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Sharabha

Sharabha (शरभ, ) or Sarabha is an eight-legged part-lion and part-bird deity in Hindu religion, who is described as more powerful than a lion or an elephant, possessing the ability to clear a valley in one jump in Sanskrit literature. In later literature, Sharabha is described as an eight-legged deer.

The Shaiva scriptures narrate that the deity Shiva assumed the form of Sharabha to pacify Narasimha - the fierce man-lion avatar of Vishnu worshipped by the Vaishnava sect. This form is popularly known as Sharabheshvara ("Lord Sharabha") or Sharabheshvaramurti. Vaishnavas refute the portrayal of Narasimha as being destroyed by Shiva-Sharabha, and regard Sharabha as a name of Vishnu. Some Vaishnava scriptures such as the Narasimha Purana suggest that Vishnu assumed the form of the ferocious two-headed bird Gandabherunda, who in turn defeated Sharabha.

In Buddhism, Sharabha appears in Jataka Tales as an earlier birth of the Buddha. It also appears in Tibetan Buddhist art, symbolizing the perfection of effort. As a figure of power and majesty, Sharabha has appeared in numerous emblems.

Development and iconography
In early Sanskrit literature, Sharabha is initially described as an aggressive beast that roared and scared other animals in the hills and forest areas. In the later Hindu epic Mahabharata, Sharabha was described as a lion-slaying being with eight legs, eyes on the top; living in the forest and which ate raw flesh. It is also mentioned as residing on Mount Krauncha but not as a monster. In another account, Sharabha is an ordinary beast residing along with lions and tigers on Mount Gandhamadana. The epic also includes Sharabha in the list of edible animals - the mrigajatis- the animal group of antelope, deer, hare, bear, ruru deer, sambar, gayal, boar, and buffalo - which was offered as part of food at dinner to guests. Sharabha appears primarily as the incarnation of the god Shiva, as a name of a monkey-king in the epic Ramayana, also as a proper name of heroes and serpent Nāgas and one of the names of god Vishnu as well as the Buddha. Similies in Sanskrit literature compare warriors to Sharabha. In defining the ecological theme in Hindu medicine related to jungle and the aroma of meats, Sharabha has also been listed among the deer natives of Kashmir in Dalhana's 12th century commentary on the Sushruta Samhita. However, the features explained are of an eight legged animal of the size of a camel with huge horns and conjectured as a large Himalayan goat.

Shiva's incarnation
In Puranic literature, Sharabha is associated with the god Shiva and incarnates to subdue fierce manifestations of Vishnu. The legend of Sharabha fighting Narasimha - the man-lion form of Vishnu - brings to fore the overt rivalry between the devotees of Vishnu (Vaishnava sect) and those of Shiva (Shaiva sect), which exposes the fierce debate aspect. The Shiva Purana describes Sharabha as lion-faced, with matted hair, wings and eight feet, and a thousand arms. The Sharabha Upanishad portrays Sharabha with two heads, two wings, eight legs of the lion with sharp claws and a long tail. The Kalika Purana describes Sharabha as black in colour, with four feet downwards and four feet uplifted, with an enormous body. It also has a long face and nose, nails, eight legs, eight tusks, a cluster of manes, and a long tail. It jumps high repeatedly making a loud cry.

The iconography of Sharabheshvaramurti (Shiva as Sharabha) is specifically defined in texts such as Kamikagama and Sritattvanidhi. In Kamikagama, Sharabha is described in the form of a bird with golden color, with two uplifted wings, two red eyes, four legs in the form of a lion touching the ground, four legs with claws upwards, and with an animal tail. The top part of the body is shown as human but with the face of a lion with an ornamented crown; side tusks are also depicted giving an overall frightening sight. It also shows the Narasimha beneath Sharabha's legs as a lion-faced human with anjali (hands folded prayer gesture). (See Infobox image)

In the Sritattvanidhi, the depiction prescribed for Sharabheshvaramurti is of thirty arms; arms on the right are to hold thunderbolt, mushti, abhaya, chakra (discus), sakti, staff, goad, sword, khatvanga, axe, akshamala, a bone, bow, musala, and fire; and the left hands to display noose, varada, mace, arrow, flag, and another type of sword, a snake, a lotus flower, skull-cup, pustaka, plough, and mrudanga with one hand encircling Durga in a hug. This form is extolled to usher good luck, cure all diseases and destroy all enemies.

The Chola dynasty in Tamil Nadu was particularly favourable to the beliefs of Shaiva sect. It is said that the sectarian aspect got highlighted during their reign. This is evident from the four Sharabha images, the earliest at the Vikramsolishwaram temple near Kumbakonam built by Vikrama Chola (1118–35). The other images are at Darasuram and Kampahareshvarar temple, Thirubuvanam built by a Chola ruler, Kulottunga Chola III where Sharabha's image is housed in a separate shrine.

