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Radio & Records

Radio & Records (R&R) was a trade publication providing news and airplay information for the radio and music industries. It started as an independent trade from 1973 to 2006 until VNU Media took over in 2006 and became a relaunched sister trade to Billboard, until its final issue in 2009.

History
The company was founded in 1973 and published its first issue on October 5 of that year. Founders included Bob Wilson and Robert Kardashian. The publication was issued in a weekly print edition, and it also issued a bi-annual Directory. R&R published its print edition from 1973 through August 4, 2006. Its weekly columns and features were intended to inform and educate the radio industry by each format, in addition to format-specific charts based on radio airplay. With the June 25, 1999, issue, the charts became populated by data from Mediabase, a company that monitors and tracks radio airplay in cities across the U.S. From 1987 to 2002 the magazine was owned by Westwood One, which collaborated with Radio & Records to use its charts and format editors for WWOne's syndicated radio programs.

On July 6, 2006, VNU, the parent company of Billboard and its sister publication Billboard Radio Monitor, announced the acquisition of Radio & Records, and a month later on August 1, officially took over ownership. R&R then fell under the operations of the Billboard Information Group.

On July 12, 2006, VNU announced that Radio & Records and Billboard Radio Monitor would be integrated into one publication called R&R. The new R&R published charts based on Nielsen BDS data. Both Billboard Radio Monitor and R&R ceased publication as separate trades, with Monitor issuing its last edition on July 14, 2006 after 13 years, and R&R ending their 33-year run as an independent trade with its August 4, 2006 edition.

Radio & Records was relaunched as a magazine under new owners VNU Media on August 11, 2006, as R&R. The company, which has since changed its name to The Nielsen Company, currently publishes 6 daily email publications, 35 weekly email publications, and 4 websites, each serving segments of the radio and records industries.

Like Billboard, which is also owned by VNU Media, Radio & Records used data from Nielsen Broadcast Data Systems to develop the charts showing which records were played each week by leading radio stations. Prior to the merger, Radio & Records had used monitored charts and playlists from Mediabase. The format charts used during its run included CHR/Top 40, Rhythmic, Gospel, Urban, Country, Adult Contemporary, Rock, Christian, Latin and Smooth Jazz.

In 2000 Radio & Records entered the Spanish music business purchasing weekly trade publication Radio Y Musica and Radio y Musica Convention from Alfredo Alonso.

On June 3, 2009, R&R announced that they were immediately ceasing operations after the release of the June 5 issue.

Use in countdown shows

 * Countdown America used the CHR/Pop chart in the mid-1980s for this four-hour countdown show variously hosted by John Leader and Dick Clark.
 * Casey Kasem used the Radio & Records Charts for his countdown shows in the latter part of his career:
 * The CHR/Pop chart was used for Westwood One's "Casey's Top 40" (January 1989 – March 1998) and Premiere Networks' American Top 40 (March 1998 – October 2000, and August 2001 – January 2004). The current Ryan Seacrest AT40 show uses Mediabase 24/7.
 * The Hot AC chart was used for both Casey's Hot 20 and the Hot AC version of American Top 20.
 * The AC chart was used for Casey's Countdown and the AC version of American Top 20.
 * Rockin' America Top 30 Countdown also used Radio & Records charts in the mid to late 1980s, with Scott Shannon as the host of Westwood One's weekly countdown show that aired on over 200 radio stations during the 1980s
 * The TV Show Solid Gold used the CHR/Pop Chart during its first season
 * The Country chart was used for CMT's Country Countdown USA, Jeff Foxworthy's The Foxworthy Countdown and Bob Kingsley's Country Top 40, but these have switched to Mediabase 24/7 chart data. Radio & Records also supplied information for past syndicated country music countdown programs (including The Weekly Country Music Countdown (1981-early 2000s), and it was the source used on the syndicated daily radio program Solid Gold Country.
 * The CHR/Top 40 chart was used for Rick Dees Weekly Top 40 (1985-1995, 1997–2005).
 * Red Letter Rock 20
 * The Christian CHR/Pop chart was used for Weekend 22, a two-hour program hosted by Jeremy "JGonzo" Gonzalez from 2002 to 2005, currently hosted by Josh Ashton.
 * The Christian AC chart was used for Weekend Top 20 (formerly called Weekend Top 25 from 2003 to 2006), a two-hour spin-off program of Weekend 22 hosted by Lisa Williams from 2003 to 2005, Scott Smith from 2005 to 2007, and Kurt Wallace from 2007 to present.
 * The Urban Contemporary chart was used for The Countdown, a two-hour program hosted by Walt "Baby" Love.
 * The syndicated retro-countdown show What's Your Twenty uses archived issues of R&R in addition to Billboard Magazine and Cashbox Magazine for the program.

title: Radio & Records


text:
The Girl Can't Help It

The Girl Can't Help It is a 1956 American musical comedy film starring Jayne Mansfield in the lead role, Tom Ewell, Edmond O'Brien, Henry Jones, and Julie London. The picture was produced and directed by Frank Tashlin, with a screenplay adapted by Tashlin and Herbert Baker from an uncredited 1955 short story, "Do Re Mi" by Garson Kanin. Filmed in DeLuxe Color, the production was originally intended as a vehicle for the American sex symbol Jayne Mansfield, with a satirical subplot involving teenagers and rock 'n' roll music. The unintended result has been called the "most potent" celebration of rock music ever captured on film.

The original music score, including the title song performed by Little Richard, was by Bobby Troup, with an additional credit to Ray Anthony for the tune "Big Band Boogie".

Plot
A slot machine mobster, Marty "Fats" Murdock, wants his blonde girlfriend, Jerri Jordan, to be a singing star, despite her seeming lack of talent. He hires alcoholic press agent Tom Miller to promote Jordan, both because of his past success with the career of singer Julie London and because he never makes sexual advances towards his female clients.

Miller sets to work by showing Jordan off around numerous night spots; his machinations arouse interest in Jordan and soon offers of contracts follow. However, Miller realizes that Jordan really just wants to be a homemaker and tries to persuade Murdock not to push Jordan into a show-business career. He thinks he's succeeded when he reveals to Murdock that Jordan's singing is so bad it shatters light bulbs, but Murdock suggests that Jordan would be perfect for a song he composed while in prison, "Rock Around the Rock Pile" (a parody of "Rock Around the Clock"). Miller reluctantly records Jordan performing the part of a prison siren in Murdock's song and heads to Chicago to promote it to Wheeler, a former mob rival of Murdock who now has a monopoly over the jukebox industry.

Suspicious of Miller's reluctance to promote Jordan and of the obvious attraction between Miller and Jordan, Murdock has his associate Mousie wiretap a phone call between the pair. Feeling pity for them, Mousie edits out the romantic portions of their conversations and convinces Murdock that their relationship is strictly business. In Chicago, Wheeler is impressed by the song and Jordan's voice and offers to sign both Jordan and the songwriter. However, when Miller reveals that the songwriter is Murdock, Wheeler throws him out of his office and vows never to play the song. A furious Murdock bullies bar owners into buying jukeboxes from him instead and successfully promotes his and Jordan's song. To prevent Murdock from stealing his business, Wheeler arranges to have Murdock assassinated at the rock show where Jordan will be making her debut.

On his way to the show, Murdock confesses to Mousie that he doesn't want to marry Jordan. Mousie confesses that he altered the tape of Jordan and Miller's phone call and encourages Murdock to let Jordan marry Miller. Backstage at the show, Jordan confesses her love to Miller and they kiss. Jordan also admits that she is a talented singer, who lied because she did not want a show business career; she goes on stage and performs a song about her love for Miller. When Murdock arrives, Miller declares to him that he and Jordan are in love; the delighted Murdock surprises Miller by shaking his hand and offering to be the best man.

Before Miller and Murdock can tell Jordan the good news, Wheeler's assassins shoot at Murdock. Miller fights them off and shoves Murdock on stage to perform his song, reasoning that the assassins won't shoot Murdock in front of so many witnesses. Wheeler arrives and, impressed by the audience's response to Murdock, calls off the assassination and signs Murdock instead. The film ends with Miller and Jordan kissing on their honeymoon, as Murdock and Mousie perform on a TV show in the background.

Production
"Do Re Mi", a short story by Garson Kanin that had appeared in The Atlantic magazine in March 1955, was acquired by Fox. They initially assigned producer Nunnally Johnson to develop the film, but then decided to emphasize rock 'n' roll in it and, in 1956, reassigned it to director Frank Tashlin, whose background included work with music in animation. Tashlin collaborated on a new script with Herbert Baker that played up visual humor that was virtually cartoonish. Kanin did not approve of the new take on his story and requested his name be removed from the credits. Subsequently, Tashlin came up with the new title, The Girl Can't Help It.

