jun 2005 (UTC)
 * Delete - based solely on all the unreadable yelling above. --FCYTravis 22:54, 8 Jun 2005 (UTC)
 * Delete. Fails WP:MUSIC, period. Zzyzx11 (Talk) 23:13, 8 Jun 2005 (UTC)
 * Delete. Fails the guidelines at WP:MUSIC --Carnildo 23:41, 8 Jun 2005 (UTC)
 * Delete. Not notable.  Tobycat 03:57, 9 Jun 2005 (UTC)
 * Delete, vanity and disruptiveness on VfD. Xoloz 05:11, 9 Jun 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


text:
Clockmakers' Museum

The Clockmakers’ Museum in London, England, is believed to be the oldest collection specifically of clocks and watches in the world. The collection belongs to and is administered by the Clockmakers’ Charity, affiliated to the Worshipful Company of Clockmakers, founded in 1631 by Royal Charter. Since 2015 it has been housed in a gallery provided by the Science Museum in South Kensington, having formerly been located in the Guildhall complex in the City of London since 1874, where it first opened to the public. Admission is free.

The formation of the collection dates back to 1814. The principal goal of the museum is to educate the public about the history of the field of clock and watchmaking (horology), principally in the City of London, and also to promote education and career possibilities in the craft of horology, which as of 2019 was placed on the HCA Red List of Endangered Crafts. The Archive of the Clockmakers is managed on its behalf by the London Metropolitan Archive and is located at Guildhall Library, where the Library collection of printed books is also held and managed.

History
The Clockmakers Company first established a library collection in 1814, under the control of a library committee, in which Benjamin Lewis Vulliamy soon emerged as the most prominent figure, remaining so for several decades. Early meetings were held at Vulliamy's premises in Pall Mall, London but in 1817 the Company acquired a mahogany bureau and bookcase from Gillows of Lancaster and London, to house its growing collection, and this was established in an upper room in the Kings Head Tavern in Poultry, London, where the Company had its meetings from 1802 to 1851. From 1815, the collection had expanded from books to include horological exhibits, among which an early acquisition was a set of pallets from an escapement by Alexander Cumming, bought by Vulliamy at auction, and which are still on display, on the Gillows bookcase.

With the deaths of BL Vulliamy and George Atkins, Clerk to the Company, in the 1850s, the collection lost its key advocates and supporters, but the fortunes of the museum were reversed with the construction of a new building for Guildhall Library in the early 1870s. At the invitation of the Guildhall authorities, the Clockmakers’ Museum was moved there and opened to the public from 1873. A first catalogue was written by William Henry Overall in 1875. In 1891, The Rev Harry Leonard Nelthropp, a key supporter of the museum, persuaded the Company to acquire one of the most important items in the modern collection, John Harrison’s fifth marine timekeeper, H5. In 1894, Nelthropp donated his entire personal collection of watches, clocks, sundials, seals and related ephemera to the Museum. Charles Welch produced a new catalogue in 1902.

In 1936, the Clockmakers asked the noted engineer and horologist Granville Hugh Baillie to create a new catalogue. Baillie rearranged the museum between mid-1937 and mid-1938. During the Second World War the collection was dismantled and stored off-site under the guidance of Guildhall Librarian James Lungley Douthwaite. Baillie produced a guide in 1939 and updated the catalogue in 1949.

The museum moved to the new Guildhall Library in 1976, and, in anticipation, Cecil Clutton and George Daniels produced a new catalogue of the clock and watch collection, while John Bromley, a Guildhall Librarian, produced a new catalogue of the Library collection.

Under Cedric Jagger as Assistant Curator from 1974, and then as Keeper from 1980, the Museum underwent significant reorganization and improvement at Guildhall. Jagger was succeeded as Keeper by Sir George White in 1988, who served for thirty years through to 2018, in which time the museum and archive collection was again expanded. The major acquisitions in the late twentieth and early twenty-first century were the Hurle-Bath and Hurle-Bradley watch collections, and the purchase of a significant cache of original John Harrison manuscript documents. With a major bequest by noted collector and Past-Master of the Company Reginald Gowan Beloe TD, the funds were available for a major rebuild of the museum, which reopened with a new and enlarged display organized by White at Guildhall Library in 2001. When its lease finally expired at Guildhall, White was instrumental in securing the offer by Ian Blatchford of a newly designed gallery at the Science Museum, which it now occupies under a thirty-year lease. The collection was moved over the course of 2014–15, and the new gallery was opened by the Princess Royal on 22 October 2015. The new gallery is more than twice the size of the earlier gallery at Guildhall. Visitor numbers in the decade prior to 2014 were of the order of 13,000 per annum, but since the move to the Science Museum numbers have expanded significantly, in view of the more than 3 million visitors to the London Science Museum site each year.