A sculpture of Sharbeshwaramurti in the Tribhuvanam temple, a Shiva temple in Tanjore district, in Tamil Nadu is seen with three legs, with body and face of a lion and a tail. It has four human arms, the right upper hand holds axe, noose is held in the lower right hand, the deer in the upper left hand and fire in the lower left hand. Narasimha is shown with eight arms, flaying and struggling under Sharbeshwaramurti's feet. In the Airavatesvara Temple at Darasuram, a rare image of the Chola period, in black basalt, depicts Shiva as Sharabha. It is deified in an exclusive small shrine, as part man, beast and bird, destroying the man-lion incarnation of Vishnu, Narasimha. This highlights the hostility between the Shaiva and Vaishnava sects. In Chennakeshava Temple, Belur, Karnataka, built in 1113, Gandaberunda, the two-faced bird identified with Vishnu appears in a carved scene of animal mutilation. Initially, a deer is prey to a large python, which is then lifted by an elephant and results in the lion attacking the elephant. The lion is then shown as being devoured by Sharabha, with the last scene depicting Gandaberunda destroying Sharabha.

In iconographic representations of the myth of Shiva vis-à-vis Vishnu, Sharabha form has been built around Narasimha but substantially embellished with wings to represent Kali and Durga to denote the female powers (shaktis) of Shiva; Sharabha is also shown with a bird head and a serpent in his beak.

In the Mahabharata
The Hindu epic Mahabharata narrates: a dog, with the help of a rishi (sage) assumes various animal forms - starting from a dog to a tiger then to an elephant followed by a lion and a sharabha - terrorized every one in the hermitage of the rishi. Eventually, Sharabha assumed a further fiercer form. In this fierce form he wanted to devour the rishi. The rishi then narrating the process of change in Sharabha's development, as a result of his benevolence, cursed Sharabha to go back to his original form of a dog. The epic does not relate Shiva to Sharabha.

Shaiva views
The legend of Sharabha as an incarnation of Shiva is narrated in many Hindu scriptures and each presents a different version to suit one's religious beliefs. But one common refrain in all these depictions is that Sharabha is a combination of a huge animal-bird beast with enormous strength manifested with the purpose of pacifying similar ferocious avatar of Vishnu such as Narasimha (man-lion).

The Narasimha-Sharabha legend is linked to deities assuming mythical animal forms to slay or subdue each other. Vishnu assumed the form of Narasimha to slay Hiranyakashipu, an asura (demon) king, who was terrorising the universe, and was a devotee of Shiva.

The Shiva Purana mentions: After slaying Hiranyakashipu, Narasimha's wrath threatened the world. At the behest of the gods, Shiva sent Virabhadra to tackle Narasimha. When that failed, Shiva manifested as Sharabha. The Shiva Purana and some Puranas mention Sharabha attacking Narasimha and immobilising him. He thus quelled Narasimha's terrifying rage. It is also said that Sharabha then decapitated and de-skinned Narasimha so Shiva could wear the hide and lion-head as a garment. The Linga Purana and the Sharabha Upanishad also mention the mutilation and murder of Narasimha. After the mutilation, Vishnu assumed his normal form and retired to his abode, after duly praising Shiva. It was from here on that Shiva came to be known as "Sharabeshamurti" or "Simhagnamurti".

The Skanda Purana considers Narasimha as a mere irritation and not a threat to the world, contrary to what was brought out in the Shiva Purana and the Linga Purana. The perception was that Vishnu may permanently adopt the fierce form of Narasimha, which would be detrimental to his divine role. Hence, the purpose of Shiva-Sharabha was to ensure that Vishnu discarded his lion body and returned to his original divine form. Narasimha struck Sharabha with his body, it was Vishnu who groaned in pain and not Sharabha who was in an "adamantine body". It was then that Vishnu realised that Sharabha was none other than Shiva and bowed and praised Sharabha. Shiva then blesses Vishnu and gives him a boon to kill demons. A purana ends the story with the gods fearing that Sharabha may not be able to control his rage and thus urging Shiva to give up his Sharabha form. Thereafter, Shiva dismembered Sharabha's form; his limbs were given away and his torso became a Kapalika. In Vamana Purana's version, Sharabha doesn't have upper hand over Narasimha and it ends with Narasimha becoming the calm Vishnu again and Sharabha becoming a lingam when Narada looks at them. One version also mentions that Sharabha, after subduing Narasimha, assumed his original form of a lion, the mount of goddess Durga and returned to rest at her feet.

In the Kalika Purana, Varaha - Vishnu's boar avatar - had amorous dalliance with the earth goddess. He and his three boar sons then created mayhem in the world, which necessitated Shiva to take the form of Sharabha, to kill the Varaha form. Here, Narasimha appears to aid Varaha. Sharabha kills Narasimha first and then kills Varaha, allowing Vishnu to reabsorb the energies of both his forms. Finally, Sharabha defeats Vishnu. This version of the story finds an allusion in the Prapanchasara Tantra.