Reception
The film received mixed reviews by critics. Bosley Crowther of The New York Times noted that Mansfield's performance was underwhelming, stating, "Her range, at this stage, appears restricted to a weak imitation of Marilyn Monroe."

Accolades
The film is recognized by American Film Institute in these lists:
 * 2006: AFI's Greatest Movie Musicals – Nominated

Influence on rock music
The film's influence on rock music is significant. The film reached Liverpool, England, in the early summer of 1957. The cameo performances of early rock 'n' roll stars such as Little Richard, Eddie Cochran, and Gene Vincent and His Bluecaps fascinated a 16-year-old John Lennon by showing him, for the first time, his "worshipped" American rock 'n' roll stars as living humans and thus further inspiring him to pursue his own rock 'n' roll dream. On July 6, 1957, 15-year-old Paul McCartney was introduced to Lennon after the latter had performed at a village church garden party with his skiffle group The Quarrymen. McCartney demonstrated his musical prowess to Lennon by performing "Twenty Flight Rock" in a manner similar to how he had seen it played by Eddie Cochran in The Girl Can't Help It. This led to Lennon inviting McCartney to join the group. McCartney talks about the film in the documentary series The Beatles Anthology.

On September 18, 1968, The Beatles interrupted recording "Birthday" at Abbey Road Studios so they could go back to Paul McCartney's house to watch the British TV premiere of the film.

Also, some film buffs have pointed to Elvis Presley's famous performance of the song "Jailhouse Rock" in MGM's film of the same name (often cited as the first music video), released one year after The Girl Can't Help It, as bearing a remarkable resemblance to the theme and performance of a song called "Rock Around the Rockpile" from the earlier film. In that performance, Edmond O'Brien plays a character who seeks to escape an assassination attempt by jumping on stage and singing the lyrics, "rock, rock, rock around the rockpile," while backed up by The Ray Anthony Band wearing striped inmate uniforms. O'Brien, then 42 years old, even awkwardly attempts some of the hip-swiveling and leg motions for which Elvis had already become famous, as he had appeared already 10 times, to cumulative audiences in excess of 180 million viewers, and on national television, before and during the filming of The Girl Can't Help It, the production of which commenced in mid-September 1956. Other film buffs point to the famous acrobatic dancer and Presley contemporary, as well as MGM star, Russ Tamblyn (Seven Brides for Seven Brothers), who visited Presley at his suite at the Knickerbocker Hotel on the night before the filming of the "Jailhouse Rock" scene. Presley had had trouble that day at the rehearsals in interpreting what the MGM choreographer, Alex Romero, demanded of him, and Tamblyn's advice at the suite that night helped him perform the first part of that dance sequence (which, incidentally, was witnessed by the then-MGM megastar Gene Kelly). In fact, The Girl Can't Help It's producers had sought to enlist Presley, whose manager, Colonel Tom Parker, however, had demanded too much money. Two uncredited composers on The Girl Can't Help It, Hugo Friedhofer and Lionel Newman, had also composed music for the Elvis film Love Me Tender, in the same year, 1956.

Legacy
The film and its title song are referenced in the Warner Bros. 1985 comedy film Spies Like Us, starring Chevy Chase, Dan Aykroyd, and Donna Dixon. In the final scene, when American and Soviet representatives are negotiating strategic arms reductions by playing Trivial Pursuit, Austin Milbarge (Aykroyd) asks his Soviet counterparts, "What Little Richard song was the title of a 1950s movie starring Jayne Mansfield?" The Soviets incorrectly guess "Good Golly, Miss Molly" and "Great Balls of Fire" and consequently "lose" Eastern Europe's nukes.

Songs performed in the film

 * 1) "The Girl Can't Help It" – Little Richard
 * 2) "Tempo's Tempo" – Nino Tempo
 * 3) "My Idea of Love" – Johnny Olenn
 * 4) "I Ain't Gonna Cry No More" – Johnny Olenn
 * 5) "Ready Teddy" – Little Richard
 * 6) "She's Got It" – Little Richard
 * 7) "Cool It Baby" – Eddie Fontaine
 * 8) "Cinnamon Sinner" – Teddy Randazzo and the Three Chuckles
 * 9) "Spread the Word" – Abbey Lincoln
 * 10) "Cry Me a River" – Julie London
 * 11) "Be-Bop-A-Lula" – Gene Vincent and His Blue Caps
 * 12) "Twenty Flight Rock" – Eddie Cochran
 * 13) "Rock Around the Rockpile" – Edmond O'Brien; Ray Anthony and his Orchestra
 * 14) "Rockin' Is Our Business" – The Treniers
 * 15) "Big Band Boogie" – Ray Anthony and his Orchestra
 * 16) "Blue Monday" – Fats Domino
 * 17) "You'll Never, Never Know" – The Platters
 * 18) "Ev'ry Time (It Happens)" – Jayne Mansfield (dubbed by Eileen Wilson)
 * 19) "Giddy Up a Ding Dong" – Freddy Bell & The Bell-Boys

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

title: The Girl Can't Help It


text:
User:Kahanechaivekayam

This page is dedicated to:

Rabbi Meir David Kahane, ZT"L, HY"D

Born August 1, 1932 - 29 Tammuz, 5692 in Brooklyn, New York.

Assassinated November 5, 1990 - 18 Heshvan, 5751 in Manhattan, New York.

title: User:Kahanechaivekayam


text:
Alençon lace

Alençon lace  or point d'Alençon  is a needle lace that originated in Alençon, France. It is sometimes called the "Queen of lace." Lace making began in Alençon during the 16th century and the local industry was rapidly expanded during the reign of Louis XIV by Jean-Baptiste Colbert, who established a Royal Workshop in the town to produce lace in the Venetian style in 1665. The purpose of establishing this workshop was to reduce the French court's dependence on expensive foreign imports. Marthe La Perrière had modified the Venetian technique and Alençon emerged as a unique style around 1675 after Colbert's monopoly ended. The lace employs a mesh ground and incorporates pattern motifs with a raised outline of closely packed buttonhole stitches, an outer edge decorated with picots, and open areas with decorative fillings.

History
Though the demand for lace went into sharp decline following the French Revolution, it recovered some of its popularity during the Second French Empire. St. Marie-Azélie Guérin Martin, the mother of St. Thérèse of Lisieux was a famous lace-maker at Alençon. Bamba Müller, the wife of the Maharaja Duleep Singh, wore an Alençon trimmed gown on the occasion of her wedding in Alexandria, Egypt in 1864. The manufacture of Alençon lace entered terminal decline at the end of the 19th century with changes in fashion and the development of cheaper, machine-made lace.

Hand-made lace-making survived on a small scale and the technique was preserved by Carmelite nuns in Alençon. In 1976 a National Lace Workshop was established in the town to ensure that this lace-making technique survives. There is a permanent exhibition of lace and a display showing how it is made in the Musée des Beaux Arts et de la Dentelle, located in the town centre and adjoining the Workshop. The workshops themselves are open to the public only on certain days of the year.

UNESCO recognised the unusual craftsmanship of this lace and added it to its Representative List of the Intangible Cultural Heritage of Humanity in November 2010.

title: Alençon lace


text:
Pizarro brothers

The Pizarro brothers were Spanish conquistadors who came to Peru in 1530. They all were born in Trujillo, Spain. They were four brothers:

 * Juan Pizarro (d. 1536) first illegitimate son of Captain Gonzalo Pizarro y Rodríguez de Aguilar and María Alonso
 * Francisco Pizarro (d. 1541) illegitimate son of Captain Gonzalo Pizarro y Rodríguez de Aguilar and Francisca González
 * Gonzalo Pizarro (d. 1548) second illegitimate son of Captain Gonzalo Pizarro y Rodríguez de Aguilar and María Alonso
 * Hernando Pizarro (d. 1578) legitimate son of Captain Gonzalo Pizarro y Rodríguez de Aguilar and Isabel de Vargas

All of them played a major part in the capture and rule of the Inca Empire. However, after the death of legal governor Francisco, their legitimate claims were practically forfeit. Juan had died during the ten-month-long siege of Cuzco and Hernando was sent back as envoy to Spain and imprisoned in 1540, after accusations of corruption and tax evasion pointed towards the Pizarro administration. After Francisco's assassination in 1541, power was usurped by Cristóbal Vaca de Castro as new governor of "New Castile". In 1544 the king of Spain, who had also granted Francisco governorship in 1528, sent his own envoy Blasco Núñez Vela, as viceroy of Peru. Blasco imprisoned Castro but was the very same year detained and later killed on the behalf of Gonzalo Pizarro, who gathered his supporters and seized much of Peru. When Blasco's successor, Pedro de la Gasca defeated and had Gonzalo executed in 1548, the reign of the Pizarro brothers had definitively passed.

