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University of Alcalá

The University of Alcalá (Universidad de Alcalá) is a public university located in Alcalá de Henares, a city 35 km (22 miles) northeast of Madrid in Spain and also the third-largest city of the region. It was founded in 1293 as a Studium Generale for the public, and was refounded in 1977. The University of Alcalá is especially renowned in the Spanish-speaking world for its annual presentation of the highly prestigious Cervantes Prize. The university currently enrolls 28,336 students, 17,252 of whom are studying for undergraduate degrees, who are taught by a teaching staff of 2,608 professors, lecturers and researchers belonging to 24 departments. The administrative tasks are carried out by the university's Administration and Services, comprising approximately 800 people.

One of the university's campuses, located in the city center, is housed partly in historic buildings which were once used by the Complutense University of Madrid, which was located in Alcalá from its medieval origins until it was moved to Madrid in 1836.

Studium Generale
On May 20 of 1293, the king Sancho IV of Castile granted license to archbishop of Toledo. Gonzalo Pérez Gudiel to create a Studium Generale (as the university studies were then called through Europe) in Alcalá de Henares, "with the same frankness for teachers and students, which were granted to General Study of Valladolid". These studies, although quite modest, survived through time to link with the Cisneros refoundation. On July 17, 1459 Pope Pius II granted a bull, requested by the archbishop Alfonso Carrillo de Acuña, "for the erection of three Cathedras of Arts and Grammar in this study of Alcalá". These last chatedras, subsisting of that General Study of the 13th century, were integrated by Cisneros into the "new" university.

University
In 1499, Cardinal Cisneros founded a university in Alcalá de Henares. This university is known in historiography in different ways: Complutense University, Cisneriana University, University of Alcalá ... and reached, together with the University of Salamanca, a pre-eminent place among the Castilian universities during the Golden Age. However, it later entered a period of decline until in 1836 the government decreed its transfer to Madrid, renamed Central University of Madrid. This, in 1970, adopted the name of Complutense University of Madrid. The Complutense University of Madrid, in accordance with such historical trajectory, shows continuity with the university founded by Cisneros in 1499.

Move to Madrid
By a royal order of 29 October 1836, Queen Regent Maria Christina ordered The university to move to Madrid, where they took the name of Literary University and, in 1851, the Central University of Madrid. The university would be known under this name until its original name of "Complutense" was restored in the 1970s.

Restoration
In 1975, after years of the buildings passing between various businesses, Complutense University opened its Alcalá branch as a means to decongest its growing student population. In 1977, the university was re-founded as "the University of Alcalá de Henares," which later was shortened to "the University of Alcalá" in 1996. In 1998 Unesco named it a World Heritage site.

Today's University of Alcalá preserves its traditional humanities faculties, a testimony to the university's special efforts, past and present, to promote and diffuse the Spanish language through both its studies and the Cervantes Prize, which is awarded annually by the King and Queen of Spain in the elegant sixteenth-century Paraninfo (Great Hall). The university has added to its time-honoured education in the humanities and social sciences new degree subjects in scientific fields such as health sciences or engineering, spread out across its different sites (the Alcalá Campus, the Science and Technology Campus and Guadalajara), all of which, together with the Science and Technology Park, are a key factor in its projection abroad, while also acting as a dynamo for activities in its local region.

Spanish language programs
Because of its rich tradition in the humanities, the University of Alcalá offers several programs in Spanish language and literature. Alcalingua, a Department of the University of Alcalá, offers Spanish language and culture courses to foreigners and develops materials for teaching Spanish as a foreign language. The University of Alcalá, together with EDUESPAÑA, grants the CEELE, Certificado de Calidad en la Enseñanza del Español como Lengua Extranjera (Quality Certificate for Teaching Spanish as a Foreign Language).

International agreements
The University of Alcalá is a party to various bilateral agreements with institutions in non-European countries, above all with universities in Latin America and the USA. Some of these agreements stipulate exchanges for first and second stage students. Like Erasmus Programme students, foreign students who take advantage of these exchange schemes are exempt of payment of tuition fees to the University of Alcalá, though they must meet their own costs of travel, accommodation and upkeep. Application to take part in these exchanges should be carried out in the university of origin. Once selected, the university of origin will inform the University of Alcalá.

Undergraduate studies
The University of Alcalá offers degrees in five branches of knowledge: Arts and Humanities, Law and Social Sciences, Sciences, Health Sciences, and Engineering and Architecture. Its approximately 20,000 undergraduate students are spread across its three campuses:

Arts & Humanities

 * Bachelor's Degree in English Studies (Bilingual Spanish-English)
 * Bachelor's Degree in Hispanic Studies
 * Bachelor's Degree in History
 * Bachelor's Degree in Humanities
 * Bachelor's Degree in Modern Languages Applied to Translation (Bilingual Spanish-English)
 * Bachelor's Degree in Modern Languages Applied to Translation. Guadalajara (Bilingual Spanish-English)

Health Sciences

 * Bachelor's Degree in Health Biology
 * Bachelor's Degree in Medicine
 * Bachelor's Degree in Nursing
 * Bachelor's Degree in Nursing. Guadalajara
 * Bachelor's Degree in Pharmacy
 * Bachelor's Degree in Physical Activity and Sports Sciences
 * Bachelor's Degree in Physiotherapy

Architecture & Engineering

 * Bachelor's Degree in Basics of Architecture and Town Planning
 * Bachelor's Degree in Communications Electronic Engineering (Bilingual Spanish-English)
 * Bachelor's Degree in Computer Engineering (Bilingual Spanish-English)
 * Bachelor's Degree in Computer Science (Bilingual Spanish-English)
 * Bachelor's Degree in Construction Engineering
 * Bachelor's Degree in Electronics and Industrial Automation Engineering (Partially bilingual Spanish-English)
 * Bachelor's Degree in Information Systems (Bilingual Spanish-English)
 * Bachelor's Degree in Telecommunication Systems Engineering (Bilingual Spanish-English)
 * Bachelor's Degree in Telecommunication Technologies Engineering (Bilingual Spanish-English)
 * Bachelor's Degree in Telematics Engineering (Bilingual Spanish-English)

Law & Social Sciences

 * Bachelor's Degree in Accounting and Finance
 * Bachelor's Degree in Audiovisual Communication
 * Bachelor's Degree in Business Administration and Management
 * Bachelor's Degree in Business Administration and Management. Guadalajara
 * Bachelor's Degree in Economics
 * Bachelor's Degree in Economics and International Business
 * Bachelor's Degree in Infant Education
 * Bachelor's Degree in Infant Education. Cardenal Cisneros Associated School
 * Bachelor's Degree in Infant Education. Cardenal Cisneros Associated School (Bilingual Spanish-English)
 * Bachelor's Degree in Law
 * Bachelor's Degree in Law and Business Administration and Management
 * Bachelor's Degree in Primary Education (Bilingual Spanish-English)
 * Bachelor's Degree in Primary Education. Cardenal Cisneros Associated School
 * Bachelor's Degree in Primary Education. Cardenal Cisneros Associated School (Bilingual Spanish-English)
 * Bachelor's Degree in Social Education. Cardenal Cisneros Associated School
 * Bachelor's Degree in Tourism
 * Bachelor's Degree in Tourism and Business Administration and Management

Sciences

 * Bachelor's Degree in Biology
 * Bachelor's Degree in Chemistry
 * Bachelor's Degree in Environmental Sciences

Campuses
The University of Alcalá has three campuses:

The historical campus in the city center
This campus occupies, among others, the buildings formerly used by the Universidad Complutense de Madrid when it was itself the Universidad de Alcalá. It includes the main administration building, the Faculties of Philosophy and Arts, Law, Economics and Business, and Documentation, as well as the Technical School of Architecture and Geodesy. Also located in the historical campus are Alcalingua (the university's Spanish language school), the Benjamin Franklin North American Studies University Research Institute, the Research Institute of Economic and Social Analysis, the Police Sciences University Research Institute, the Postgraduate School, the Institute of Educational Sciences, the Cisneros International Center for Historical Studies, the Cervantes Research Center, the Foreign Languages Center, the Institute of Business Organization and Management, the International Financial Training Center Foundation and the General Foundation of the university.

The Science and Technology Campus
This campus includes the Faculties of Biology, Chemistry, Environmental Sciences, Pharmacy, Medicine, Nursing and Physiotherapy, as well as the School of Computer Engineering and the Polytechnic School. The students’ Residence Halls (the University Residential City and the Giner de los Ríos University Residence) are also located in this campus, as well as sports facilities, the Botanical Garden, Computer Services, numerous research centers and the Science and Technology Park.

Guadalajara Campus
The "Multidepartamental" building is home to the Faculties of Tourism and Nursing, and the Schools of Business Studies and Architecture. The Faculty of Education offers degrees in Audiovisual Communication and Modern Languages and Translation (the latter can also be studied at the historical campus in Alcalá).

Doctor Honoris Causa

 * 1981: Jesús Reyes Heroles
 * 1982: Manuel Cobo del Rosal
 * 1983: Salvador Jorge Blanco, J. William Fulbright, Luis García de Valdeavellano, Bermudo Meléndez, Ángel Santos Ruiz, Luis Solé Sabaris
 * 1992: Horst Albach, Jacques Delors, Werner Maihofer, Iris Murdoch, Andrew V. Schally, Demetrio Sodi Pallarés, Santiago Torres Bernández, Rodrigo Uría González
 * 1993: Claudio Boada Villalonga, Luis Ángel Rojo
 * 1994: Miguel Delibes, Árpád Göncz, Federico Mayor Zaragoza, Derek Walcott
 * 1995: Luzt Birnbaumer, Enrique Fuentes Quintana
 * 1996: Yasser Arafat, Louis Vicente Avioli, K. C. Nicolaou, Shimon Peres
 * 1997: Louis Lasagna
 * 1998: José Botella Llusía
 * 1999: Gabriella Morreale
 * 2000: José Barluenga, José Elguero, Richard Herr
 * 2001: Kofi Annan, Antonio Fernández Alba, Frank Gehry, José Luis Leal Maldonado, Humberto López Morales, Juan Van-Halen Acedo
 * 2003: Víctor García de la Concha, Fernando Savater
 * 2004: Luis Hernando Avendaño, Luiz Inácio Lula da Silva
 * 2005: Juan Ramón de la Fuente, Antonio Mingote
 * 2006: Carlos Martínez Alonso, Susumu Tonegawa
 * 2007: Ginés Morata
 * 2008: Fernando Álvarez de Miranda y Torres, Antonio Fontán Pérez, Santiago Mir Puig, Benzion Netanyahu
 * 2010: Samuel G. Armistead, Carlos Fernández-Nóvoa, Miguel León-Portilla, Stephen A. Zeff
 * 2011: Luis Miguel Enciso Recio, Enrique Valentín Iglesias García, Gregorio Salvador Caja, José Luis Sampedro Sáez, Joseph Wang
 * 2012: John Elliott
 * 2013: Francisco Márquez Villanueva, Elisa Pérez Vera, Stephen G. Wozniak