Vaishnava views

Vaishnavas including Dvaita scholars, such as Vijayendra Tirtha (1514–93) refute the portrayal of Narasimha as being destroyed by Sharabha as they consider the Shaiva Puranas as tamasic - and thus not authoritative. The refutation of the Sharabha legend along with ten other Shaivite legends is discussed in a text by Vijayendra Tirtha called the

Shaivasarvasvakhandanam.

The Vathistabhana Purana, the Vimathgira Purana, the Pradhana Purana, the Prahladhasvayam Purana, the Bhalukka Purana, and some other regional South-Indian scriptures narrate that Narasimha took the form of Gandabherunda (literally "the mighty two-headed"), a more ferocious two-headed bird-animal, But Sharabha roared and Gandabherunda was stunned and was gone. This legend is also featured in the Narasimha Purana.

There is also a reference to Sharabha in the Vishnu Sahasranama, the thousand names of Vishnu, and the literal meaning seems to suggest the praise of Sharabha (the lion-killing animal). Adi Shankara refers to this 356th name of Vishnu Sahasranama as not mentioning the lion-killing animal at all and instead interprets the name to mean, "As the Lord shines in the body as the indwelling Self, He is called Sharabha, while the body is sara (perishable)."

Narasimhan Krishnamachari, a scholar on the Vishishtadvaita philosophy, states that the name "Sharabha" has been interpreted in two ways namely; the first interpretation means "the Destroyer (of those who transgress the bounds of ethics)," as given by the Sri Vaishnava commentator, Parasara Bhattar and the second interpretation as given by Adi Shankara, among others. The former is based on the Sanskrit verb SR, which means "to injure to destroy". According to C. V. Radhakrishna Sastri, "Sara also refers to an arrow, and the perishable body shines if it is aimed at Bhagavan, because He shines in that body."

In Buddhist scriptures

In the Jataka tales of the Buddha's previous lives, there is narration related to his birth as Bodhisattva in a forest as a Sharabha, the eight-legged deer. A king, while trying to hunt the deer, fell into a precipice with his horse. The deer, instead of abandoning the king to his fate, rescued him. The king was deeply touched by the compassionate gesture and banned hunting in his country.

In Tibetan Buddhism, sharabha is represented as a beast with a goat's head and horns, a lion's mane and horse's body and legs. It symbolizes determination, strength and speed. Sometimes, it is represented additionally with horns of an antelope and claws of an eagle. Sometimes, the goat head is replaced by a lion's, horse's feet by a lion's and horns can be of a ram. A common feature of all representations is the horse's body. It is often depicted as mounts of young Devas or dwarfs in a Torana – a six-level archway behind an enlightenment throne of a Buddha or Bodhisattva. Together with the devas, they symbolize the perfection of effort (virya).

As emblem
The Government of Karnataka, the University of Mysore and the Karnataka Soaps and Detergents Limited have adopted Sharabha, with modifications in their emblem.

In Karnataka Soaps and Detergents Limited logo, Sharabha is depicted in the form of a body of a lion with the head of an elephant to represent the virtues of wisdom, courage and strength.

title: Sharabha


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Fourth Division

In sport, the Fourth Division, also called Division 4 or Division IV, is often the fourth-highest division of a league, and will often have promotion and relegation with divisions above and below.

Association football

 * Belgian Fourth Division, lowest nationwide division in the league system of Belgian football
 * Belgian Fourth Division A
 * Belgian Fourth Division B
 * Belgian Fourth Division C
 * Belgian Fourth Division D
 * Cypriot Fourth Division, fourth tier football competition in Cyprus
 * Czech Fourth Division, fourth tier football competition in the Czech Republic
 * Egyptian Third Division, fourth division in the league system of Egyptian football
 * Football League Fourth Division, fourth-highest level in the league system of English football
 * French Division 4 (disambiguation)
 * Greek Fourth Division, fourth level in the league system of Greek football
 * Hong Kong Fourth Division League, fifth level in the league system of Hong Kong football
 * Lebanese Fourth Division, fourth division in the league system of Lebanese football
 * 4. divisjon, fifth tier in the league system of Norwegian football
 * Swedish Football Division 4, sixth level in the league system of Swedish football
 * Swedish Women's Football Division 4, sixth level in the league system of Swedish women's football
 * Victorian State League Division 4, sixth tier soccer competition in Victoria, Australia

Other sports

 * ICC World Cricket League Division Four
 * IIHF World Championship Division IV, lowest level of the Ice Hockey World Championships

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

title: Fourth Division


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Dulcitone

A dulcitone is a keyboard instrument in which sound is produced by a range of tuning forks, which vibrate when struck by felt-covered hammers activated by the keyboard. The instrument was designed by Thomas Machell of Glasgow in the 1860s, at the same time as Victor Mustel's organologically synonymous typophone, and manufactured by the firm of Thomas Machell & Sons during the late nineteenth and early twentieth centuries.