The family group involved in the conquest of the Incas also included a maternal half-brother of Francisco,

 * Francisco Martín de Alcántara

and a cousin of the Pizarro brothers,

 * Pedro Pizarro

Hernando had two full sisters, Inés Pizarro y de Vargas and Isabel Pizarro y de Vargas, who married Gonzalo de Tapia.

title: Pizarro brothers


text:
Usk, British Columbia

Usk is an unincorporated community in the Skeena region of west central British Columbia, Canada. The Usk Ferry connects the two parts of the hamlet that straddle the Skeena River. Just off BC Highway 16, the locality is by road about 182 km west of Smithers and 23 km northeast of Terrace.

Name origin
Dominic Daniel Joseph Dempsey Loftus, who was the superintendent for the Grand Trunk Pacific Railway (GTP) tracklaying in the area, assigned the name. He is believed to have been originally from the River Usk area of Wales. The earliest newspaper mention of the name is July 1912.

Interestingly, the Kettle Valley Railway chose the same name for a new station a few years later, before a change to Jellicoe after a couple of years.

Railway
Where Usk is defined as about mile 119.2 westward, the railway tunnels of the Kitselas Canyon are at miles 121.9 (1238 ft), 122.1 (201 ft), 122.3 (555 ft), and 122.8 (931 ft).

In mid-January 1912, the temporary tunnel terminal ceased to exist when the GTP rail head from Prince Rupert advanced through the tunnels, then past mile 107 (Usk), reaching mile 115 eastward by month end.

In 1912, the standard-design Plan 100‐152 (Bohi's Type E) station building was erected. A converted bunkhouse was the later replacement.

During the 1936 flood, about 7 ft of water covered the Canadian National Railway (CN) track and only the upper part of the station was visible. Nearly 300 ft of railway track was washed out.

In 1948, five cars of a westbound passenger train derailed.

In 1951, a fire totally destroyed the rail bridge about 1.5 mi west.

In 1974, the rail bridge washed out. Months later, a worker was fatally crushed by logs while unloading a boxcar.

In 1976, a freight train wreck occurred one mile west.

Hegstad, about 1.9 mi east of Usk, is a siding built in 1983.

In 1995, the little white passenger waiting room closed, and the building was advertised for sale the following year.

A trackside signpost marks the Usk flag stop for Via Rail's Jasper–Prince Rupert train.

Earlier community
Prior to the railway, the Usk area was not permanently settled. Many residents to the southwest, who no longer had a riverboat service, gravitated to Usk, the nearest station. Dick Lowrie obtained a 160 acre pre-emption, part of which later became the townsite.

In 1915, a government telegraph office opened. Around that time, a store and small hotel existed on the northwest shore. James L. Bethurem was the inaugural postmaster 1916–1947. He also was the mining recorder and ran the general store. In 1918, the school opened.

In 1921, the townsite was surveyed. The existence of a jail indicates a police post. In 1923, a two-room schoolhouse was erected on the bench north of the townsite. About this time, the Shackleton Hotel was established. An upgrading of transmission lines led to the closure of the government telegraph office in 1924.

An enlargement to the general store created a public hall on the upper level in 1925. The school lost half of the pupils in 1927, when Hanson Lumber and Timber transferred its Usk and Terrace operations to Smithers. In the late 1920s, a church was built for use by any Christian denomination.

A fire in 1931 destroyed the power plant, woodshed and tool house of the Shackleton Hotel. Neither hotel appears to have operated much beyond this time. The 1936 flood breached the railway embankment, which separated the town from river, sending a 4 to 5 m flow through the main streets. Water damage destroyed the Marsh Memorial Church. Although not as severe as 1936, the 1948 flood prompted a mass evacuation to higher ground.

In 1950, the population was about 70. The next year, a fire totally destroyed the general store. During the 1950s, the place was often referred to in humorous contexts owing to its small size, not unlike Spuzzum.

In 1961, the school closed. The general store operated into the early 1960s. In 1967, the post office closed, a fire destroyed the gas station, and Terrace Christian Reformed Church built the Usk Pioneer Chapel as a one-third replica of the Marsh Memorial Church, which had stood across the river.

In the late 1980s, the population was 128.

The community hall remained in use until the early 1990s.

Forestry
In the mid-1910s, a sawmill existed on the northwest shore. In the late 1910s, two more sawmills were established.

In 1920 two mills closed. An aerial tramway spanning the river carried lumber from the main sawmill on the southeast side. In 1923, this mill moved about one mile eastward but closed in the late 1920s.

In 1941 W.R. Adams and J. Lee Bethurem erected a sawmill which burned down the following year. The rebuilt mill ultimately became the Adams Lumber Co but closed in 1959, when a highway realignment required the property.

In 2014, a memorial to loggers, who lost their lives while working in the forests, was dedicated. The carving of a logger stands in the foreground.

Mining
The discovery of gold in the Cordillera claims on Kitselas Mountain attracted a great influx of prospectors. From 1914, the Cordillera was shipping out ore. After a decade of development work, the venture was abandoned. The adjoining Lucky Strike proved equally unsuccessful. However, numerous claims continued to be staked. In 1921, the Kleanza Co prospected on Kleanza Mountain. Columario Gold Mines Ltd later began production on these claims, which proved unprofitable. Exploratory work on the Nicholson Creek mine continued until the 1940s.

Main roads
In 1929, the Terrace–Usk highway opened. During 1931–1941, a series of 1 to 4 mi stretches were built on the Usk–Cedarvale road. which included replacing sections washed out by the 1936 flood. Completion of this section opened the Prince Rupert–Prince George highway in 1944, primarily to military traffic.

In 1958, Western Coach Lines inaugurated a Prince Rupert–Prince George bus service, which included a scheduled stop at Usk. The next year, the company withdrew the service.

In 1960, Prince Coach Lines assumed the Prince Rupert–Prince George route. In 1966, Canadian Coachways bought the company. Usk was a scheduled stop at least during the 1960s.

In 1968–69, the Usk–Kitwanga reconstruction was completed with the exception of three bridges and some gravelling and paving.

In 1970, Greyhound Canada purchased Canadian Coachways.

Later community
In 2007, a municipal councillor from Usk, Wales made a three-day tour of the area.

In 2022, a fire started by vandals extensively damaged the Usk Pioneer Chapel.

Flood alerts and evacuation orders continue to regularly occur.

The remote community has about 20 residents. The Usk RV Park has 19 sites for visitors.

title: Usk, British Columbia


text:
Commonwealth of World Citizens

The Commonwealth of World Citizens (later named 'Mondcivitan Republic' after the Esperanto) was founded by Hugh J. Schonfield, an associate of H.G. Wells, in 1956. The organisation describes itself as a servant-Nation.

Objectives
Hugh Schonfield was a biblical scholar, who was later best known for his book The Passover Plot. Schonfield first felt the need for an organisation for the service of all nations as far back as 1938.

From 1938 to 1950 Schonfield examined various aspects of the project, including questions of international law. Schonfield came up with the idea of a body of persons from different countries which would have relations with the governments of other countries, without that organisation holding any territory itself. When the United Nations was formed, Schonfield wrote to the Secretary-General and to all the states party to the charter of his desire to form his Mondcivitan Republic.

In the summer of 1951, a General Assembly of the organisation's members was held in Paris, which appointed a Secretariat as the acting administration with offices in London. By 1952 the organisation had members in 14 countries, by 1954 in 25 countries and by 1955 in 30 countries. The second General Assembly in 1953 set up a commission to draft the text of the constitution of the organisation. Following amendments at the third General Assembly in 1955, the organisation's provisional Constitution was approved for adoption. In the same year humanitarian activities were initiated by the creation of the World Service Trust as a specialised agency of the organisation.

Caresse Crosby merged her group with the Commonwealth of World Citizens.

Ideals
The organisation arose from the need felt by members throughout the world to give organic expression to the idea of the fundamental unity of the human race by developing a common way of life and government, which experimentally would be a preparation by example for a co-operative World community embracing all peoples.

The organisation was to consist of all its members at any given time, without regard for colour or ethnic origin. In its political expression it was a free and self-governing organisation and world community.

The new organisation expressed the goal of world unity and human fraternity. The idea was that the organisation should advocate for international reconciliation and the resolution of international problems and conflicts. The loyalty it demanded was higher than that given to any state, requiring in the individual full dedication to the principles and purposes of the new nation, yet at the initial stage without forfeiting state citizenship.