The move of the Clockmakers Museum to the Science Museum formed part of the updating and improvement of the Science Museum second floor galleries, where it adjoins the Mathematics Gallery (designed by Zaha Hadid Architects, opened 2016) and Science City: 1500–1800 (designed by Gitta Gschwendtner, opened 2019).

Library and archive
Though the Museum has moved to South Kensington, the Library and Archive of the Clockmakers remains housed in the City of London, almost entirely at Guildhall Library, and open to the public (though material has to be requested from the store, and is not on open access). The presence of the Clockmakers' Library of printed books, alongside the library of the Antiquarian Horological Society contributes to making Guildhall Library a world-class centre for horological research resources.

Printed books can be searched for using the Guildhall Library catalogue here.

For genealogical and biographical research about watch and clockmakers, the Clockmakers' archives (catalogue here) include:
 * Apprentice bindings, 1694–1890
 * Freedom admissions, 1631–1947
 * Quarterage books, 1698–1850 (with gaps). These records can indicate a period of activity and sometimes the date of death.
 * Court minutes, 1632–1992. The minutes can include promotions to the livery, elections to the Court of Assistants and to offices, and requests for charitable assistance by members and their dependents.

The collection
The collection on display includes rare horological portraits, and numbers some 660 English and European watches, 30 clocks, and 15 marine timekeepers, which are broadly arranged in chronological order, starting in the fifteenth and sixteenth centuries at the east end (with some European objects), but soon moving to the seventeenth century and the emergence of a clock and watch trade in London, initially populated by immigrant craftsmen. The gallery moves forward in time as it progresses westwards through the eighteenth and nineteenth centuries and is completed at the west end by recent and current objects, such as watches made by and other items associated with George Daniels, a former Master of the Company, and an explanation of the wristwatch now being manufactured by Charles Frodsham in Sussex. To support horological education, the museum has an information board at the west end, emphasizing the possibilities for new students and entrants to the field of horology, particularly at West Dean College, Birmingham School of Jewellery, part of Birmingham City University, and the British School of Watchmaking.

The chronological story set out in the gallery in information panels and labelling has been resolved into a single narrative account, The Clockmakers of London, by the Keeper Emeritus, George White, first published in 2000 and since revised in a new edition with high-resolution images (2018).

Highlights include:
 * Star watch by David Ramsay
 * Clocks and watches by Edward East
 * Table clock by Samuel Knibb
 * Astronomical table clock by Samuel Watson, possibly belonging to Isaac Newton
 * Clocks and watches by Thomas Tompion
 * Watches and clocks by George Graham
 * Marine timekeeper by Henry Sully
 * Longcase clock by James Harrison
 * Longcase movements by John Harrison
 * Watch by John Jefferys, made for John Harrison, and on long-term loan to the Museum
 * John Harrison’s H5 marine timekeeper
 * Chronometers by John Arnold, and significant personal Arnold ephemera
 * Chronometers by Thomas Earnshaw
 * Watches by Abraham-Louis Breguet
 * Smiths wristwatch worn by Sir Edmund Hillary to the summit of Mount Everest
 * Watches by George Daniels, including the Space Traveller (on loan to the Museum)
 * Original portraits of many eminent clock and watchmakers

In 2019 the museum acquired a large portrait (970mm x 800mm) in a silvered frame, showing a well-dressed gentleman holding a fine and complicated watch, dated perhaps to the 1670s. The watch is very similar to the astronomical watch, c.1660, by Nathaniel Barrow, shown in Case 7 in the museum.

Accreditation
The Museum was first admitted to the Registration scheme of the Museums, Libraries and Archives Council. When this was amended to Accreditation, the Museum was invited to re-register, and achieved full accredited status in 2007. After suspending accredited status while the Museum closed for its move to South Kensington, it then reapplied once the museum reopened and was granted full Accredited status by Arts Council England in 2018.