Notable teachers

 * Eduardo José Acosta Méndez: Philosopher, historian, traductor, etc. He was a researcher of Socrates and Epicuro. Professor of Greek philosophy at University of Alcalá until his death.
 * Mateo Alemán: Novelist and writer. Studied at Alcalá.
 * Joaquín Almunia: is a Spanish politician. He was a teacher in labor law and social security.
 * Diego de Argumosa: Surgeon. The first to use ether as an anesthesia in Spain in 1847.
 * Rodrigo de Balbín Behrmann: A pre-historian specializing in Spanish and Megalithic Paleolithic art. Current professor at University of Alcalá.
 * Juan José Bautista Martín (Juan y Medio): An entrepreneur, comedian, presenter, actor, psychologist and Spanish lawyer. Studied Bachelor of Law at the University of Alcalá.
 * Vicente Blanco Gaspar, ambassador of Spain.
 * Pedro Calderón de la Barca: Studied logic and rhetoric at University of Alcalá.
 * Juan Caramuel Lobkowitz: He was a philosopher, mathematician, logician and linguist Spanish Cistercian monk. He studied humanities and philosophy at the University of Alcalá.
 * Jaime Castro Castro: Lawyer, writer, politician and statesman in Colombia. Studied at University of Alcalá.
 * Francisco Javier Ceballos Sierra: is a writer and Professor in the area of Architecture and Computer Technology at the University of Alcalá. He is known for his books on programming languages C / C + C, C #, Java, Visual Basic.
 * Francisco Comín Comín: Professor of History and Economics Institution at UAH. National Prize of History. Doctor of Economics.
 * José Antonio Conde: Orientalist and historian. Educated at the University of Alcalá.
 * Francisco Díaz de Alcalá: Studied medicine and became a professor at University of Alcalá. Author of the first case of urology.
 * Fernando Esteve Chueca: Botanic Professor at UAH.
 * Alonso García Matamoros: Rhetoric professor at University of Alcalá for 22 years.
 * Luis García-San Miguel Rodríguez-Arango: Professor emeritus at the University of Alcalá. Professor of Philosophy of Law, he was a researcher and author of numerous publications.
 * Juan Ginés de Sepúlveda: Humanist, philosopher and theologian. Studied at University of Alcalá Arts and Theology.
 * Paúl Granda López: Mayor of the City of Cuenca (Ecuador). Studied at the University of Alcalá.
 * Juan Huarte de San Juan: Physician and psychologist. Received his doctorate in medicine in Alcalá de Henares.
 * Manuel Jesús Lagares Calvo: Economist, State Treasury Inspector and Honorary Professor at University of Alcalá.
 * Friar Luis de León: Student of Hebrew and Biblical interpretation at the University of Alcalá de Henares.
 * Jon Juaristi Linacero: Poet, novelist, essayist, and Basque to Castilian translator. He is a Professor of Spanish Literature at the University of Alcalá.
 * Melchor de Liñán y Cisneros: Studied Arts and Theology. Cisneros chose him to teach theology for 20 years.
 * María Blanca de Lizaur Guerra: Works as a researcher specializing in cultural studies, communication, literature and as a writer. Holds a Ph.D. in philology from the University of Alcalá.
 * Ignatius of Loyola: Studied theology and Latin in the University of Alcalá.
 * Tomás Mancha Navarro: Spanish economist and Professor of Applied Economy at UAH since 1992. Director of University Institute of Economic and Social Analysis (IAES).
 * Juan de Mariana: Jesuit priest, Scholastic, historian, and member of the Monarchomachs. Studied Arts and Theology at the University of Alcalá.
 * Ignacio Martínez Mendizábal: Spanish paleontologist. He is a Professor of paleontology in the Geology department at University of Alcalá.
 * Gaspar Melchor de Jovellanos: Author, philosopher and statesman.
 * Francisco de Mendoza y Bobadilla: Studied Latin, Greek and Hebrew at the University of Alcala.
 * Tirso de Molina: Studied at Alcalá de Henares, was a Spanish Baroque dramatist, a poet and a Roman Catholic monk.
 * Arias Montano: orientalist and editor of the Antwerp Polyglot.
 * José Luis Moralejo Álvarez: is a Latin traductor. Since 1991 he has been a professor of Latin Philology at University of Alcalá.
 * Francisco Moreno Fernández: Professor of Spanish language. He was Director of Cervantes Institute in São Paulo and Chicago.
 * Antonio de Nebrija: Professorship of poetry and grammar at University of Alcalá, best known for writing a grammar of the Castilian language.
 * Manuel Peinado Lorca: Biologist and politician. Professor of environmental science since 1988.
 * José Manuel Pedrosa Bartolomé: Philosopher and folklorist. He is a professor at the University of Alcalá.
 * Antonio Pérez: Statesman, secretary of King Philip II of Spain. Attended the most prestigious universities such as Alcalá de Henares.
 * Diego Pérez de Mesa: Cathedral Professor of mathematics in University of Alcalá.
 * Francisco de Quevedo: Poet and politician.
 * Andrés Manuel del Río: Scientist and naturalist. Studied at University of Alcalá de Henares and discovered compounds of vanadium.
 * Francisco Vallés de Covarrubias: "Divino Vallés" Professor of medicine. The first in Alcalá to teach medicine for the body. He is buried in the chapel of Colegio Mayor de San Ildefonso in Alcalá de Henares.
 * Lope de Vega: Playwright and poet.
 * Santo Tomás de Villanueva: Was from the first promotion of the University of Alcalá and the first saint who studied in the UAH. He has a square dedicated to him as a result.
 * Gabriel Tortella Casares: is a Spanish economist and historian, specialist in economic history of the modern age. King Juan Carlos Economics Prize 1994. Is Emeritus Professor of Economic History at the University of Alcalá de Henares.
 * Pedro Ciruelo: Mathematician, theologian, and astrologer.

Facilities and other services
The University of Alcalá is spread across three main sites:

 * The renovated 16th and 17th century buildings located in the city centre of Alcalá de Henares are home to studies in the traditional fields of Humanities, Social Sciences and Law, as well as to the School of Architecture.
 * Health Sciences, specialised experimental sciences, and the new technologies are found in faculties and university schools built from scratch on the campus just outside the city of Alcalá de Henares.
 * Part of its recent process of expansion, the development of the Guadalajara Campus deserves special mention. Here, as well as the long-standing Escuela de Magisterio (primary education teacher-training college) and the Castilla-La Mancha Health Service Nursing College, both attached to the university, may be found the Multi-departmental Building, which is home for Technical Architecture, Business Science, and Tourism.

The University of Alcalá has a network of 14 libraries spread across its three campuses. They offer extended hours year-round and during exam periods they never close.

The university also offers a wide range of sporting activities, including aikido, archery, badminton, fencing, rugby and yoga. There are also courses in snorkelling, horseriding and mountaineering, as well as other popular sports such as football.

The university has a hall for music, dance, theatre or flamenco, as well as the university choir, "La Tuna" (a traditional student music group), and the Film Club.

Architecture
Many buildings on the campus of Texas Tech University in Lubbock, Texas borrow architectural elements from those found at the University of Alcalá.

title: University of Alcalá


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User talk:Rupert Clayton

DYK Nomination Reviewed
Hello, just wanted to give you a heads-up that your DYK nomination at Template:Did you know nominations/Xochiquetzallia has been reviewed. There were just a few really minor fixes to take care of before it is ready for DYK, whenever you're available to check in on those is perfect. Let me know if you've got any questions! Fritzmann (message me) 18:43, 11 February 2022 (UTC)

DYK for Xochiquetzallia
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title: User talk:Rupert Clayton


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The Inner Light (song)

"The Inner Light" is a song by the English rock band the Beatles, written by George Harrison. It was released on a non-album single in March 1968, as the B-side to "Lady Madonna". The song was the first Harrison composition to be issued on a Beatles single and reflects the band's embrace of Transcendental Meditation, which they were studying in India under Maharishi Mahesh Yogi at the time of the single's release. After "Love You To" and "Within You Without You", it was the last of Harrison's three songs from the Beatles era that demonstrate an overt Indian classical influence and are styled as Indian pieces. The lyrics are a rendering of chapter 47 from the Taoist Tao Te Ching, which he set to music on the recommendation of Juan Mascaró, a Sanskrit scholar who had translated the passage in his 1958 book Lamps of Fire.

Harrison recorded the instrumental track for "The Inner Light" in Bombay in January 1968, during the sessions for his Wonderwall Music soundtrack album. It is the only Beatles studio recording to be made outside Europe and introduced Indian instruments such as sarod, shehnai and pakhavaj to the band's sound. The musicians on the track include Aashish Khan, Hanuman Jadev and Hariprasad Chaurasia. Aside from Harrison's lead vocal, recorded in London, the Beatles' only contribution came in the form of group backing vocals over the song's final line. In the decade following its release, the song became a comparative rarity among the band's recordings; it has subsequently appeared on compilation albums such as Rarities; Past Masters, Volume Two; and Mono Masters. It is the only Beatles song to never appear on any official Beatles album.

"The Inner Light" has received praise from several music critics and musicologists for its melodic qualities and its evocation of the meditation experience. Jeff Lynne and Anoushka Shankar performed the song at the Concert for George tribute in November 2002, a year after Harrison's death. An alternative take of the 1968 instrumental track was released in 2014 on the remastered Wonderwall Music CD. Screenwriter Morgan Gendel named a 1992 episode of the television series Star Trek: The Next Generation as an homage to the song. In 2020, Harrison's Material World Foundation announced The Inner Light Challenge, an initiative to raise funds for the MusiCares COVID-19 Relief Fund, Save the Children and Médecins Sans Frontières in response to the COVID-19 pandemic.

Background and inspiration
In his autobiography, I, Me, Mine, George Harrison recalls that he was inspired to write "The Inner Light" by Juan Mascaró, a Sanskrit scholar at Cambridge University. Mascaró had taken part in a debate, televised on The Frost Programme on 4 October 1967, during which Harrison and John Lennon discussed the merits of Transcendental Meditation with an audience of academics and religious leaders. In a subsequent letter to Harrison, dated 16 November, Mascaró expressed the hope that they might meet again before the Beatles departed for India, where the group were to study meditation with their guru, Maharishi Mahesh Yogi. Mascaró enclosed a copy of his book Lamps of Fire, an anthology of religious writings, including from Lao-Tzu's Tao Te Ching. Having stated his admiration for the spiritual message in Harrison's composition "Within You Without You", Mascaró enquired: "might it not be interesting to put into your music a few words of Tao, for example no. 48, page 66 of Lamps?"