For the members, state citizenship was to be always secondary to membership within the organisation. Any member was expected to be primarily concerned with the affairs and policies of the organisation. Taking part in war, aggression or oppression was strictly prohibited and the member was supposed to be prepared to suffer the penalties. All members were expected to live and abide by a set of seven principles:
 * No-one is an Enemy
 * No-one is a Foreigner
 * Service to All
 * Complete Impartiality
 * Work for Peace
 * True Democracy
 * Equity and Justice

The Republic
With members in 33 countries it was decided in 1956 that the Mondcivitan Republic should be proclaimed in being de facto and that all governments should be advised accordingly and furnished with a copy of the constitution. A Constituent Assembly of the organisation's members was convened at the Temple of Peace, Cardiff, headquarters of the United Nations Association in Wales. The organisation's constitution was adopted on August 29 and the flag of the organisation hoisted over the building. A council was elected to prepare the way for parliamentary government.

In 1958 a democratic election was held giving opportunity to all members in the countries where they resided to elect deputies to the first parliament which met in Vienna in May 1959. Up to this time the organisation had used the title, "Commonwealth of World Citizens" which was abandoned in favour of "The Mondcivitan Republic". Hugh Schonfield, the pioneer of the enterprise, was elected acting president and the organisation chose an executive committee headed by a young member, Donald Hanby who was referred to as the prime minister.

In 1963, the organisation held its second parliament. The term of this body was to be for five years. In accordance with the constitution, a presidium of five was elected under the name of the Supreme Council, each member of which would hold the office of president for one year in turn. Those elected, in the order of their presidency, were Frieda Bacon, Justo Priesto, Nguyen-Huu, Anthony Brooke and Hugh J. Schonfield, the last named to take office at the end of August 1967. The post of prime minister was relinquished and replaced under the constitution with that of commissioner-general and Donald Hanby was elected to that office.

At this time, the International Arbitration League, founded at the beginning of the 20th century by the Nobel Peace Prize winner, Sir William Randal Cremer, decided that its work could best be continued by the Mondcivitan Republic and the two organisations fused. The work of the World Service Trust continued and a housing agency, the Cremer Housing Association, was formed, which later provided new premises for use by the organisation.

In 1971, the provisional constitution was suspended to make way for formulating a full constitution. To enable the organisation to ensure the best means of governance, an executive council was appointed to take full responsibility for the organisation's affairs in the interim period. It was hoped that a full constitution and self-government could be achieved by 1975, but this did not happen.

Projects
In 1972 Hugh Schonfield's book about the fundamental ideas behind the organisation, The Politics of God, was published and received much interest, particularly because it had been preceded by the best-selling The Passover Plot, which had created much discussion and aroused interest in the concept of Messianism.

The Community school project was started as an experiment by the organisation's membership. It was intended to provide a viable alternative to the prevalent educational concepts, with primary aim to give each child freedom, experience, resources and love. It was believed that this should take place in, and be directly concerned with, the community as a whole, encouraging children to take an active interest in serving and changing the community for the betterment of the whole of mankind. Various methods of achieving these aims were implemented. The school was supported by donations from members and charged no fees. Many of the children were "problem" children from the neighbourhood of the school who went on to lead productive lives.

The World Service Trust
The World Service Trust was founded in 1955 as a special agency of the organisation for the purpose of giving impartial aid to people and countries in circumstances of poverty, famine, disease and epidemics, as well as natural disasters. The secondary organisation was also designed to assist education and improve standards of living.

In 1990 the secondary organisation became a foundation and was renamed "The Hugh and Helene Schonfield World Service Trust". The Schonfields contributed to it financially.

The organisation fell into decline following the 1980s. Its archives are now deposited with the Bishopsgate Institute in London. Its activities became more centred in Germany as the community initiated by Wilhelm Haller felt a more decentralised and less bureaucratic approach was necessary. A new initiative was started in 2004 with the founding of the 'International Leadership and Business Society', intended to encourage the application of the original Mondcivitan principles in business and everyday life. The Hugh & Helene Schonfield World Service Trust continued to work particularly with its responsibility for the archiving and publicising of the work of the late Hugh J. Schonfield and research into the concepts of Messianism, Humanitism and Servant-Nationhood and methods to find their practical realisation.

In 2014 a revival of the movement was started in an attempt to find a current interpretation. This has led to the establishment of a Facebook page.

title: Commonwealth of World Citizens


text:
Argentan lace

Argentan lace or Point d'Argentan is an 18th century needle lace from Argentan, France. Argentella is derived from Argentan. Argentan lace exhibits a more prominent and larger pattern in contrast to its nearest variant, Alençon lace. A distinctive feature of Argentan point lace is the "bride picotée", which may have originated from early Venetian lace-making techniques. The Scuola Merletti di Burano produced needle lace inspired by the French Argentan and d’Alençon, but with characteristics of its own and new motifs.

title: Argentan lace


text: User talk:217.12.205.66

title: User talk:217.12.205.66


text:
Destiny (Janáček)

Destiny (also known as Fate, Osud) is an opera in three acts by Leoš Janáček to a Czech libretto by the composer and Fedora Bartošová. Janáček began the work in 1903 and completed it in 1907. The inspiration for the opera came from a visit by Janáček in the summer of 1903, after the death of his daughter Olga, to the spa at Luhačovice. There, Janáček met Kamila Urválková, who had been the subject of an opera by Ludvík Čelanský, Kamila, where she felt that Čelanský had falsely depicted her personality. After learning that Janáček was a composer, Urválková persuaded Janáček to write another opera to counteract Čelanský's portrait of her.

Janáček submitted the opera to the Brno Theatre in 1906, and to the Vinohrady Theatre in Prague in 1907, but both theatres rejected the score. The score stayed with the Vinohrady Theatre even after Janáček had threatened lawsuits against the theatre and after the Brno theatre made offers of a possible production.

The work did not receive a hearing until after Janáček's death, in 1934 on Brno Radio.

Performance history
Osud was given in concert form in Brno in 1934, 1948 and 1954, all conducted by Břetislav Bakala. The first staging was in 1958 in Brno, conducted by František Jílek, as part of a complete cycle of operas at the 1958 Janáček Festival, in commemoration of the 30th anniversary of Janáček's death. However, the structure of the plot was altered from the original to give the story a "flashback" format, where the story begins with Act 3 and interpolates Act 1 and Act 2 as the "flashbacks", before returning to finish Act 3. One day after the Brno stage premiere, a version where the libretto was considerably revised (by Kurt Honolka) was produced at Stuttgart Opera.

The first UK staging was in 1984 at English National Opera, produced by David Pountney, in a translation by Rodney Blumer, but with Janáček's original plot structure intact. The first US production was in July 2003 at the Bard Summerscape Festival. Scholars have criticised weaknesses in the plot as the reason for the opera's neglect.

Act 1
Míla and the composer Živný were once lovers, but Míla's mother ended the relationship in hopes of a more advantageous match for her daughter. Alas, Míla was already pregnant and is now a single mother, unlikely to marry anyone else. She and Živný meet again for the first time amid the amusements of a spa town. They sneak off together and rekindle their love, but her mother tracks them down in the crowd and predicts disaster.

Act 2
Four years later Živný and Míla are married, but her mother lives with them and has become mentally fragile. While their young son Doubek plays, the couple read through the unfinished opera Živný began during their separation. It is filled with bitterness against Míla, portraying her as faithless. Míla's mother, losing her mind completely, repeats snatches of music from the opera before rushing to throw herself off a balcony. Attempting to restrain her mother, Míla too is pulled over, and both are killed.

Act 3
Eleven years later, Živný's opera is at last to be performed, although it remains unfinished. He rehearses a chorus from the opera with his students, among them Doubek, now a young man. Another student, Verva, guesses that the hero of the opera is the composer himself. Through the music, Živný again relives his love for Míla and his cruelty to her. Tormented by regret, he asks Doubek to fetch a glass of water and then collapses, saying that the end of the opera must remain in God's hands. Doubek escorts him from the room.