Significant staff
Over time a number of Guildhall Librarians have served as Honorary Librarians and Curators to the Clockmakers’ Company.
 * Charles Atkins – Collections Committee
 * William Henry Overall – Guildhall Librarian
 * Reverend Henry Nelthropp – Collections Committee
 * Charles Welch – Librarian and Curator (1889-1907)
 * Edward Marto Borraio – Librarian and Curator (1908)
 * Bernard Kettle – Librarian and Curator (1910-1926)
 * Granville Hugh Baillie – Collections Committee
 * James Lungley Douthwaite – Librarian and Curator (1926–1943)
 * Raymond Smith – Librarian and Curator (1943-1956)
 * Courtenay Adrian Ilbert - Curator (whose remarkable collection forms a core element of the horology collection of the British Museum), Collections Committee)
 * Arthur Herbert Hall – Librarian and Curator (1956–1966)
 * Godfrey Thompson – Librarian and Curator (1966-1984)
 * Colonel Humphrey Quill – Honorary Surveyor of the Collection
 * George Daniels – Assistant Honorary Surveyor of the Collection
 * Cedric Sergeant Jagger – Assistant Curator (1974–1979), Keeper (1980–1988)
 * Sir George White – Keeper (1988–2018)
 * Anna Rolls – Curator (2018-date)

title: Clockmakers' Museum


text:
User:Cassius987

I don't have much to say about who I am and what I believe, except that I think you should read these words and apply them to your life in as many ways as you see fit:

I have come curiously close to the end, down, Beneath my self-indulgent pitiful hole. Defeated, I concede and move closer... I may find comfort here; I may find peace within the emptiness. How pitiful.

It's calling me...

And in my darkest moment, fetal and weeping, The moon tells me a secret - my confidant. As full and bright as I am, this light is not my own, and a million light reflections pass over me.

Its source is bright and endless: She resuscitates the hopeless. Without her, we are lifeless satellites drifting.

And as I pull my head out, I am without one doubt. I don't want to be down here feeding my narcissism. I must crucify the ego before it's far too late. I pray the light lifts me out before I pine away...

So crucify the ego, before it's far too late To leave behind this place so negative and blind and cynical, And you will come to find that we are all one mind Capable of all that's imagined and all conceivable.

Just let the light touch you, And let the words spill and pass right through, Bringing out our hope and reason before we pine away.

"Reflection" Lateralus Tool

For the record...
I joined to Wikipedia in order to edit the Tool article. That encompasses most of my time with wikipedia, as I am a big fan of theirs. I quickly put a wing over the pages of Tool's band members as well, watching them and making sure no inaccuracies were made. This started when I noticed that guitarist and art director Adam Jones' page was very much about vocalist Maynard James Keenan instead. Now I watch over them all, although I tend to leave Maynard's alone because that page seems quite popular already and the other band members deserve as much attention.

Other Favorites
I'm somewhat eclectic in my tastes, but only relatively. The truth is a lot of my favorite musicians can be linked together without much effort. I would say they all deserve a lot of attention.

 * The Beatles
 * Bjork
 * Chick Corea
 * Cream
 * The Cure
 * Dave Navarro
 * Days of the New
 * Fiona Apple
 * Gorillaz
 * Incubus (band)
 * Jaco Pastorius
 * King Crimson
 * Kyuss
 * Massive Attack
 * Marcus Miller
 * The Mars Volta
 * Martina Topley-Bird
 * Miles Davis
 * Nine Inch Nails
 * Pink Floyd
 * PJ Harvey
 * Portishead
 * Radiohead
 * Robben Ford
 * Rush
 * Sophie Milman
 * Sneaker Pimps
 * Tori Amos
 * Tricky
 * Verbena

title: User:Cassius987


text:
Pepsiman

Pepsiman may refer to:

 * Pepsiman, a mascot character for Pepsi.
 * Pepsiman (video game), a 1999 PlayStation video game featuring the character.
 * CM Punk

title: Pepsiman


text:
Friedrich Fromm

Friedrich Wilhelm Waldemar Fromm (8 October 1888 – 12 March 1945) was a German Army officer. In World War II, Fromm was Commander in Chief of the Replacement Army (Ersatzheer), in charge of training and personnel replacement for combat divisions of the German Army, a position he occupied for most of the war. He was executed for failing to act against the plot of 20 July 1944 to assassinate Adolf Hitler.

Early life
Fromm was born in Charlottenburg. He served as a Prussian Army officer during World War I.

Head of the Reserve Army
In 1939, Fromm became Chief of Army Equipment and commander of the Replacement Army.

When Operation Barbarossa stalled outside of Moscow in December 1941 and the Russian counter-attack started, Hitler took direct command of the Army and re-organized the armed forces' command structure. The Office of the Chief of Army Armament and the Reserve Army under Generaloberst Friedrich Fromm was created, subordinate to the commander in chief, army (head of the OKH, Hitler). Fromm had enough power at his disposal to control the German state because his position controlled army procurement and production and commanded all army troops inside Germany.

At the beginning of 1942, Fromm apparently recommended a defensive strategy for the entire year because of exhausted army stockpiles and the diversion of production, after the initial successes of Barbarossa in the summer of 1941.