Harrison wrote the song during a period when he had undertaken his first musical project outside the Beatles, composing the soundtrack to the Joe Massot-directed film Wonderwall, and continued to study the Indian sitar, partly under the tutelage of Ravi Shankar. When writing "The Inner Light", he made minimal alterations to the translated Lao-Tzu text and used the same title that Mascaró had used. In I, Me, Mine, Harrison says of the changes required to create his second verse: "In the original poem, the verse says 'Without going out of my door, I can know the ways of heaven.' And so to prevent any misinterpretations – and also to make the song a bit longer – I did repeat that as a second verse but made it: 'Without going out of your door / You can know all things on earth / Without looking out of your window / You can know the ways of heaven' – so that it included everybody."

After "Within You Without You", "The Inner Light" was the second composition to fully reflect Harrison's immersion in Eastern spiritual concepts, particularly meditation, an interest that had spread to his Beatles bandmates and to the group's audience and peers. The lyrics espouse meditation as a means to genuine understanding. Theologian Dale Allison describes the song as a "hymn" to quietism and comments that, in their attempt to "relativize and disparage knowledge of the external world", the words convey Harrison's enduring worldview. Author John Winn notes that Harrison had presaged the message of "The Inner Light" in an August 1967 interview, when he told New York DJ Murray Kaufman: "The more you learn, the more you know that you don't know anything at all." Writing in his study of Harrison's musical career, Ian Inglis similarly identifies a precedent in the song "It's All Too Much", where Harrison sings: "The more I learn, the less I know."

Composition and musical structure
"The Inner Light" was Harrison's third song in the Indian musical genre, after "Love You To" and "Within You Without You". While those earlier songs had followed the Hindustani (North Indian) system of Indian classical music, as sitar- and tabla-based compositions, "The Inner Light" is closer in style to the Carnatic (or South Indian) temple music tradition. Harrison's progression within the genre reflected his concept for the Wonderwall soundtrack – namely, that the assignment allowed him to create an "anthology" of Indian music and present a diverse range of styles and instrumentation.

The composition is structured into three instrumental passages separated by two sections of verse. The buoyant mood of the instrumental sections – set to what author Peter Lavezzoli describes as "a raucous 4/4 rhythm" – contrasts with the gentle, meditative portions containing the verses. The contrast is reflected in the lead instruments that Harrison would use on the recording: whereas sarod and shehnai, supported by pakhavaj, are prominent during the musical passages, the softer-sounding bansuri (bamboo flute) and harmonium accompany the singing over the verses, as the sarod provides a response to each line of the vocal. In the last instrumental section, Harrison incorporates the conclusion of Lao-Tzu's poem, beginning with the line "Arrive without travelling".

The melody conforms to the pitches of Mixolydian mode, or its Indian equivalent, the Khamaj thaat. Musicologist Dominic Pedler writes that the tune features unusual tritone intervals, which, together with the musical arrangement, ensure that the song is far removed from standard "pop tunes". In a further departure from Harrison's previous forays into Indian music, both of which made extensive use of single-chord drone, the melody allows for formal chord changes: over the verses, the dominant E♭ major alternates with F minor, before a move to A♭ over the line "The farther one travels the less one knows".

In the opening words ("Without going out"), the melody uses what Pedler terms a "hauntingly modal" G-B♭-D♭ tritone progression as, within the song's tonic key (of E♭), the 3rd note heads towards the flat 7th. Musicologist Walter Everett likens this ascending arpeggiation of the diminished triad to a melodic feature in "Within You Without You" (over that song's recurring phrase "We were talking"). "The Inner Light" is an example of Harrison creating ambiguity about the tonic key, a technique that Pedler recognises as a characteristic of Harrison's spiritually oriented songwriting.

Bombay
Having used London-based Indian musicians from the Asian Music Circle on "Love You To" and "Within You Without You", Harrison recorded "The Inner Light" in India with some of the country's foremost contemporary classical players. In early January 1968, he travelled to HMV Studios in Bombay to record part of the score for Wonderwall, much of which would appear on his debut solo album, Wonderwall Music. The day after completing the soundtrack recordings, on 13 January, Harrison taped additional pieces for possible later use, one of which was the instrumental track for "The Inner Light". Five takes of the song were recorded on a two-track recorder.

The musicians at the sessions were recruited by Shambhu Das, who had assisted in Harrison's sitar tuition on his previous visit to Bombay, in 1966, and Vijay Dubey, the head of A&R for HMV Records in India. According to Lavezzoli and Beatles biographer Kenneth Womack, the line-up on the track was Aashish Khan (sarod), Mahapurush Misra (pakhavaj), Hanuman Jadev (shehnai), Hariprasad Chaurasia (bansuri) and Rijram Desad (harmonium). In Lavezzoli's view, although these instruments are more commonly associated with the Hindustani discipline, the performers play them in a South Indian style, which adds to the Carnatic identity of the song. He highlights the manner in which the sarod, traditionally a lead instrument in North India, is played by Khan: staccato-style in the upper register, creating a sound more typical of acoustic guitar. Similarly, the pakhavaj is performed in the style of a South Indian tavil barrel drum, and the sound of the double-reed shehnai is closer to that of its Southern equivalent, the nagaswaram. The recording includes tabla tarang over the quiet, vocal interludes.

Author Simon Leng refutes the presence of the oboe-like shehnai, however, saying that this part was played on an esraj, a bow-played string instrument. Citing Khan's recollection that he only worked with Harrison in London, Leng also says that the sarod was added to the track later. Rather than esraj, which Leng gives for "The Inner Light" and for Wonderwall tracks such as "Crying", Harrison used the bow-played tar shehnai during the Bombay sessions, played by Vinayak Vora. As with the Wonderwall selections recorded at HMV, Harrison directed the musicians but did not perform on the instrumental track.

London
Harrison completed the song in London during sessions for a new Beatles single, which was intended to cover their absence while the group were in Rishikesh, India, with the Maharishi. Once the Bombay recording had been transferred to four-track tape, Harrison recorded his vocal part for "The Inner Light" on 6 February, at EMI Studios (now Abbey Road Studios). Lacking confidence in his ability to sing in so high a register, he had to be coaxed by Lennon and Paul McCartney into delivering the requisite performance. Two days later, McCartney and Lennon overdubbed backing vocals at the very end of the song, over the words "Do all without doing".

"The Inner Light" was held in high regard by Harrison's bandmates, particularly McCartney, and was selected as the B-side for the forthcoming single. It was the first Harrison composition to appear on a Beatles single, in addition to being the only Beatles studio recording made outside Europe. Everett writes that Lennon's admiration for the track was evident from his subsequent creation of the song "Julia" through "a very parallel process" – in that instance, by adapting a work by Kahlil Gibran. Although Harrison had served as the producer at the Bombay session, only George Martin received a production credit for "The Inner Light".

Release
The song was issued as the B-side of "Lady Madonna" on 15 March 1968 in the UK, with the US release following three days later. While Chris Welch of Melody Maker expressed doubts about the hit potential of the A-side, Billboard magazine commented on the aptness of "The Inner Light", given the band's concurrent "meditation spell". Cash Box's reviewer wrote: "Lyrics from the transcendental meditation school and near-Eastern orchestrations on a very interesting coupler that could show sales as strong as ['Lady Madonna']." In America, the song charted independently on the Billboard Hot 100 for one week, placing at number 96. In Australia, it was listed with "Lady Madonna", as a double A-side, when the single topped the Go-Set national chart.

In the description of author and critic David Quantick, whereas "Lady Madonna" represented a departure from the Beatles' psychedelic productions of the previous year, "The Inner Light" was an "accurate indication" of the group's mindset in Rishikesh. Paul Saltzman, a Canadian film-maker who had been inspired by the Beatles' adoption of Indian musical and philosophical themes, joined the band at the Maharishi's ashram and recalls hearing the song there for the first time. He said he found Harrison's perspective on meditation profoundly moving, particularly when Harrison told him that, while the Beatles had achieved wealth and fame in abundance, "It isn't love. It isn't health. It isn't peace inside, is it?"

The Beatles' 1968 visit to Rishikesh resulted in a surge of interest in Indian culture and spirituality among Western youth, but it also marked the end of the band's overtly Indian phase. From June that year, Harrison abandoned his efforts to master the sitar and returned to the guitar as his principal instrument. In an interview in September, Harrison discussed his renewed interest in rock music and described "The Inner Light" as "one of my precious things".

Critical reception
Author Nicholas Schaffner wrote in 1977 that "The Inner Light" "proved to be the best – and last" example of Harrison directly incorporating Indian music into the Beatles' work. Schaffner paired it with "Within You Without You" as raga rock songs that "feature haunting, exquisitely lovely melodies", and as two pieces that could have been among Harrison's "greatest achievements" had they been made with his bandmates' participation. Bruce Eder of AllMusic describes the same tracks as "a pair of beautiful songs … that were effectively solo recordings". Ian MacDonald likens the song's "studied innocence and exotic sweetness" to recordings by the Incredible String Band and concludes: "'The Inner Light' is both spirited and charming – one of its author's most attractive pieces."

Writing for Mojo magazine in 2003, John Harris similarly admired it as Harrison's "loveliest addition of Indian music to The Beatles' repertoire". In Ian Inglis' view: "it is the extraordinary synthesis of separate musical and lyrical traditions (in this case, Indian instrumentation, Chinese philosophy, and Western popular music) that distinguishes the song. Harrison's uncharacteristically warm vocal weaves in and around the delicate, almost fragile, melody to deliver a simple testimony to the power of meditation ..." With regard to the song's influence, Inglis recognises Harrison's espousal of Eastern spirituality as "a serious and important development that reflected popular music's increasing maturity", and a statement that prepared rock audiences for later religious pronouncements by Pete Townshend, Carlos Santana, John McLaughlin, Cat Stevens and Bob Dylan.

Nick DeRiso of the music website Something Else! considers "The Inner Light" to be one of its composer's "most successful marriages of raga and rock" and, through Harrison's introduction of instruments such as sarod, shehnai and pakhavaj, a key recording in the evolution of the 1980s world music genre. While admiring the song's transcendent qualities, Everett quotes the ethnomusicologist David Reck, who wrote in 1988: "Most memorable is the sheer simplicity and straightforwardness of the haunting modal melody, somehow capturing perfectly the mood and truth and aphoristic essence of the lyrics."