Recordings

 * CRQ Editions: Burja Burian, Marie Bakalová, Marie Steinerová, Josef Válka, Frantisek Roesler; Brno Radio Symphony Orchestra conducted by Břetislav Bakala (reissue of Czech Radio Brno broadcast 4/6 December 1948)
 * CRQ Editions: Jaroslav Ulrych, Libuše Domaninská, Marie Steinerová, Jaroslav Jaroš, Frantisek Roesler; Brno Radio Symphony Orchestra conducted by Břetislav Bakala (reissue of Czech Radio Brno broadcast 30 September 1954)
 * Supraphon SU 0045-2 611: Jarmila Palivcová, Jindřich Doubek, Jindřich Doubek, Daniela Suryová, Marie Steinerová, Vilém Přibyl, Josef Škrobánek, Vladimír Krejčík, Jiří Holešovský, Antonín Jurečka, Jiří Olejníček, Jaroslav Souček, Richard Novák, František Caban, Anna Barová, Jaroslava Janská, Jarmila Hladíková, Jindra Pokorná, Jarmila Krátká, Zdenka Kareninová, Milena Jílková, Magdaléna Hajóssyová, Magda Polášková; Brno Janáček Opera Orchestra and Chorus; František Jílek, conductor (recorded 1975)
 * Orfeo C 384 951 A: Peter Straka, Lívia Ághová, Marta Beňačková, Štefan Margita, Peter Mikuláš, Ivan Kusnjer, Ludmila Nováková-Vernerová, Martina Straková, Věra Přibylová, Lubomír Moravec, Richard Sporka, Lenka Kučerová, Vladimír Nacházel, Eva Zbytovská; Prague Chamber Choir, Chorus Masters Josef Pančík; Czech Philharmonic Orchestra, Gerd Albrecht, conductor (live recording 1995)
 * Chandos CHAN3029 (sung in English): Helen Field, Philip Langridge, Kathryn Harries, Peter Bronder, Stuart Kale, Barry Mora, Christine Teare, Elizabeth Gaskell, Dorothy Hood, Catroina Bell, Mark Holland, Rebecca Moseley-Morgan, Samuel Linay, Michael Preston-Roberts, Yolande Jones, Cheryl Edwards, Mary Davies, Gaynor Keeble, Gareth Rhys-Davies, Philip Lloyd-Evans, Ralph Mason, Timothy German, Frances Manning; Welsh National Opera Orchestra and Chorus; Sir Charles Mackerras, conductor (recorded 1989)

title: Destiny (Janáček)


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File:FinalReckoningBook.jpg

Summary
The Final Reckoning

title: File:FinalReckoningBook.jpg


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Talk:Philosophy of psychology

 * Talk pages do not exist to express your personal opinions. If you wish to address the content of the article and how it can be improved, then criticize all you want.  But do not criticize the subject of the article.  That's what chat rooms are for. VoidTalker 03:21, 7 March 2007 (UTC)

External links modified (January 2018)
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Relational Frame Theory
This was on the philosophy of science page under the section on philosophy of psychology. It seemed a little too niche for that page and maybe even for the philosophy of psychology page (?) so I'm putting the language here and people can chime in.

 * A notable recent development in Philosophy of Psychology is Functional Contextualism or Contextual Behavioural Science (CBS). Functional Contextualism is a modern philosophy of science rooted in philosophical pragmatism and contextualism. It is most actively developed in behavioral science in general, the field of behavior analysis, and contextual behavioral science in particular (see the entry for the Association for Contextual Behavioral Science). Functional contextualism serves as the basis of a theory of language known as relational frame theory[1] and its most prominent application, acceptance and commitment therapy (ACT).[2] It is an extension and contextualistic interpretation of B.F. Skinner's radical behaviorism first delineated by Steven C. Hayes which emphasizes the importance of predicting and influencing psychological events (including thoughts, feelings, and behaviors) with precision, scope, and depth, by focusing on manipulable variables in their context.

Vrie0006 (talk) 02:14, 2 December 2019 (UTC)

Merge with philosophy of mind?
I am neither a psychologist nor a philosopher, but I propose merging this article into philosophy of mind for the following reasons: Note that I am not stating that the contents are useless, only that the practical difference between the two articles are so miniscule for most readers that the contents will be better preserved and maintained with the Philosophy of mind-article. It would in fact increase the chance of the totality becoming a featured article. If you still decide to keep this article, at least narrow its scope so it does not repeat stuff regarding mind and rather refer to it. Sda030 (talk) 22:52, 15 February 2022 (UTC)
 * Philosophy of mind captures essentially all of what psychology cares about. There might be some very disciplinary/research/practice-oriented issues of particular interest to psychology, but I do not see how this cannot be located as part of the Philosophy of mind-article.
 * Stanford Encyclopedia of Philosophy has a reference for Philosophy of mind, but not for philosophy of psychology.
 * Philosophy of mind is a more developed article (B-class) whereas this is only start-class.
 * Philosophy of mind does not link to this article.
 * A reader without extensive prior knowledge in psychology (like me) will find it frustrating to read partially overlapping contents in the two articles, of which some of the issues listed in this article are so generic that they are better located elsewhere, e.g. "What conclusions can be drawn from null hypothesis tests?" in Philosophy of statistics. This article signals intellectual hair-splitting.
 * I struggle to see how many more psychology-unique issues can be addressed here to justify a completely distinct article.
 * Even if this article is absorbed under the mind article, there is still no doubt that this section can be about psychology and still direct to the mind-article.

title: Talk:Philosophy of psychology


text:
Chihiro Yonekura

Chihiro Yonekura (米倉 千尋) is a Japanese singer and songwriter from Yokohama, Kanagawa, Japan.

History
While Yonekura was attending university, she sent off several demonstration tapes to recording companies. She was scouted out, and received the opportunity to do the opening song "Arashi no Naka de Kagayaite" for the anime Mobile Suit Gundam: The 08th MS Team, as well as the ending song, "10 Years After". She debuted with a single containing both, which was successful. That same year she released three other singles and an album. Yonekura quickly gained a large fan base, and many shows selected her songs for opening and ending themes. She has now been singing and touring for 10 years. To celebrate her success, she released an album in 2005 entitled Cheers.

Singles

 * 2011-02-23: Naked Soul (TOPGUN x Chihiro Yonekura) (PSP/Wii game "SD Gundam G Generation World" Opening)
 * 2010-12-22: Seize the Days (Online game "Emil Chronicle Online" 5th anniversary song)
 * 2008-02-28: Home
 * 2007-03-14: Lion no Tsubasa (PS2 game Elvandia Story Theme song)
 * 2006-06-21: Aozora to Kimi e
 * 2006-01-12: ALIVE (Senkaiden Houshin Engi image song)
 * 2005-07-06: Towa no Hana (Fushigi Yuugi Genbu Kaiten Gaiden: Kagami no Fujo PS2 Opening & Ending)
 * 2005-02-23: Boku no Speed de (Mahoraba Heartful days Ending theme)
 * 2004-01-15: Hoshi ni Naru made
 * 2003-07-24: Yakusoku no Basho e (Kaleido Star theme song)
 * 2003-01-22: Omoide ga Ippai
 * 2002-09-25: Bridge (Gakuen Toushi Valanoir Opening & Ending)
 * 2002-08-22: Natsu no Owari no Hanabi
 * 2002-01-30: Hidamari o Tsurete
 * 2001-10-31: Butterfly Kiss (GROOVE ADVENTURE RAVE Opening Theme)

 * 2001-07-25: Little Soldier (Jikkyō Powerful Pro Yakyū 8 Image song)
 * 2000-08-23: Hi no Ataru Basho / c/w WILL (acoustic version) (Senkaiden Houshin Engi character song Self-Cover)
 * 2000-07-26: Return to myself( Rokumon Tengai Moncolle Knight Opening & Ending 2)
 * 2000-02-02: Just Fly Away (Rokumon Tengai Moncolle Knight Opening & Ending 1)
 * 1999-09-16: FEEL ME (Dreamcast game Revive ~Sosei~ Theme song)
 * 1999-08-25: WILL (Senkaiden Houshin Engi Opening theme)
 * 1999-01-08: Birth of light (High School Aura Buster OVA Theme song)
 * 1998-07-23: Eien no Tobira (Mobile Suit Gundam: 08th MS Team: Miller's Report OVA Theme song)
 * 1998-02-04: Strawberry Fields
 * 1997-05-21: Yukai na Kodou (Kiko-chan Smile Theme song)
 * 1997-02-21: Mirai no Futari ni (Mobile Suit Gundam: 08th MS Team Insert song)
 * 1996-12-05: Yakusoku
 * 1996-10-23: Orangeiro no Kiss o Ageyou
 * 1996-06-21: Believe ~anata dake utsushitai~
 * 1996-01-24: Arashi no Naka de Kagayaite (Mobile Suit Gundam: The 08th MS Team Opening & Ending)

Albums

 * 2011-03-16: Nakeru Anison
 * 2010-12-08: Voyager (15th Anniversary Best Album)
 * 2009-09-30: Departure
 * 2008-06-25: Ever After (anime cover album)
 * 2007-04-25: Kaleidoscope
 * 2006-02-08: Fairwings
 * 2005-02-23: Cheers
 * 2004-05-26: BEST OF CHIHIROX
 * 2004-02-26: azure

 * 2003-02-26: Spring ~start on a journey~
 * 2002-03-13: jam
 * 2001-02-21: Little Voice
 * 2000-10-25: apples
 * 1999-11-03: Colours
 * 1998-08-21: always
 * 1997-06-21: Transistor Glamour
 * 1996-07-05: Believe

Other

 * Mobile Suit Gundam: The 08th MS Team OST 2, Miller's Report
 * Mobile Suit Gundam: The 08th MS Team OST 1

title: Chihiro Yonekura


text:
The Excursions of Mr. Brouček to the Moon and to the 15th Century

The Excursions of Mr. Brouček to the Moon and to the 15th Century (Czech: Výlety páně Broučkovy) is the complete title of Leoš Janáček’s fifth opera, based on two Svatopluk Čech novels, Pravý výlet pana Broučka do Měsíce (1888) (The True Excursion of Mr. Brouček to the Moon) and ''Nový epochální výlet pana Broučka, tentokráte do XV. století'' (1889) ('‘The Epoch-making Excursion of Mr. Brouček, this time to the 15th Century'’). The librettists for Part 1 were František Gellner, Viktor Dyk, František Sarafínský Procházka and others, while Part 2 was written by F. S. Procházka.