20 July plot
In World War II, Fromm was Commander in Chief of the Reserve Army (Ersatzheer), in charge of training and personnel replacement for the German Army, a position he occupied for most of the war. Fromm was aware that some of his subordinates, most notably his chief of staff Claus von Stauffenberg, were planning an assassination attempt against Adolf Hitler. He remained quiet and agreed to have a part in it, if he became a top official of the new government after the mutiny. When the attempt to proceed with the mutiny on July 15 failed, he refused to have any further part in it.

On 20 July, news broke that Hitler and several officers of the Supreme Command of the Armed Forces had become victims of an explosion in the German military's headquarters on the Eastern Front, the Wolfsschanze (Wolf's Lair), near Rastenburg, East Prussia (now Kętrzyn, Poland). Fromm concluded that it was Stauffenberg and the plotters who were behind the explosion, and attempted to arrest them as they were initiating Operation Valkyrie. (They had forged Fromm's signature to begin the operation.) However, he was quickly overwhelmed and confined to a prison cell in the Bendlerblock, the Berlin headquarters of the Replacement Army, among other branches of the Wehrmacht.

After the coup failed, Fromm was found by men of the Ersatzheer and freed. Despite protests from Otto Ernst Remer who had direct orders from Hitler to take the conspirators alive, Fromm held a summary court-martial of the active soldiers at his headquarters who had been identified or suspected of being part of the coup. As presiding official, Fromm condemned the officers to death and ordered their immediate execution by firing squad. As for retired Colonel-General Ludwig Beck, Fromm allowed his request to commit suicide, but since the suicide attempt failed, Fromm ordered him to be shot.

Arrest, trial and execution
After the Bendlerblock executions, Fromm went to Joseph Goebbels to claim credit for suppressing the coup, to which Goebbels only said, "You have been in a damn hurry to get your witnesses below ground." On the morning of 22 July 1944, Fromm and other members of the conspiracy were arrested. Since the court failed to prove a direct association with the 20 July plotters, he was instead charged and convicted for cowardice before the enemy. However, because he had executed the conspirators within reach, he was spared torture and execution by hanging with a thin rope, and sentenced to a military execution.

On 12 March 1945, Fromm was executed at the Brandenburg-Görden Prison by firing squad as part of the post-conspiracy purge. His last words before the firing squad were reported to be "I die, because it was ordered. I had always wanted only the best for Germany."

Awards

 * Iron Cross (1914)
 * 2nd Class
 * 1st Class
 * Wound Badge (1914)
 * in Black
 * Hanseatic Cross of Hamburg
 * Honour Cross of the World War 1914/1918
 * Anschluss Medal
 * Sudetenland Medal with Prague Castle Bar
 * Memel Medal
 * Clasp to the Iron Cross (1939)
 * 2nd Class
 * 1st Class
 * Knight's Cross of the Iron Cross on 6 July 1940 as General der Artillerie and chief of the Heeresrüstung (armament of the army) and commander in chief of the Ersatzheeres (replacement army)
 * Grand Cross of the Order of the White Rose of Finland (1941)
 * With Swords (1942)

In popular culture

 * In the 2008 film Valkyrie he is portrayed by Tom Wilkinson.

title: Friedrich Fromm


text:
Wikipedia:Articles for deletion/Dawgman

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Golbez 08:51, Jun 18, 2005 (UTC)

Dawgman
Looks like advertising/vanity. Google for "Dawgman Spencer" gives 1 hit. Other strings in the article give a few more, but all seem to be centered around the ozonemag website. I'd say not notable. --Xcali 05:55, 8 Jun 2005 (UTC)
 * Delete self promotion. JamesBurns 06:53, 8 Jun 2005 (UTC)
 * Delete Very few Google hits (and the few hits themselves are not up to much either), no AMG page, etc. Not notable. And it is undeniably self-promotion. Someone needs to read Don't Create Articles About Yourself.   --Jamieli 09:00, 8 Jun 2005 (UTC)
 * Delete for all the reasons above. Let me note that this page was created by the same user who has been rather inflammatory in the Fallen Desire Votes for Deletion discussion. Here's to him getting banned soon. Jasonglchu 14:59, 8 Jun 2005 (UTC)
 * Delete, non notable for now... Sasquatch′↔Talk↔Contributions 15:01, Jun 8, 2005 (UTC)
 * Delete self-promo/vanity. --Etacar11 16:54, 8 Jun 2005 (UTC)
 * Delete. promo/vanity.  Bad Dawg!  No! Tobycat 03:59, 9 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .

title: Wikipedia:Articles for deletion/Dawgman