Later releases
A stereo mix of "The Inner Light" was created at Abbey Road on 27 January 1970 for what Beatles recording historian Mark Lewisohn terms "some indefinable future use". On this later mix, the opening instrumental section differs slightly from that on the original, mono version.

Following its initial release in 1968, "The Inner Light" became one of the rarest Beatles recordings. Although it appeared on Por Siempre Beatles, a 1971 Spanish compilation album, the song was not available on a British or American album until its inclusion on Rarities, which was originally issued as a disc in the 1978 box set The Beatles Collection before receiving an independent UK release. The 1980 US compilation titled Rarities also featured "The Inner Light", again in its mono form. The stereo mix was first released as the opening track on a bonus EP, titled The Beatles, issued in the UK in December 1981 as part of The Beatles EP Collection. The song was issued on CD in 1988, in stereo, on Past Masters, Volume Two. The mono mix was subsequently included on the Beatles' Mono Masters compilation.

For the Beatles' 2006 remix album Love, created for the Cirque du Soleil stage show, the song was segued onto the end of "Here Comes the Sun". This mashup begins with Harrison singing "Here Comes the Sun" over the tabla part from "Within You, Without You" and ends with Indian instrumentation from "The Inner Light".

In 2014, an alternative instrumental take of the song was issued as a bonus track on Harrison's Wonderwall Music remastered CD. The recording begins with a short studio discussion, as Harrison instructs the Bombay musicians.

Cover versions and popular culture
Having covered "Within You Without You" in 1967, the Soulful Strings included "The Inner Light" on their album Another Exposure the following year. Junior Parker recorded the song, releasing a version on his 1971 album with Jimmy McGriff, The Dudes Doin' Business. Later in the 1970s, the song's title was appropriated for one of the first international Beatles fanzines.

Concert for George performance
Jeff Lynne, who worked frequently with Harrison after the Beatles' break-up, sang "The Inner Light" at the Concert for George tribute, held at London's Royal Albert Hall on 29 November 2002, a year after the former Beatle's death. In what Simon Leng describes as "a wonderfully eloquent duet", Lynne performed the song with Anoushka Shankar, who played the original sarod part on sitar. Lynne and Shankar were accompanied by Harrison's son Dhani (on keyboards and backing vocals) and an ensemble of Indian musicians that included percussionist Tanmoy Bose (on dholak), Rajendra Prasanna (shehnai) and Sunil Gupta (flute).

The song appeared partway through the concert's opening, Indian music segment, which was performed by Shankar and otherwise composed by her father, Ravi Shankar, who had continued to be Harrison's friend and mentor until his death. Inglis comments that, in its context at the Concert for George, "['The Inner Light'] does not appear at all out of place among the Indian folk and classical compositions that surround it." Reviewing the Concert for George film for The Guardian, James Griffiths admired Lynne's reading of the song as a "particularly sublime version".

Star Trek: The Next Generation episode
In June 1992, the American television series Star Trek: The Next Generation aired an episode titled "The Inner Light", which went on to win the Hugo Award for Best Dramatic Presentation. The plot centres on the show's main character, Captain Jean-Luc Picard, temporarily living in a dream-like state on an unfamiliar planet, during which decades elapse relative to a few minutes in reality. An avowed fan of the Beatles, screenwriter Morgan Gendel titled the episode after Harrison's song.

In an email to the Star Trek blog site Soul of Star Trek, Nick Sagan, another of the show's screenwriters, suggested that the song's lyrics express the "ability to experience many things without actually going anywhere – and that's what happens to Picard". In his subsequent post on the same site, Gendel confirmed this similarity, saying that the Beatles track "captured the theme of the show: that Picard experienced a lifetime of memories all in his head". When discussing the episode on the official Star Trek website in 2013, Gendel concluded: "If you Google 'Inner Light + song' you’ll get the Beatles tune and an acknowledgment of my TNG homage to it back-to-back … that might be the best gift my authorship of this episode has given me."

The Inner Light Challenge 2020
In 2020, Harrison's Material World Foundation announced The Inner Light Challenge, an initiative to raise funds for the MusiCares COVID-19 Relief Fund, Save the Children and Médecins Sans Frontières in response to the COVID-19 pandemic. The Foundation pledged to donate up to $100,000 for each Inner Light' moment" shared on social media, whether a portion or a single line from the song.

Dhani Harrison posted a performance of "The Inner Light" on Facebook, while Harrison's widow, Olivia, said of the song: "These lyrics sung by George are a positive reminder to all of us who are isolating, in quarantine or respecting the request to shelter in place. Let's get and stay connected at this difficult time. There are things we can do to help and we invite you to share your Inner Light."

Personnel
According to Peter Lavezzoli and Kenneth Womack, except where noted:

The Beatles
 * George Harrison – lead vocals, direction
 * John Lennon – harmony vocals
 * Paul McCartney – harmony vocals

Additional musicians
 * Aashish Khan – sarod
 * Hanuman Jadev – shehnai
 * Hariprasad Chaurasia – bansuri
 * Mahapurush Misra – pakhavaj
 * Rijram Desad – harmonium
 * uncredited – tabla tarang

title: The Inner Light (song)


text:
Strömsholm Canal

The Strömsholm Canal (Strömsholms kanal) runs from Smedjebacken to Lake Mälaren near Strömsholm. It is 62 mi long with 26 locks, and consists of a string of lakes connected by short manmade cuts.

The canal took 18 years to build, between 1772 and 1795, to plans laid out by Johan Ullström. The main reason for it was the transport of iron produced by the many steelworks sited along the length of the waterway. The opening of the Stockholm Wästerås-Bergslagen railway marked the beginning of its decline and today the restored canal is only used by pleasure craft.

title: Strömsholm Canal


text:
Old Brown Shoe

"Old Brown Shoe" is a song by the English rock band the Beatles. Written by George Harrison, the group's lead guitarist, it was released on a non-album single in May 1969, as the B-side to "The Ballad of John and Yoko". The song was subsequently included on the band's compilation albums Hey Jude, 1967–1970 and Past Masters, Volume Two. Although "Old Brown Shoe" remains a relatively obscure song in the band's catalogue, several music critics view it as one of Harrison's best compositions from the Beatles era and especially admire his guitar solo on the track.

The lyrics to "Old Brown Shoe" address the concept of duality while its rhythm is partly in the ska style. The Beatles rehearsed the song during the sessions for their Let It Be album in January 1969. Harrison subsequently taped a solo demo of the song, along with two other compositions that the band had overlooked: "Something" and "All Things Must Pass". The group formally recorded "Old Brown Shoe" in April, during the early sessions for Abbey Road.

The 1969 demo was released on the Beatles' Anthology 3 compilation in 1996. A concert version by Harrison was included on his 1992 album Live in Japan. Gary Brooker performed the song at the Concert for George tribute in November 2002, held at London's Royal Albert Hall a year after Harrison's death.

Background and inspiration
George Harrison wrote "Old Brown Shoe" in January 1969 on a piano rather than guitar, his main instrument. The song's rhythm suggests the influence of ska. In his 1980 autobiography, I, Me, Mine, Harrison says that the lyrical content started as a study in opposites and addresses "the duality of things". This idea was also prevalent in the Beatles' 1967 single "Hello, Goodbye", which Paul McCartney had written as an exercise in word association. For Harrison, the concept of duality also appealed on a philosophical level, consistent with his interest in Eastern religion. Neil Aspinall, the Beatles' assistant, later recalled Harrison employing the metaphysical theme of opposites to disperse some Hells Angels who had taken up residence in the Beatles' Apple headquarters over Christmas 1968 and refused to leave. According to theologian Dale Allison, "Old Brown Shoe" is a further reflection of Harrison's interest in "dualities and contradictions", but stated in terms that avoid the religiosity evident in much of his songwriting.

Before returning to England for Christmas, Harrison spent time with Bob Dylan and the Band in upstate New York. The visit allowed Harrison to experience a musical camaraderie that had been absent in the Beatles over much of 1968, and inspired him as he emerged as a prolific songwriter. Author and critic Ian MacDonald identifies the "hood-eyed spirit" of Dylan in the song's "dusty shuffle-beat" and ironic lyrics, while recognising the "surprising and graphic" chord progression as typical of Harrison's work. Author Alan Clayson also detects a Dylan influence in the rhythm, which he calls a "'Highway 61 Revisited' chug".

Composition
"Old Brown Shoe" is in the key of C major, although its chords also suggest the latter's relative minor key, A minor. The time signature is 4/4 throughout. Following a four-bar introduction, the song's structure comprises two verses, a bridge, an instrumental verse, followed by a second bridge, a final verse and the outro.

The verse employs blues-inflected C7 and D7 chords (or I7 and II7 chords in Roman numeral analysis) before an increase in harmonic movement is marked by changes to F, A♭, F, E augmented and A minor. The verses avoid the expected plagal cadence by resolving with the relative minor chord rather than I7. In achieving this via the augmented chord, a C note resonates through the final changes, a device that musicologist Dominic Pedler cites among the Beatles' most effective uses of augmented chords. The bridge is structured in familiar 1960s rock fashion with its reliance on V and IV (G and F) chords. The section again resolves unusually, however; rather than using the expected D7 chord before exiting with a return to G, a disguised imperfect cadence is achieved through a dissonant iv♯ diminished chord (F♯dim7) before the final V chord. Among other musicologists' assessments, Walter Everett considers that the composition's "A/C duality" fits well with Harrison's lyrical theme, while Alan Pollack highlights the flat VI (A♭) chord in the verse and the frequent bluesy flat 3rd and 7th notes alongside the I7 chords.

Music critic Tim Riley says the lyrics represent "a witty and oblique look at love, delivered with sardonic flair", as typified by the opening verse: "I want a love that's right / Right is only half of what's wrong / I want a short-haired girl / Who sometimes wears it twice as long". He views the reference to "wear[ing] rings on every finger" as a nod to Ringo Starr. The song's title is referred to only as an item that the singer declares he is "stepping out" of. According to music journalist Graham Reid, "Old Brown Shoe" reflects Harrison's growing confidence as a songwriter. He interprets the message as the guitarist "straining against the constraints of the Beatles ('the zoo'?)" during a period when, as the lyrics state, he himself was "changing faster than the weather".