This two-part satirical opera was premiered at the National Theatre in Prague on 23 April 1920, the only Janáček opera not premiered in Brno.

Mr. Brouček (translated as "Mr. Beetle" (literally little beetle)) is a Philistine landlord in Prague who experiences a series of fantastic events as he is swept away (due in large part to excessive drinking) first to the Moon and then to 15th-century Prague, during the Hussite uprising against the Holy Roman Empire in 1420 (see Synopsis). In both excursions, Brouček encounters characters who are transformed versions of his earthly acquaintances.

Due to the popularity of the original novels by the iconic Czech writer Svatopluk Čech the opera was met with much scrutiny. Janáček experienced a number of setbacks in the creation and rehearsal of the work, especially in dealing with librettists (See Background). The composer's aim in The Excursions of Mr. Brouček was apparently quite specific: "I want us to be disgusted with such people, to stamp on them and strangle them when we meet them," speaking of Brouček. Janáček's campaign, along with Čech's, was against the pettiness of the bourgeoisie, specifically of Czechoslovakia. However, according to Desmond Shawe-Taylor, who saw the opera performed in Czechoslovakia, most observers reacted with cheerful laughter and even felt a bit sorry for the poor fellow Brouček. He became almost lovable rather than despised, as Janáček had originally intended, and his shortcomings, failings, and ordinariness tend to be seen as qualities common to regular citizens of all lands.

Composition history
The composition of Janáček's The Excursions of Mr. Brouček to the Moon was a long process complete with no fewer than seven librettists. The original concept of the opera was to be based on a still-popular novel series of the same name by Svatopluk Čech (1846–1908). After beginning the composition, Janáček set out to find a librettist who would fit his interpretation and realization of Čech's stories.

In the early 20th century, Janáček sought to write an opera based on Čech's novels; however, Čech outrightly denied him the rights to his stories. Janáček eventually put the project aside until Čech's death in 1908. At this time, Janáček was reminded of his previous desire to set the story and sent letters to Artuš Rektorys, a friend of his in Prague, asking him to check the availability of the rights now that Čech had died. Rektorys responded with news that Čech's family was hesitant to release the rights, but after hearing from Janáček himself, they agreed to give him sole use of the novels. Shortly after being granted permission to begin composition, another composer, Karel Moor, had also written to Rektorys inquiring about Janáček's Brouček. Moor claimed he was given sole permission to the stories by Čech's younger brother, Vladimír. This matter was quickly attended to and it was found that Moor had not received valid permission. This did not stop him from producing an opera; it reached the stage in 1910, some ten years before Janáček's, but with none of the latter's success or longevity.

In March 1908, Janáček had set out to find a suitable librettist. Rektorys had recommended Karel Mašek; however, Mašek was not overly willing to undertake the assignment, a precursor to future trouble with the piece. After many discussions and a warning from Mašek that he was very much preoccupied, Janáček had sent his needs to Mašek with a deadline for Act I's completion. By July 1908 it had become increasingly clear that Mašek and Janáček had two very different ideas as to the outcome of Brouček. Mašek wrote that Janáček's ideas were too far from the original novel, which portrayed Brouček as haughty. Other conflicting views include the addition of two characters not in the original piece, the Young Waiter and Mazal. With the Young Waiter, Mašek conceded, but said this about Mazal: ...I can’t bring myself to add this part to Čech’s work in addition to Mazal at the Vikàrka. Čech’s Mr. Brouček would never have fraternized with Mazal and sat with him in the same pub.

These disagreements paired with Mašek's over-commitment with other works at the time led to his self-dismissal from the project in October of the same year. Janáček rebounded quickly from the loss of the librettist and started investigating a replacement.

In November 1908, Josef Holý was invited to the project, but he refused due to lack of interest in the material and said "If there is not the will or the right mood, it would not turn out well, however, I tried, and so I ask you to count me out." With Holý gone, Janáček turned to Dr. Zikmund Janke, an ear, nose and throat doctor working both in Prague and Luhačovice.

As with Mašek, there was a general disagreement between what Janáček had in mind and what Dr. Janke envisioned. Janáček was very amiable with colleagues and accepted what Janke had given him, including his harsh words. At this point, Janke had written an entire first act and started on the second when Janáček sent him a new outline to follow with new characterizations for ten of the roles. Out of all that was written thus far, only two lines of a drinking song survived the final cuts of Janke's work in the first act. In 1910, Janáček discovered through letters with Artuš Rektorys that Josef Holý, who originally turned down the project, had produced a ballet entitled The Moon. This shows that Holý had more interest than he had previously let on, as the ballet was conceptualized on Čech's story of Brouček. In April 1911 Janáček reconnected with Holý asking for help with a song during the Moon scene.

The next librettist was introduced to Janáček by Holý to help spread the workload around. František Gellner, a satirical poet, would eventually contribute the most work to the piece that still survives today of all the librettists that worked on the project. They worked together from June 1912 until June 1913, where a standstill took place and Janáček set to work on other projects. Gellner did write an ending to the piece, so why the pause happened is really only known to Janáček, as conceptually the structure was finished with only details remaining. However, the work resumed in November 1915 when Janáček decided that Brouček was worth finishing and promptly set to work finding the next librettist in line for the job.

The position went to Josef Peška, one of the men who helped secure Jenůfa in Prague. With great enthusiasm, he joined the list of writers who had accepted the work without reading the previously written libretto or musical score. Once Peška had read all the provided materials he sent a prompt response to Janáček reminding him to observe other people's renditions of the same piece. Most importantly he told Janáček a piece of information that will come back as critics review the opera after it reaches the stage, and that is that one needs to know Čech's story in order to understand the humor in Janáček and Gellner's version. He wrote a very private version, where one must have preexisting knowledge of the storyline to fully appreciate the piece. In addition, he sent him a list of new librettists who could help complete the project, with F.S. Procházka at the top.

It is unclear whether Janáček sent Gellner's ending to the opera to Procházka, because he created one of his own, starting with Act 3 until the end. Janáček gave his librettist complete freedom in range when it came to writing. He would provide an action, then state his indifference to how the action is accomplished, only that it needed to be. When something did not work for him, he would simply rewrite it himself. With this practice, Janáček wrote a larger piece of the work than most of the librettists did.

The piece was finished in 1916 with only details remaining, including the ending written by Gellner, and then adjusted by Janáček. A friend of Janáček, Jiří Mahen, was then enlisted to help overhaul sections of the opera. This position was used for editing purposes, but mostly the work that Janáček had provided, not necessarily the work of the other librettists. Mahen was uninformed as to how many others had worked on the piece, and was also unaware that it was actually completely done and set to music. After spending much time on the opera, Mahen was also surprised to learn that not only had the work been finished, but that Viktor Dyk had been penned as the librettist.

Janáček explained this in a letter to Mahen (naturally, he demanded satisfaction) saying that Dyk had approved of the original version Janáček had in mind, that so many others tried to change and had then supplied a more appropriate ending that fits more to Čech's ending of the story. Dyk and Janáček had worked diligently changing around music, text, scenes, characters, etc. to their liking, keeping only bits and pieces of what others had done. Mašek's work was reduced to two lines of work and Dr. Janke's work to a drinking song. The rest was removed in letters between Dyk and Janáček from Brno to Prague and vice versa.

Viktor Dyk was arrested for resistance activities against the Austro-Hungarian Empire, so again Janáček was in need of a new partner. Instead of finding a stranger to the piece, he went back to F.S. Procházka and asked his help in fine-tuning a few songs and scene changes, which he gladly accepted. Up until this point the opera ended when Mr. Brouček returns from his 'Moon voyage' only to find out that it was a drunken dream, but after reteaming with Procházka, Janáček posed the idea to start dramatizing the second Čech novel, The Excursions of Mr. Brouček to the XV Century. The two quickly leaped on this idea and began writing at once. By the end of 1918, they had compressed the entire opera into three acts, Act 1 in Prague in 1920, Act II on the Moon, and Act 3 in Prague in 1420. They even added a new set of characters that stayed with the opera's theme of recurring characters through this new third act (see list of characters).