Let It Be rehearsals and Harrison demo
The Beatles rehearsed "Old Brown Shoe" several times over three days, beginning on 27 January 1969, during the Let It Be sessions at Apple Studio in London. Harrison still played piano on the song and the lyrics were complete. The run-throughs on 28 January included contributions from guest keyboardist Billy Preston, who supplied fills on Hammond organ. The tapes from that day show John Lennon struggling with the guitar part; in Everett's description, his playing suggests he was "stymied or disinterested". At this point, Starr had devised a drum pattern on the off-beat. The band gave considerable time to the song but chose not to record it for the album.

Harrison made a solo demo of the song at EMI Studios (subsequently Abbey Road Studios), featuring piano and vocal, and two overdubbed electric guitar parts. The session took place on 25 February, his 26th birthday, and also included solo recordings of "Something" and "All Things Must Pass", which were similarly overlooked for inclusion on Let It Be. Harrison played these versions of "Old Brown Shoe" and "Something" to Joe Cocker, who accepted Harrison's offer to record the latter song. Author Simon Leng describes "Old Brown Shoe" as "the most complete in conception" of the three demos, with an arrangement that contains several of the main elements present in the Beatles' subsequent recording. The demos were released on the band's 1996 outtakes compilation Anthology 3.

Official band version
The Beatles revisited "Old Brown Shoe" when they were in need of a B-side for their next single, "The Ballad of John and Yoko", Lennon's account of his and Yoko Ono's recent wedding and honeymoon. The song's recording took place on 16 and 18 April 1969, during the early sessions for the band's Abbey Road album. The 16 April session was the first at EMI Studios for the full group since October the previous year, when they completed recording for their self-titled double album (also known as the "White Album"), and was given over entirely to songs written by Harrison. The line-up on the basic track was Harrison on lead guitar, Lennon on rhythm guitar, McCartney on tack piano, and Starr on drums. Four takes were needed to achieve a satisfactory performance. Beatles historian Mark Lewisohn comments on the band's tight ensemble playing, evident from the studio tapes, and how focused each musician sounds in his contribution.

Clayson recognises the "undercurrent of bottleneck" in Harrison's main guitar riff as anticipating his slide guitar style, a technique he first embraced in December 1969 while on tour with Delaney & Bonnie and Friends. The unusual bass sound over the song's bridges was achieved by tracking the bass with the lead guitar, replicating the bass line that Harrison had played on his demo. Everett states that it was McCartney's Fender Jazz Bass doubled with Harrison's Telecaster, both playing chromatically moving arpeggiations in a similar manner to the bridge guitars in "And Your Bird Can Sing". In a 1987 interview for Creem magazine, however, Harrison recalled that he was the bass guitarist on the track, rather than McCartney. When the interviewer, J. Kordosh, suggested that the bass part "sounds like McCartney was going nuts again", Harrison replied: "That was me going nuts. I’m doing [on the bass] exactly what I do on the guitar."

Harrison recorded his lead vocal in a corner of the studio, to capture a natural reverberation from the room. The backing vocals were sung by Lennon and McCartney. Also present during the vocal overdubs were the Aerovons, an American band who had based their sound and image on the Beatles, and had come to London to record at EMI. Tom Hartman, the Aerovons' singer and guitarist, recalled that the Beatles attempted the line "Who knows, baby, you may comfort me" countless times, trying to perfect their performance. According to author Elliot Huntley, after Lennon had made derogatory remarks about Harrison's songwriting in January, he now sounded "audibly excited" by "Old Brown Shoe" in his "enthusiastic and energetic backing vocals" on the song. The Beatles devoted the rest of the session to taping a basic track for "Something", although it was later discarded as the band chose to record a new version the following month.

Harrison completed the "Old Brown Shoe" recording alone on 18 April. He first overdubbed a guitar solo that Everett describes as "stinging" and "highly Claptonesque", played on a Telecaster with the sound coloured through a Leslie speaker and given automatic double tracking (ADT) treatment and "sent wild to both channels". Harrison then added a Hammond organ part, replacing Lennon's rhythm guitar contribution from the previous session. Although Chris Thomas supervised the 18 April overdubbing session, George Martin was credited as the song's sole producer.

Release
In a 1980 interview, Lennon said that he was responsible for the choice of "Old Brown Shoe" as the B-side of "The Ballad of John and Yoko". The single was released in the United Kingdom (as Apple R 5786) on 30 May 1969 and in the United States (as Apple 2531) on 4 June. It marked the second time that a Harrison composition had been included on a Beatles single in the UK or the US, following "The Inner Light" in March 1968, although his song "While My Guitar Gently Weeps" had also been the B-side of "Ob-La-Di, Ob-La-Da", a single culled from the White Album and issued in most countries other than the UK and the US. In the UK, the song increased the public's recognition of Harrison as a songwriter, after "Badge", which he co-wrote with Eric Clapton, had been a hit single for Cream that spring and established him as a composer outside the Beatles.

In the US, Apple Records issued the record in a picture sleeve featuring shots of the four Beatles and Ono in the garden of McCartney's London home. On the reverse side of the sleeve, the photo included a dark brown shoe placed in a bush in front of the five figures. In the opinion of author Bruce Spizer, this shot, taken by Linda McCartney, shows Harrison, McCartney and Starr in better humour than in the shot used on the front of the sleeve, where the three bandmates appear uncomfortable with having to pose behind Ono and Lennon.

While the A-side's chart performance in the US was hindered by a radio ban, due to the song's allegedly blasphemous lyrics, "Old Brown Shoe" failed to place on any of the three charts there. It was listed with "The Ballad of John and Yoko", as a double A-side, when the single topped Australia's Go-Set National Top 40.

"Old Brown Shoe" was the last Beatles song from the group's official hard rock to be included on an album, issued on an LP for the first time in February 1970 when it was included on the North American release Hey Jude. The first global album to include "Old Brown Shoe" was the 1973 compilation 1967–1970. Following the standardisation of the Beatles' catalogue for compact disc in 1987, the first CD version was issued in 1988 on the Past Masters, Volume Two compilation.

Critical reception and legacy
Ian MacDonald admires "Old Brown Shoe" as one of its author's "most forceful pieces" and "an archetypal B-side from an era when B-sides were worth flipping a single for". Walter Everett says the voice leading and harmony on "Old Brown Shoe" are "far more subtle and interesting" than such qualities in "The Ballad of John and Yoko", and views its dualistic theme as "more interesting" than McCartney's lyrics in "Hello, Goodbye". Tim Riley deems the song "at least as good a rocker as 'Savoy Truffle'" and, like "The Inner Light", an example of the Beatles continuing their tradition of offering high-quality and musically diverse B-sides. He describes Harrison's guitar solo as "daring" and a performance that "rises and falls with astonishing fluidity and control".

Despite its inclusion on some of their compilation albums, "Old Brown Shoe" has remained a comparative rarity in the band's catalogue. Writing for Rolling Stone in 2002, Greg Kot described it as "dark, droll, rollicking" and arguably Harrison's "most underrated Beatles composition". In his overview of Harrison's career for Goldmine that same year, Dave Thompson said that "Old Brown Shoe" was one of five Harrison-written songs that "rank among the finest Beatles compositions of the group's final years". Conversely, Richie Unterberger of AllMusic deems it "one of the less memorable late-'60s Beatles outings", citing its obscure lyrics and lack of a catchy riff in the usual Beatles style, although he finds this last quality partly redeemed in the bass playing and guitar solo.

Simon Leng cites the track's appearance as a B-side to the Lennon–McCartney composition as indicative of Harrison's predicament during the last year of the Beatles' career, since: "In any other band, this upbeat boogie that matched lyrical sophistication with another outstanding guitar break would have taken precedence over the rough, self-serving travelogue that was 'The Ballad of John and Yoko'. Harrison's song works on any level, in any context, while the Lennon piece could only have relevance within the Beatles' self-referential sphere ... This kind of glaring anomaly forced George Harrison out of the Beatles."

Writing for Rough Guides, Chris Ingham recognises "Old Brown Shoe" as "perhaps the densest, sharpest Harrison song to make it onto a Beatles record". In his review of Anthology 3 for Mojo in 1996, Ingham admired Harrison's "focussed demo work", adding: "Fighting harder for album space consideration [than Lennon and McCartney], the spirit on his demos throughout this period is wonderful, the songs shining vividly through. The stripped-down, beautifully sung 'Old Brown Shoe', 'Something' and 'All Things Must Pass' ... nearly steal the show with their simplicity and confidence. The sound of a man quietly getting into his stride."

Joe Bosso of MusicRadar includes "Old Brown Shoe" among Harrison's "10 Greatest Beatles Songs", describing it as "An infectious, lively track that tumbles out of the gate (check out Ringo's raucous drumming) and gallops off." He also highlights Harrison's "blazing guitar solo" and says that, with his guitar, bass and organ contributions, the recording is "practically all-George". The editors of Guitar World rank "Old Brown Shoe" at number 28 in their list of "The Beatles' 50 Greatest Guitar Moments". They describe the solo as "stinging" in the style of Clapton and rate the track among Harrison's best songs, yet one that was "dishonorably relegated" to the B-side of "The Ballad of John and Yoko".

Live version and posthumous tributes
Harrison performed "Old Brown Shoe" throughout his 1991 Japanese tour with Eric Clapton, Harrison's only tour as a solo artist other than his 1974 North American tour. Typically of his approach during the Japanese concerts, the song's arrangement was little changed from the Beatles' recording. A live version was included on Harrison's 1992 album Live in Japan. He also played the song at his only full-length concert in the UK – a benefit for the Natural Law Party held at the Royal Albert Hall in London on 6 April 1992.

Gary Brooker performed "Old Brown Shoe" at the Concert for George, backed by a large band that included Clapton and Preston. The concert took place at the Royal Albert Hall in November 2002, a year after Harrison's death. Brooker, whose former band the Paramounts supported the Beatles on their December 1965 UK tour, recalled having difficulty mastering the vocal line. Despite being known as a powerful singer, Brooker said: "It's a very difficult song to sing; it's totally George Harrison, and you have to become a different person to be able to sing it. It took me a long, long time to learn it and I still couldn't sing it like George."

Leslie West contributed a recording to the 2003 album Songs from the Material World: A Tribute to George Harrison. At the George Fest tribute concert in 2014, the song was performed by Conan O'Brien.

Personnel
According to Mark Lewisohn, Ian MacDonald and John Winn (except where noted):

 * George Harrison – vocals, electric guitars, Hammond organ, bass guitar
 * John Lennon – backing vocals
 * Paul McCartney – backing vocals, tack piano
 * Ringo Starr – drums

However, according to the book included in the Abbey Road 50th Anniversary Super Deluxe release, which includes take 2 of the song, Starr was away filming The Magic Christian when the song was recorded. The line-up given in the book for take 2 is as follows:

 * George Harrison – lead vocals, guitars, organ
 * John Lennon – piano, backing vocals
 * Paul McCartney – drums, bass, backing vocals

title: Old Brown Shoe


text:
I'll Get You

"I'll Get You" is a song by the English rock band the Beatles, written by John Lennon and Paul McCartney, and released by the Beatles as the B-side of their 1963 single "She Loves You". The song was initially titled "Get You in the End".