In October 1918 Janáček had learned that Brouček would be performed at the National Theatre in Prague, given some adjustments to be made to costumes and set pieces. With the new trimmed-down version with three acts, there were fewer scene changes to be made, which pleased National Theatre Director Schmoranz. After discussions, casting, and orchestra rehearsal, there very few changes still needing to be made (most were vocal range issues – Janáček wrote very high tessitura for singers).

Performance history
The UK premiere took place on 5 September 1970 at the King's Theatre in Edinburgh. The opera did not receive its first American performance until its premiere at the Spoleto Festival U.S.A. in 1996, although it had received a concert performance by the San Francisco Opera Ensemble on 23 January 1981. Indiana University gave the opera its American television premiere in December 1981 with Joseph Levitt (tenor), Adda Shur (soprano), Samuel Cook (tenor), Martin Strother (baritone), and Philip Skinner (baritone) from the Indiana University Opera Theater and conducted by Bryan Balkwill. It was performed by English National Opera at the London Coliseum in 1978 directed by Colin Graham, and again in 1992 in a David Pountney production conducted by Sir Charles Mackerras; and by Opera North at the Grand Theatre Leeds in October 2009, in a production by John Fulljames.

The stage premiere of the Ur-version of Brouček (without the excursion to the 15th century) took place at the Janáček Theatre Brno on 19 November 2010 as part of the Janáček Biennale, conducted by Jaroslav Kyzlink, with Jaroslav Březina in the title role.

Scene 1
Mr. Matěj Brouček is a rather unkempt drunken landlord in late 19th-century Prague. On a moonlit night in 1888, Mr. Brouček stumbles down Vikárka street after a drinking binge at the Hradčany tavern. In his impaired state, he encounters Málinka. She is upset and dramatically suicidal after discovering that her lover, Mazál (who happens to be one of Brouček's tenants) has been cheating on her. In an ill-advised attempt to calm Málinka, Brouček agrees to marry her. He quickly realizes the error in this and retracts his offer, leaving Málinka to return to her bohemian lover. Brouček decides he has had enough of this stress and dreams of a more relaxed life on the Moon.

Scene 2
Brouček is quickly disillusioned by what he finds in his lunar paradise. He "lands" in the middle of an avant-garde colony of lunar artists and intellectuals, whom the uncultured Brouček clearly despises. He finds himself in the home of an avant-garde artist, Blankytny (a parallel character to Mazál). Blankytny sings a heartfelt ode of platonic love to the lunar maiden, Etherea. This signals the arrival of Etherea and her ‘sisters’ who commence with a song preaching the benefits of a healthy lifestyle. Ironically, Brouček catches the eye of the maiden, who becomes instantly infatuated with the exotic stranger. She whisks him away aboard mythical Pegasus, leaving behind Blankytny in disbelief and despair.

Scene 3
Etherea and Brouček land in the Lunar Temple of the Arts, where a group of inhabitants has gathered. They are immediately startled and frightened at the sight of Brouček, but soon see him as the latest vogue. The locals proceed to present Brouček with the latest in lunar art and treat him to a "meal" of sniffing flowers. Brouček is not at all pleased with this display of art, nor is he nourished by the fragrances. He is soon caught sneaking a bite of pork sausage; the crowd quickly turns on him, and he is forced into a furious escape aboard Pegasus. As he flees, the lunar artists sing praises to art.

Scene 4
As the Moon scene transforms back into the tavern courtyard in Prague, Mazál and Málinka are returning home, and the artists are enjoying a final drink. A young waiter laughs at the drunken Brouček who is being carried off in a barrel. Málinka is apparently recovered from her turmoil, as she and Mazál sing a duet of their love for each other.

Scene 1
Set in the Castle of Wenceslas IV, Mr. Brouček and his fellow drinkers debate the particulars of the medieval tunnels that were believed to exist beneath the city of Prague. Once again, an inebriated Brouček staggers toward his home and is interrupted. He finds himself somehow in one of these dark tunnels, where he encounters apparitions from the past. One of these ghostly figures is Svatopluk Čech, the author of the Brouček stories and a famous Czech poet. Čech expresses his regret over the decline of moral values in the Czech nation. He sings about the loss of true heroes and yearns for a rebirth of his nation. Ironically, Čech's lament is directed toward Brouček himself and toward the satirical nature of this very opera.

Scene 2
Mr. Brouček is transported back in time and finds himself in the Old Town Square in 1420. This is a tumultuous period in 15th-century Prague, when the Czech people, led by Jan Žižka, were under siege by the German armies of the Holy Roman Empire. Brouček is quickly confronted by Hussite rebels, who accuse him of being a German spy, due to his poor Czech grammar laden with German expressions. Brouček somehow convinces the rebels that he is on their side and is allowed to join them.

Scene 3
Brouček is brought to the house of Domšik, a sacristan, and his daughter Kunka. Brouček now finds himself in the midst of an impending battle for the future of the Czech nation, signified by the powerful singing of battle hymns by the gathered masses. The rebels ask Brouček to assist in the defense of Prague, to which he is characteristically averse. As the battle begins, our hero flees the scene.

Scene 4
In Old Town Square, the people of Prague celebrate their hard-fought victory but lament the death of Domšik. Brouček is found in hiding and accused of treason. He is appropriately sentenced to death by burning...in a beer barrel.

Scene 5
Back in 1888 Prague, just outside the Vikárka Inn (Home of the Hradčany Tavern), Mr. Würfl, the landlord of the Inn and the maker of the infamous pork sausage from the Moon, hears moans coming from the cellar. He discovers Mr. Brouček in a beer barrel, visibly relieved to be alive and back home. Our shameless hero boasts to Würfl that he single-handedly liberated the city of Prague.

Orchestra instrumentation

 * 2 Bassoons
 * 2 Clarinets (Bb)
 * 2 Oboes
 * 3 Trombones
 * 4 Flutes (4 piccolo; same players)
 * 4 Horns in F
 * 4 Trumpets in F

 * Bass Clarinet
 * Bells
 * Celesta
 * Cello
 * Contrabassoon
 * Double Bass
 * Dudelsack (German Bagpipe)

 * English Horn
 * Harp
 * Organ
 * Timpani
 * Tuba
 * Viola
 * Violin I, II

Compositional aspects and techniques
Janáček's technique of composition in Brouček may not be clearly or easily defined, but there are several aspects that come to the forefront as one begins to look deeper into some of the composer's compositional ideas, regarding both music and speech/language.

Motif, motive, and melos
The smallest building block of Janáček's later music, including this opera, is the motif. His definition is different from and probably stricter than, what most music scholars might consider as a definition of a motif. Janáček's motifs have a clear beginning and end, and the dynamic is constant throughout the short group of, perhaps, three to five notes. The note values must be equal, and a motif may begin on any beat, but may not end on a downbeat. Janáček's methods of alteration of a motif are varied, but no matter what he does to the melody, the harmony, key, tempo, mode, register, or any of the contextual material, the rhythm remains unaltered, thereby, in his opinion, maintaining the original motif as a recognizable entity. Example 1 (see Musical examples below) shows a motif from Brouček and illustrates some alterations of the same motif. Example 2 is another motif used in the opera. Janáček often employs short musical phrases that extend beyond his unique definition of a motif, creating what Cooper calls a motive.

A motive includes different note values, and its iterations may end on a downbeat. It turns out that most of Janáček's small operatic elements, whether instrumental, vocal, or both, are motives. An example of a motive in Brouček is the use of high violins and flutes punctuating a pedal point a half step apart (Part 1) to indicate the moon up in the heavens where Brouček imagines he can escape from the cares of the world. Although for the most part, motives behave like motifs and are quite similar in their usage, Janáček would have thought of them separately.

A third and larger building block in Brouček is what Dieter Stroebel calls a melos, which describes a segment of music that is longer and more melodious than those of the motif or motive, such as Example 3.

Speech and language
"The best way of becoming a good opera composer is to study analytically the melodic curves and contours of human speech." – Janáček

It is well known that Janáček's music was greatly influenced by the nature and sounds of Czech speech and language. One may begin to clearly recognize this influence as it appears in the relationship between the musical motif and Czech words. For example, when a word in Czech changes tense, it often changes the sound of the vowel in that word, paralleling Janáček's contour alteration of a short motif. Also, in Czech, the first syllable of a word is stressed, allowing distinction of each word by the beginning sound. The avoidance of ending a motif on the downbeat could be seen as analogous to the fact that Czech speech avoids stress on any syllable other than the first. Third, the final syllable of a Czech word is to receive full value without changing the pitch or weakening the sound. This closely relates to Janáček's idea of maintaining a single dynamic in his motifs. Janáček also had a strong interest in the melody of speech (see quote above): intonation, stress, length, and pitch.

Musical ideas in the opera
The introduction to Part 1 is not unlike many of Janáček's opera introductions, preludes, or overtures. Made up of several short musical items and motives that will show up later in the opera, the music is propelled by the abrupt juxtaposition of these ideas, which often come in a different order than they will appear throughout the opera proper. There are three melodies of importance in the introduction to Part 1 of Brouček. The first is a light, rhythmically uncertain figure (Example 4) that leads to quickly to the stocky bassoon melody (Example 5), which is a caricature of Brouček. This melody appears many times subsequently and in different forms. The third is the tender melody first introduced by the flute and violins (Example 3), which represents the young lovers Málinka and Mazal. This melody is also altered several times, and there is an allusion to Blankytný (= Mazal) and Etherea (= Málinka) on the moon. All three motives are present in the closing moments of Part 1, an orchestral interlude that brings Brouček back to earth from his dream.

Throughout The Excursion to the Moon, Janáček makes extensive use of waltzes and waltz-like melodies, which were apparently misheard by the Russian composer Dmitri Kabalevsky, who considered them "à la Strauss". However, Janáček's bright and humorous melodies are very different from those of Strauss, as they tend to be much less elegant and often serve the intent of parody or mockery. It is speculated that Janáček also intended the use of waltzes to denote the class of citizen that Brouček represents – the middle-/upper-class dance pointing to the characteristics of the middle-/upper-class Brouček. Even from the opening of the opera, faint allusions of a waltz can be heard between statements of the light 2/4 melody. The prelude dissolves into the opening scene, which begins with the bickering of Málinka and Mazal set to a waltz. A fantastic example of a waltz as a parody is the Child Prodigy's singing of the moon anthem, which actually is a spoof of the Czech national song. The "audience" within the opera hears it as a serious patriotic anthem, while the opera house audience perceives it as a parody anthem. Janáček uses the music of a waltz at the end of the first dream to break the tension of the Moon population's threats against Brouček and help resolve the plot. Many other waltzes can be found in the first part of the opera, some more deliberate than others, and Janáček made very purposeful use of each one as a device to aid in communicating unspoken, often satirical content. Though Janáček frequently uses the waltz in an ironic or parodic light, they seem to flow and function entirely within the musical framework of the opera.

Overall, Part 2 of the opera, The Excursion of Mr. Brouček to the Fifteenth Century, is distinctly different in musical style from Part 1. The starkly different nature of the situations of each part and the several years that separated the actual composition of the two parts are likely reasons for this difference. It opens with jarring rhythms and the sounds of warfare. Two main themes are present in this introduction that reappear in different forms all through Part 2 (Examples 6 and 7). Also present in this part of the opera are Hussite chorales and hymns, one of which can be heard building as Brouček and Domšík go into the Týn Church on the Old Town Square. The chorale then culminates in a proud statement in C major.

One of Janáček's compositional procedures is the significant use of the pitch A♭/G♯ in the last forty minutes of the opera. The key of A♭ minor plays an important role in many of Janáček's compositions, including operas, string quartets, song cycles, piano miniatures, sonatas and orchestral works, no matter whether it is found in comic, tragic, funny, serious, or ironic passages. He preferred to make use of a single tonal area in scenes of steady emotion, or of a single set of characters on stage. This led to his adoption of often assigning a single pitch area to an entire scene, "by which, remarkably, he generates speedy and substantial change and enormous tension and emotion," according to Cooper. Though the listener may not easily recognize the frequent use of the pitch A♭/G♯ as it is clouded by different harmonies, the single pitch plays a crucial role in connecting differing ideas throughout Part 2. Example 8 points to an ill-tempered Brouček leaping up to Ab on his main point. Later in Part 2, as Brouček pleads for mercy during his condemnation scene, he explains that he "wasn't born yet," and that he is "a son of the future," both ending on A♭ (Example 9).

Critical reception
Due to the brevity of his motifs and the way Janáček made use of them and their derivatives, a listener may have difficulty finding something to grasp in the music. Without some study of the score, the logic of his use of motifs and their developments are not aurally so apparent. For this reason, even the well-informed Dmitri Kabalevsky found little in Brouček of which he could sedulously approve.

Some critics have also pointed out that the Moon excursion has a basic flaw in the plot: there is no real "hero" to balance out Brouček, who is the "villain" on the Moon. Richard Bradshaw, who conducted the professional premiere in the United States, said of Brouček, "The two ‘excursions’ have been described as one flawed masterpiece made up of two operas."

Recordings

 * Fritz Wunderlich, Kurt Böhme, Wilma Lipp, Kieth Engen, Antonie Fahberg, Lilian Benningsen, Paul Kuen, Karl Ostertag, Bayerisches Staatsorchester, Chor der Bayerischen Staatsoper, Joseph Keilberth, conductor; 19 November 1959, live recording, Orfeo-C354942I (German): 1994.
 * Jan Vacík, Peter Straka, Roman Janál, Maria Haan, Zdeněk Plech, BBC Singers, BBC Symphony Orchestra; Jiří Bělohlávek, conductor; Deutsche Grammophon 477 7387: 2008.
 * Orchestra and Chorus of the Prague National Theatre; Václav Neumann, conductor, Supraphon SUA ST 50531/3 (LP issue): 1962.
 * Richard Novák, Karel Hanuš, Libuše Márová, Vilém Přibyl, Jaroslav Tománek, Miroslav Švejda, Vladimír Krejčík, Jiří Olejníček, Jaroslav Souček, Jana Jonášová, Jiřina Marková, Bohuslav Maršík; Czech Philharmonic Orchestra and Chorus; František Jílek, conductor; Supraphon 1116 3291-3: 1980.

Arrangements

 * 1) Arrangement suitable for Opera
 * 2) * arrangement for new German libretto
 * 3) * arrangement by: Karlheinz Gutheim
 * 4) * performed by: Soloists, Bavarian State Opera Orchestra, co Joseph Keilberth
 * 5) Arrangement suitable for Opera
 * 6) * arrangement for orchestral suite from the opera
 * 7) * arrangement by: Jaroslav Smolka and Jiří Zahrádka
 * 8) * performed by: Prague Symphony Orchestra, co  Jiří Bělohlávek
 * 9) Arrangement suitable for Opera
 * 10) * arrangement for orchestral suite from the opera
 * 11) * arrangement by: Peter Breiner
 * 12) * performed by: New Zealand Symphony Orchestra, co Peter Breiner


text:
Aither

Aither may refer to:

 * Aether (classical element), the material supposed to fill the region of the universe above the terrestrial sphere
 * Aether (mythology), the personification of the "upper sky", space and heaven, in Greek mythology

title: Aither


text:
Talk:Huttese language

Doesn't Han Solo speak at least some Huttese? The CGI scene with Jabba added to the 1997 special edition seems to suggest this. C3PO  speaks the language as well, as seen in episode 6.
 * Worth noting, but doesn't C3PO speak about all major languages in the universe? 惑乱 分からん 17:00, 29 January 2006 (UTC)

People forget that Leia does too; she takes Chewy to Jabba in disguise and asks for the bounty on his head.

Leia doesn't speak Huttese to Jabba, she speaks Ubese.

title: Talk:Huttese language


text:
Wikipedia:Articles for deletion/Pit of voles

 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   — Gwalla | Talk 22:08, 17 Jun 2005 (UTC)

Pit of voles
I speedied this as near-nonsense, but when going through the author's contribs I realized that it was a matter of a well-intentioned new user not knowing what is appropriate in Wikipedia, so I've restored it for VfD.

Chatty, unencyclopedic article on a neologism supposedly found on Fanfiction.net. — Gwalla | Talk 07:19, 10 Jun 2005 (UTC)

 * Delete, neologism. --bainer (talk) 08:05, 10 Jun 2005 (UTC)
 * Delete and tell the user why it got deleted in a friendly fashion. Mgm|(talk) 10:59, Jun 10, 2005 (UTC)
 * I'd have to say Delete, as it's not in a proper style for an encyclopedia entry, and a slang expression for a particular site (even if it's actually in current use) probably isn't sufficiently notable for a separate entry. Right now, that phrase seems to be more of something that a few bloggers are trying to promote than a currently-widespread nickname for the site, but if it does get sufficiently common, then some mention of it in the main FanFiction.Net article might be warranted (but not a separate article). *Dan* 12:34, Jun 10, 2005 (UTC)
 * Delete and help user understand Wikipedia policies. jglc | t | c 15:58, 10 Jun 2005 (UTC)
 * Delete. Not notable, quasi-neologism. -- BD2412 talk 19:56, 2005 Jun 10 (UTC)
 * Redirect to fanfiction.net, no merge. It's a common (if derogatory) nickname. --Carnildo 21:19, 10 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 .