Structure
Typical of the Beatles' vocal style of that period, John Lennon and Paul McCartney sing in unison for the majority of the track, allowing the few occasions when they do harmonise to stand out. However, unlike most Beatles songs of the time, there was no lead guitar break; the lead guitar was virtually reduced to a second rhythm guitar. The most prominent instruments in the track are McCartney's "plumply rounded bass" and Lennon's harmonica, which was overdubbed in a rush as session time ran out.

McCartney credits the song as a 50 / 50 collaboration. He recalls using Lennon's Menlove Avenue home as the writing base for the song. That was rare because Lennon's Aunt Mimi, whom Lennon still lived with at the time, disapproved of the Beatles.

The song's opening line, "Imagine I'm in love with you," was innovative, drawing the listener immediately into the story. McCartney would cite it as an early example of Lewis Carroll's influence on Lennon's lyrics—a ploy explored again in later compositions such as "Lucy in the Sky with Diamonds", "Strawberry Fields Forever" and Lennon's solo "Imagine". Reiterating its A-side's catchphrase ("Yeah"), and assuming the heavy scouse accents conspicuous on their early records, Lennon and McCartney "drawl their way through a mock-naïve love lyric". McCartney later singled out the chord change underneath "It's not like me to pretend" as unusual (moving from a D major to A minor), and crediting the Joan Baez rendition of the folk song "All My Trials" as inspiration. "I [also] liked that slightly faggy way we sang: 'Oh yeah, oh yeah', which was very distinctive, very Beatley." Looking back in 1967, Lennon said: "Ever heard anyone from Liverpool singing 'yes'? It’s yeah!".

Release
The song was initially released as the B-side of She Loves You on two occasions, first on August 28, 1963, in the United Kingdom, and then on September 16 in the United States. It was also released in the US only on 21 May 1964 as the B-side of "Sie liebt dich", a German language recording of the previous A-side. Both were released on the Swan Records label in the United States—the only Beatles releases on that label (the British release was on Parlophone).

The song was also released in the US on 10 April 1964 on the Capitol Records album The Beatles' Second Album. It was not released on album in the UK until the Rarities release as part of the set The Beatles Collection. A live version of the song, recorded at the London Palladium on 13 October 1963, is included on Anthology 1. A version was also recorded at the BBC Paris studios in London on 16 July 1963 for airing on programme nine of the "Pop Go The Beatles" radio series and has currently not been made officially available. Another BBC performance, recorded on 7 September 1963, was officially issued in 2013 on On Air – Live at the BBC Volume 2.

The song is available on compact disc in the first volume of the two-disc Past Masters compilation.

Missing master tape
No original master tapes of "I'll Get You" are known to exist. Standard procedure at Abbey Road Studios at the time was to erase the original two-track session tape for singles once they had been "mixed down" to the (usually monaural) master tape used to press records. This was the fate of two Beatles singles (four songs): "Love Me Do"/"P.S. I Love You" and "She Loves You"/"I'll Get You".

Personnel

 * John Lennon – lead vocals, acoustic guitar, harmonica
 * Paul McCartney – lead vocals, bass guitar
 * George Harrison – electric guitar, harmony vocals
 * Ringo Starr – drums
 * Personnel per Ian MacDonald

title: I'll Get You


text:
Karauli

Karauli (also formerly spelled Karoli or Karaulee) is a city located in the Indian state of Rajasthan. It is located in the Braj region and holds religious importance in Hinduism. The city is the administrative center of Karauli District, and was formerly the capital of the erstwhile princely state of Karauli. Karauli District comes under Bharatpur Divisional Commissionerate.

Geography
Karauli is located at 26.5°N, 77.02°W. It has an average elevation of 275 metres (902 ft).

Temples
There are four major temples in Karauli district, hence they are called Char Dham of Karauli:
 * Kaila Devi temple, Kaila devi, Karauli.
 * Shri Radha Madan Mohan Ji Mandir, Karauli.
 * Mehandipur Balaji Temple, Todabhim Karauli.
 * Anjani Mata Temple, Karauli.

Major temples at villages

 * Nande Bhumia Temple, Tulsipura
 * Sona Bhumia temple, Sahajpur
 * Bhaddiye Baba temple, Parita

Ancient history
Karauli was a part of the Matsya Kingdom (1400-300 BCE) Ruled by Meenas, one of the 16 ancient Mahājanapadas.

Earlier, Karauli, along with Alwar, was part of the Matsya kingdom, according to the legend of Mahabharata. The modern princely state Karauli was founded in about 995 by Raja Bijai Pal, who is claimed descent from the Hindu god Krishna. His Highness the Maharaja maintains a military force of 281 cavalry, 1640 infantry, and 56 guns, and is entitled to a salute of 17 guns (as of 1892). The Britishers later occupied it, and they ruled up to 1947. The Maharaja's palace is a handsome block of buildings, some of them dating to the mid-18th century. Karauli State was founded by Maharaja Bijaipal. The dynasty is said to be of Jadaun Rajputs.

A municipality was established at Karauli in 1884.

Shri Mahavirji
Shri Mahavirji is one of the miraculous pilgrimages of Jains. This pilgrimage situated at Hindaun Block in Karauli district. Built at the bank of a river, this pilgrimage is a prominent centre of devotion for Jain devotees. The temple is known for its idol of Lord Mahavira, the principal deity of the pilgrimage temple. Jaipur rulers provided grants for the management of this temple.

Shri Mahavirji is ornamented with many pinnacles. This temple is surrounded by Dharmashalas. The exterior and interior walls of the temple are decorated with carvings and golden paintings. Shantinath Jinalaya is also present near this temple, the main attraction of the temple is an imposing 32 ft high image of Lord Shantinath, the 16th Jain tirthankar.

Kaila Devi Temple
Kaila Devi (Goddess) temple is located on the banks of the Kalisil river in Karauli district. The temple is devoted to the tutelary deity, goddess Kaila, of the erstwhile princely rulers of the Karauli state. It is marble structures with a large courtyard of a checkered floor. In one place are a number of red flags planted by devotees. A fair is held here during the dark half of Chaitra (March–April), which lasts for a fortnight.

In the sanctum sanctorum, there are two idols. The idol of Kaila Devi is slightly reclined as the neck of the goddess is bent. The idols are very old and they are made of the locally available stone. The temple is a fine example of medieval architecture. The shikhar is very high, like a pyramid. The Jagmohan or the prayer hall is also the same. The ornamental work, engraving and encarving have been done on walls and pillars. The temple stands on a rocky elevation.

Demographics
As of 2011 India census, Karauli had a population of 82,960. Males constitute 53% of the population and females 47%. Karauli has an average literacy rate of 53%, lower than the national average of 59.5%. Male literacy is 65%, and female literacy is 41%. In Karauli, 19% of the population is under 6 years of age.

title: Karauli


text:
Crystal Lake South High School

Crystal Lake South High School, often referred to as "South" or "CLS," is one of three high schools in Crystal Lake, Illinois, and currently has a body of roughly 1916 students. As Crystal Lake's second oldest school, it was constructed from 1976 to 1978 and opened in September 1978 after Crystal Lake Community High School, now Crystal Lake Central High School, split into two schools due to the pressures of the population growth in the communities it served, Crystal Lake, a part of Lake in the Hills and a small portion of Algonquin. South graduated its first class in 1979 - this class consisted of approximately 250 seniors who were transferred from Crystal Lake Central High School. South graduated its first class who attended all four years in 1982.

After the community's school split, the South Gators and Central Tigers became rivals in the Fox Valley Conference. Though recently, focus of rivalry has primarily shifted to the Cary-Grove High School Trojans and the Prairie Ridge Wolves due to vastly increased competition in football games between the two schools. However, an underlying tone of competition still vibrates between the two Crystal Lake schools.

The city of Crystal Lake has grown rapidly since South first opened it doors. The school reached its structural capacity in 2002. A new addition opened for the 2003-2004 school year, with several dozen new classrooms. However, due to the phenomenal growth of the city, the addition was already insufficient by the 2005-2006 school year (the graduating class of 2004 consisted of 366 students, class of 2006 had 435 students, and the class of 2009 contained approximately 540 students). The final phase of the 2003-2004 additions was opened in the 2006-2007 school year. The "Lower level" under C-Hall added 10 classrooms and over 100 lockers.

In 2018, the Lower Level was renovated and reopened as a separate school, due to shrinking population in Crystal Lake.

Crystal Lake South High School's mascot is the "Gator". This mascot was chosen in 1976 by a poll of students who would attend South when it first opened. In October 2010, South was asked by the University of Florida to phase out the use of its logo. From this, arose a contest; graduates, current students, and the community got to design and enter logo's to be voted upon for the new one. The new logo was chosen and was used in place of the old one beginning in the 2011-2012 school year. During the summer of 2016, the entrance to the school was rebuilt, and a bronze gator statue was placed outside of the school.

In 2017, the baseball team won the IHSA Class 4A baseball state championship.

Notable alumni

 * Trevor Keegan - Class of 2019 - Offensive guard for the Philadelphia Eagles
 * Paul Lekics - Class of 1991. Retired professional soccer player for the Richmond Kickers and Chicago Fire. Former assistant soccer coach for California State University, Stanislaus
 * Scott Olsen - Class of 2002 - Major League pitcher 2005-2010
 * Randy Salerno - Class of 1981 - Former news anchor for WGN-TV and WBBM-TV in Chicago
 * Jim Verraros - Class of 2001 - Singer/actor of American Idol fame
 * Dennis Gardeck- American football player for the Arizona Cardinals
 * John Larimer - Class of 2003. Navy Petty Officer Third Class and victim of the 2012 Aurora, Colorado shooting
 * Alex LoSchiavo - Two-time Emmy-award winning associate producer.
 * Jon Jorgenson - Class of 2009 - Stage actor, played the role of "Sky" in the Broadway cast of Mamma Mia!
 * Matt Kaulig - Class of 1991 - Owner of LeafFilter and Kaulig Racing in NASCAR. His race team has 23 Xfinity Series wins and 1 NASCAR Cup Series win as of Aug. 19, 2023. He played college football at University of Akron.

Athletic Illinois State Champions

 * 1981 Boys Golf
 * 1990 Pom Squad Novelty Division
 * 2012 Pom Squad 3A Kick Division
 * 2017 Baseball 4A
 * 2019 Boys Soccer
 * 2023 Boys Soccer

title: Crystal Lake South High School


text:
Talk:Automobile Club of Southern California

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William Lafayette Strong

William Lafayette Strong (March 22, 1827 – November 2, 1900) was the 90th Mayor of New York City from 1895 to 1897. He was the last mayor of New York City before the consolidation of the City of Greater New York on January 1, 1898.

Early life
Strong was born on March 22, 1827, near Loudonville, Ohio, in Ashland County. He was the son of Abel Strong, a farmer born in 1792 in Hartford, Connecticut. His mother, Hannah Burdine Strong was born in 1798, and was from Pennsylvania. Strong was the oldest of five children, and despite only a rudimentary rural education, became a clerk in a Wooster dry goods store to help support his family after the death of his father in 1840.

Strong later attended the Vermillion Institute in Hayesville, Ohio.

Career
In 1853, Strong moved to New York City, where he worked at the L.O. Wilson and Company dry goods firm. In the Panic of 1857, the business failed and Strong moved on to work for Farnham, Dale, and Company.

By 1870, he had his own dry goods company, called William L. Strong and Company. It was very successful, opening branches in many cities and eventually making Strong a millionaire. In 1890, Strong became president of the First National Bank.

Strong was also president of the Central National Bank, president of the Homer Lee Bank Note Company, Vice President of the New York Security and Trust Company and director for the Erie Railroad and the Plaza Bank.

Political career
In the 1880s, Strong became active in politics. He ran for U.S. Congress in 1882 but was unsuccessful.

Strong, a Republican, was elected on a Fusion Party ticket by Republican and anti-Tammany Hall Democrats. Strong served as mayor of New York from January 1, 1895, to December 31, 1897, gaining an extra year on his term because of the impending consolidation of New York City, which moved elections to odd-numbered years. He won by a decisive majority of more than 42,000 votes and was joined in victory by John W. Goff, the Republican candidate for city recorder and a new Republican majority for the New York City Board of Aldermen.

Strong's victory was optimistically hailed by the New York press as representative of an epic defeat of Tammany Hall's "fraud, chicane, trickery, double-dealing and contempt for the moral sense of the community" and the new mayor cast as standard-bearer of "a revolution that closes a dark and opens a bright era in the municipal affairs of New York."

The reform-minded Strong established the New York City Board of Education, created small parks, and is credited as the "father" of the city's Department of Correction. The Department of Public Charities and Correction had been split by Governor Levi Morton in 1894 into two departments. Strong appointed former U.S. Civil Service Commissioner Theodore Roosevelt as Police Commissioner. Roosevelt was noted for fighting corruption and making the police department more professional.

Strong's leadership help pass the School Reform Law in 1896. In the late 1890s, New York State legislators passed a law mandating bath houses for cities with more than 50,000 people. Strong agreed with the law's necessity due to sanitation issues caused by overcrowding. The city's bath houses, originally built for cleanliness and bathing, were later used for recreation.

Personal life
In 1866, Strong married Mary Urania Aborn (1843–1921), the daughter of Robert W. Aborn of New Jersey. Together, Mary and William were the parents of two children:

 * Mary Aborn Strong (1868–1935), who married Albert Richardson Shattuck (1854–1924), a wealthy banker from Ohio, in 1889.
 * Putnam Bradlee Strong (1875–1945), who married actress May Yohé, the former wife of Lord Francis Hope (later the Duke of Newcastle).

Strong died in his home on November 2, 1900. After complaining of not feeling well, he retired to his room. During the night, he worsened very quickly, and he died early that morning, leaving behind a wife and two adult children. He was interred at Woodlawn Cemetery in the borough of The Bronx in New York City. His widow died of heart disease at The Mount, their daughter's residence in Lenox, Massachusetts (and the former home of author Edith Wharton), in July 1921.

Legacy
The Fire Department of New York operated a fireboat named William L. Strong from 1898 to 1945.

title: William Lafayette Strong


text:
Talk:Angel's share

This is a very basic article that needs to have more detail, explanation, and perhaps some data tables add. Sweetfreek 00:00, 18 July 2005 (UTC)

Just came acroos some data that with bourbon, about 5 out of 53 gallons of liquid in a barrel evaporate in the first year... followed by either 1.5 gallons or 1.5% each additional year. (source: Thirsty Traveler: Kentucky Bourbon) Sweetfreek 00:09, 18 July 2005 (UTC)

Scottish Angels
With Scotch Whisky barrels, the distillers talk of 2 causes of loss. The first, like above, is based on evaporation. This is mostly determined by the condition of the cask, starting % alcohol and if the warehouse is humid (e.g. above an underground spring). I've heard them estimate average at about 2% loss a year (in both strengh and volume). The loss can be seen by the black growth on the outside of the warehouses which lives on the alcohol vapor (one of the ways the tax men would catch illegal stills).

The second half of the loss may be written off as evaporation, but up until quite recently it was a common perk for the tax man to have an assortment of bottles (in his case, coat or boots) that would quietly become filled during the inspections of the warehouses. This loss has historically been great enough and recent enough that some current distillery managers confide that they aren't quite sure about the real evaporation figures.

Stub?
I would say that this is not very stubby, and that it is an adequate explanation of the topic. Perhaps more examples could be brought in, but I think that this article is close to completion. RSido 21:19, 1 January 2007 (UTC)

title: Talk:Angel's share


text: Wikipedia:Articles for deletion/Log/2005 July 18


text: User talk:207.203.212.2

title: User talk:207.203.212.2


text:
User talk:Herb Garrison

Welcome!

Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my talk page.'''

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Happy editing! ‡  Jarlaxle   00:02, July 18, 2005 (UTC)

title: User talk:Herb Garrison


text:
Philip Dunne (writer)

Philip Ives Dunne (February 11, 1908 – June 2, 1992) was an American screenwriter, film director and producer, who worked prolifically from 1932 until 1965. He spent the majority of his career at 20th Century Fox. He crafted well regarded romantic and historical dramas, usually adapted from another medium. Dunne was a leading Screen Writers Guild organizer and was politically active during the "Hollywood Blacklist" episode of the 1940s–1950s. He is best known for the films How Green Was My Valley (1941), The Ghost and Mrs. Muir (1947), The Robe (1953) and The Agony and the Ecstasy (1965).

Dunne received two Academy Award nominations for screenwriting: How Green Was My Valley (1941) and David and Bathsheba (1951). He also received a Golden Globe nomination for his 1965 screen adaptation of Irving Stone's novel The Agony and the Ecstasy, as well as several peer awards from the Writers Guild of America (WGA), including the Laurel Award for Screenwriting Achievement.

Many notable directors worked with Dunne's screenplays, including Carol Reed, John Ford, Jacques Tourneur, Elia Kazan, Otto Preminger, Joseph L. Mankiewicz, and Michael Curtiz, among others.

Early life
Dunne was born in New York City, the son of Chicago syndicated columnist and humorist Finley Peter Dunne and Margaret Ives Abbott, the first American woman to win an Olympic medal and the daughter of the Chicago Tribune's book reviewer and novelist, Mary Ives Abbott.

Although a Roman Catholic, he attended Middlesex School (1920–1925) and Harvard University (1925–1929). Immediately after graduation, he boarded a train for Hollywood for his health and to seek work.

First screenplays
Dunne was not initially interested in working in the film industry but that was the first place he got a job. Via a recommendation from a friend of his brother he obtained work at Fox as a reader at $35 a week. Also among readers at the time was Leonard Spigelgass. Dunne later recalled: "We got nothing but the worst stuff; all the good books and plays went through the New York readers’ department. We got the pathetic originals written by out-of-work screenwriters. I kept seeing ways that I thought I could improve them. I'd write a synopsis, and I'd make it better. I couldn't help it. It would be an obvious thing that the guy had missed. And when you learn to synopsize a story, you learn to construct it. At the same time, I was moonlighting writing short stories, so all these things came together.'" In 1931, Dunne was fired from Fox after less than a year at the studio in a cost-cutting move. He was briefly under contract at MGM, writing a comedy for them, but was unhappy with his work and resigned after handing in his first draft. This script was subsequently filmed as Student Tour (1934), which Dunne never saw.

Dunne also worked uncredited on Me and My Gal (1932).

Career progress
The first important screenplay of Dunne's career was The Count of Monte Cristo (1934), produced by Edward Small. Dunne was brought on to the project after the novel had been distilled to a treatment by director Rowland V. Lee and Dan Totheroh, and Dunne helped finesse the script into scenes and did the dialogue. Dunne later credited Lee as an important mentor for him.

Small kept Dunne on to work on the script for The Melody Lingers On (1935). He was also credited for Helldorado (1935), the latter at Fox for Jesse Lasky, another early mentor.

He did some minor uncredited work on Under Pressure (1935) and Magnificent Obsession (1935).

Dunne received a lot of acclaim for his adaptation of The Last of the Mohicans (1936) for Small which he wrote with John L. Balderstone. Dunne claimed the script was hurt by later rewrites from another writer, but the script, rather than the original novel, formed the basis of the 1992 film version.

For Universal he wrote Breezing Home (1937) which he later said was the first of what he considered only four original screenplays he would write in his career.

20th Century Fox
After working for various studios, he moved to 20th Century Fox in 1937, where he would remain for 25 years (excepting 4 years civilian war service during World War II), scripting 36 films in total and directing 10. He also produced several of his later films.

His first assignment at Fox was Lancer Spy (1937), with George Sanders. He then did three films in collaboration with Julien Josephson which established him as one of the leading writers at the studio: Suez (1938), Stanley and Livingstone (1939), and The Rains Came (1939).

Alone Dunne wrote Swanee River (1939), and Johnny Apollo (1940) (rewriting Rowland Brown's draft).

He wrote How Green Was My Valley (1941) originally developed with William Wyler then taken over by John Ford. He also wrote Son of Fury: The Story of Benjamin Blake (1942).

World War II
From 1942 to 1945, Dunne was the Chief of Production for the Motion Picture Bureau, U.S. Office of War Information, Overseas Branch. He wrote films such as Salute to France (1943).

Notably, he produced the non-fiction short The Town (1944), directed by Josef von Sternberg, which has received some critical acclaim.

Postwar career
Dunne returned to Fox after the war and quickly re-established himself as one of the studio's leading writers with credits including The Late George Apley (1947), and The Ghost and Mrs. Muir (1947).

He wrote Forever Amber (1947) in collaboration with Ring Lardner Jr and wrote Escape (1948) and The Luck of the Irish (1948). He revised Dudley Nichols' script for Pinky (1949).

In 1949 he and Otto Preminger were working on a film The Far East Story which was never made.

Dunne moved into spectacles with David and Bathsheba (1951), based on the story in the Bible but which Dunne considered his second "original". It was a huge hit. Zanuck put Dunne on Queen of Sheba but it was never made.

He also wrote Anne of the Indies (1951) and Lydia Bailey (1952).

Producer
Dunne turned producer with Way of a Gaucho (1952) which he also wrote. As a writer only he worked on The Robe (1953), the first movie in CinemaScope and a huge success. Dunne had enjoyed writing David and Bathsheba but said working on The Robe was "a chore" which he only did "as a favor to Zanuck".

He was announced for a film The Story of Jezebel which was not made. Dunne wrote the sequel to The Robe, Demetrius and the Gladiators (1954), his third original, which was also a hit.

However another spectacle Dunne wrote (from a draft by Casey Robinson), The Egyptian (1954), was a box-office disappointment. Dunne says he acted as an unofficial producer on this film.

Director
Dunne was assigned to produce Prince of Players (1955) from a script by Moss Hart. When he could not find a director he was happy with, Darryl F. Zanuck suggested Dunne to do the job himself.

Dunne later said "I started directing too late and, no question, at the wrong time. Twentieth Century Fox, the studio system, were falling apart. The boat had sailed."

Dunne wrote, produced and directed The View from Pompey's Head (1955). He wrote and directed Hilda Crane (1956). That was produced by Herbert Swope who also produced Three Brave Men (1957) which Dunne wrote and directed.

He directed and did some writing on In Love and War (1958), a war time drama, featuring many of the studio's young contract players. Edward Anhalt wrote it and Jerry Wald produced.

Dunne wrote and directed two films for producer Charles Brackett: Ten North Frederick (1958) with Gary Cooper, and Blue Denim (1959).

Later films
In 1961, he directed Wild in the Country, starring Elvis Presley, from a screenplay by Clifford Odets and produced by Wald.

In 1962, he directed Lisa, based on the novel The Inspector by Jan de Hartog and featuring Stephen Boyd and Dolores Hart, which was nominated for a Golden Globe for Best Picture – Drama. Dunne did not write it.

Dunne worked on The Agony and the Ecstasy (1965) as a writer only. Although based on a novel by Irving Stone, Dunne later said he considered this an original. "I called it Quirt and Flagg in the Sistine Chapel", he said later.

He wrote and directed Blindfold (1966), at Universal. It was his last feature. He was reportedly working on an adaptation of The Consort a novel by Anthony Hextall Smith, but it was never made.

The 1992 film The Last of the Mohicans, directed by Michael Mann and starring Daniel Day-Lewis, was based on Dunne's 1936 screenplay of the Fenimore Cooper novel.

Other writing
In addition to screenwriting, Dunne wrote syndicated newspaper articles and was a contributor to The New Yorker and The Atlantic Monthly magazines.

He wrote speeches for various Democratic politicians such as Adlai Stevenson.

He also wrote a stage play, Mr. Dooley's America (1976), based on his father's humor, and another, Politics (1980).

His books include Mr Dooley Remembers (1963) and Take Two: A Life in Movies and Politics (1980). His short stories appeared in the New Yorker and his essays were regular features of Time, the Los Angeles Times, and the Harvard Review.

Awards
He was a winner of the Laurel Award (1962) and the Valentine Davies Award (1974).

The week before he died he was awarded a lifetime achievement award by the Writers Guild.

Dunne has a star on the Hollywood Walk of Fame, in front of 6725 Hollywood Boulevard, just west of Las Palmas Ave.

Politics
Dunne was a co-founder of the Screen Writers Guild and served as vice-president of its successor, the Writers Guild of America, from 1938 to 1940. He later served on the Board of Governors of the Academy of Motion Picture Arts and Sciences (AMPAS) from 1946 to 1948.

Before World War II, he was a member of the Committee to Defend America by Aiding the Allies, a group founded in May 1940 that advocated military materiel aid to Britain as the best way to keep the United States out of the war.

Philip Dunne and the Hollywood Blacklist
Dunne was a key participant in the Hollywood Blacklist episode of the 1940s and 1950s. In 1947 he co-founded the Committee for the First Amendment with John Huston and William Wyler in response to hearings held by the House Un-American Activities Committee (HUAC). Dunne, Huston, and Wyler, along with fellow members Humphrey Bogart, Lauren Bacall, Danny Kaye, and Gene Kelly, appeared before HUAC in Washington, D.C. in October 1947, protesting HUAC's activities and methods. Dunne was never subpoenaed or blacklisted himself, nor was he accused of any Communist Party affiliations.

As a writer and director, Dunne frequently worked with others who either were, had been, or would become blacklisted, including Ring Lardner Jr., Clifford Odets, Albert Maltz, and Marsha Hunt. Additionally, Dunne was a character witness for Dalton Trumbo at the latter's trial for contempt of Congress.

The original credits for The Robe (1953) gave Dunne the sole screenplay credit, when in fact Hollywood Ten member Albert Maltz had made significant contributions. In 1997, the WGA restored full writing credits to blacklisted writers whose names were left out of films they worked on. The following is from the WGA's "Blacklisted Writers Receive Credit" press release of April 2, 1997:

"In the case of The Robe there was an extraordinary amount of information gathered to indicate that Maltz was entitled to shared screenplay credit. In addition, Philip Dunne did not believe he deserved sole screenplay credit but it was not until many years later that he learned that a blacklisted writer had worked on the project. Amanda Dunne, Philip's widow, confirms that Philip would have been happy to share screenplay credit with Maltz."

Dunne's political stance was decidedly liberal and reformist, but he was also determinedly anti-Communist. His involvement in the Committee for the First Amendment can arguably be read as just that—support for Constitutional free speech against a government entity (HUAC) that, to Dunne, seemed determined to usurp those rights. At various times dating to before the Second World War, he clashed with fellow members of the Screen Writers Guild who he felt were "pro-Stalin" Communists. Dunne's anti-Communist leanings would seem to be verified by his uninterrupted employment as a screenwriter on major Hollywood productions throughout the blacklist period, despite his quite vocal denunciation of HUAC.

Personal life
Dunne married the former Amanda Duff (1914–2006) on July 13, 1939. They had three children.

Quotes

 * "Never in all my years in this chancy and unstable profession did I ever realize that I was sleepwalking along a precipice. I ignored the fact that the rate of professional mortality among screen writers is extremely high...It wasn't courage or arrogance or insensitivity; I suspect it was the irascible Horatio Alger in my blood. If I had it to do all over again I would perish of sheer fright."
 * "All over town the industrious communist tail wagged the lazy liberal dog."
 * "Had I known it was the Golden Age of Hollywood, I would have enjoyed it more."

Selected filmography

 * The Count of Monte Cristo (1934, screenplay with Rowland V. Lee and Dan Totheroh)
 * Student Tour (1934, screenplay)
 * Helldorado (1935, screenplay)
 * The Melody Lingers On (1936, screenplay)
 * The Last of the Mohicans (1936, screenplay)
 * Breezing Home (1937, screenplay)
 * Lancer Spy (1937, screenplay)
 * Suez (1938, screenplay)
 * Stanley and Livingstone (1939, screenplay with Julien Josephson)
 * The Rains Came (1939, screenplay)
 * Swanee River (1939, screenplay)
 * Johnny Apollo (1940, screenplay with Rowland Brown)
 * How Green Was My Valley (1941, screenplay)
 * Son of Fury (1942, screenplay)
 * The Late George Apley (1947, screenplay)
 * The Ghost and Mrs. Muir (1947, screenplay)
 * Forever Amber (1947, screenplay with Ring Lardner Jr.)
 * Escape (1948, screenplay)
 * The Luck of the Irish (1948, screenplay)
 * Pinky (1949, screenplay with Dudley Nichols)
 * Anne of the Indies (1951, screenplay)
 * David and Bathsheba (1951, screenplay)
 * Lydia Bailey (1952, screenplay)
 * Way of a Gaucho (1952, screenplay, producer)
 * The Robe (1953, screenplay with Albert Maltz)
 * Demetrius and the Gladiators (1954, screenplay)
 * The Egyptian (1954, screenplay with Casey Robinson)
 * Prince of Players (1955, director, producer)
 * The View from Pompey's Head (1955, screenplay, director, producer)
 * Hilda Crane (1956, screenplay, director)
 * Three Brave Men (1956, screenplay and director)
 * Ten North Frederick (1958, screenplay and director)
 * In Love and War (1958, director)
 * Blue Denim (1959, screenplay, director)
 * Wild in the Country (1961, director)
 * Lisa (1962, director)
 * The Agony and the Ecstasy (1965, screenplay with Carol Reed)
 * Blindfold (1966, screenplay and director)

title: Philip Dunne (writer)


text: Talk:The Best and the Rest

title: Talk:The Best and the Rest


text:
Wikipedia:Articles for deletion/Evacipate

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was delete. – ABCD✉ 00:36, 1 August 2005 (UTC)

Evacipate
A neologism from a movie that has no definition other than those "proposed" by the movie's fans. Joyous (talk) 00:03, July 18, 2005 (UTC)
 * Delete nn neologism/dictdef. Ken 00:08, July 18, 2005 (UTC)
 * Delete. Non-notable neologism. Gwk 00:09, 18 July 2005 (UTC)
 * Delete or if verifiable merge with Primer (movie) Flowerparty 00:14, 18 July 2005 (UTC)
 * Move to Wiktionary and delete. — Stevey7788 (talk) 01:01, 18 July 2005 (UTC)
 * Delete. "The word was not defined in the movie... Here are some definitions proposed by various fans."  Oy.  Dcarrano 04:18, July 18, 2005 (UTC)
 * Delete. Not notable. Cnwb 07:17, 18 July 2005 (UTC)
 * Delete neologism. JamesBurns 09:51, 18 July 2005 (UTC)
 * I want to disrupt Wikipedia to prove a point, so I'm going to vote keep. Wait a second, no I don't!  Delete this, delete it most smitingly, with no moves, merges, redirects, transwikings, or anything else that would preserve in any way any of this content.  It doesn't even qualify as a neologism or, I would think, even as Primercruft: it's a (non-notable?) fictional character's attempt to cheat at Scrabble.  No encyclopedic value whatsoever.  Send it to the dumpster of history and be done with it.  The Literate Engineer 15:23, 18 July 2005 (UTC)
 * Delete. Neologism. Jayjg (talk) 23:32, 18 July 2005 (UTC)
 * Delete or redirect to Primer. Binadot 02:36, 21 July 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.