Most of the early models are tuned to sharp pitch, or the diapason normal of A435. Some of the late models use an action suspended on a system of leaf springs, which is considerably quieter than that illustrated.

Description

The dulcitone is a transposing instrument of the idiophone class; it speaks an octave higher than the standard (eight foot pitch) written pitch. It has a five octave written range from AA to a3 (sounding range from A to a4).

A significant feature of the dulcitone was its portability, a product of its lightweight and compact construction and the fact that the tuning forks (unlike, for instance, the strings of a piano) were not prone to going out of tune. However, the volume produced is extremely limited, and the dulcitone's part is frequently substituted by a glockenspiel.

Two pieces scored for the dulcitone are Vincent d'Indy's Song of the Bells (1888) and Percy Grainger's "The Power of Rome and the Christian Heart" (1943).

In 1911 there were 3 versions listed: Style B, with 3½ octaves in solid mahogany (polished Chippendale) or in solid oak (fumed) complete with folding stand, for £12; Style R - in mahogany or oak with 4 octaves for £15; Style F - in mahogany or oak with 5 octaves, for £18.

Surviving examples exist as far afield as New Zealand, where one is preserved in the Whittaker's Musical Museum.

title: Dulcitone


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User:Mabm

Hello,

Short profile: I'm an atheist and native speaker of english.

title: User:Mabm


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Talk:Australian Capital Territory

Head of state
According to Laying down the Law (a standard Aussie undergraduate law textbook), page 163, the ACT has no head of state. I guess this means that although the Governor-General may annull legislation, he's not the head of state and neither is the Queen. Is this view correct? Is it the case that NSW has the Queen has head of state and the ACT exists somehow superimposed on the land that already has that head of state from the NSW Constitution? - Richardcavell 08:49, 23 August 2005 (UTC)

 * The entire thing has been shrouded in controversy ever since Sydney got grumpy about not being the nations capital. I'm sure they were eventually happy, after all, it is just 100 miles from Sydney and surrounded by N.S.W. No doubt there was some underhandedness in the creatinon of the Australian Capital Territory. The creation of Canberra however, should be noted as an architectural, engineering and social masterpiece of the 20th century, brilliance by Walter Burley Griffin and all who participated in designing Canberra.
 * I'd like to see this issue investigated further as I have no clear sources to behind my comments. Although I'm sure somehow it will slowly fade away and be forgotten. Nick carson 03:03, 13 January 2006 (UTC)

 * I don't know the text book but I would disagree that the ACT has no head of state. (a) The fact that the ACT is physically within NSW is irrelevant.  Legally, it is entirely separate.  (2) The ACT is a territory of the Commonwealth of Australia.  The British monarch is the head of state of Australia and is therefore the head of state of all parts of Australia, including the ACT.  The very fact that the GG can annul ACT legislation proves that the person he represents, the Queen, is the head of state.  If she were not the head of state, not only could the GG not annul legislation, but neither could he give it royal assent to begin with. JackofOz 06:12, 13 January 2006 (UTC)

The ACT is not a state in either sense of the word, it has no sovereign or constitutional status, and therefore has no "head of state." It is an adminstrative convenience created by the Commonwealth, and could be abolished by the Commonwealth at any time. Since it has a Westminster system someone has to play the role of the Crown, and I gather that someone is the Governor-General, but his role is only analagous to that of a state governor, it is not constitutionally the same. Adam 08:09, 13 January 2006 (UTC)

 * Neither is the Northern Territory. Despite having self-government, it too could be abolished at any time, techically speaking (although achieving that politically would be a very different question).  Why does the NT have its own Administrator to represent the monarch, but the ACT not?  The GG is a creature of the Australian Constitution, and the convention is that he acts solely on the advice of the Prime Minister.  Does the ACT Chief Minister also get to advise him about ACT matters?  What happens if the advices clash? JackofOz 03:38, 13 March 2006 (UTC)

The Commonwealth could not abolish the ACT if it wanted to. The existance of a Federal territory for the seat of government is mandated in the constitution. The closest thing to a Head of State in Canberra is the Governor-General. The Self government legislation gives the GG the power to summon the territory assembly, assent to laws and so on. In practice it is the Chief Minister who turns up to things and opens Art Gallerys, like the Governor would interstate. 150.203.239.61 08:23, 22 May 2007 (UTC)

Lowest Elevation in Infobox
I think off the top of my head the lowest elevation in the ACT is where the Murrumbidge flows out to NSW. Not sure of it's elevation though. --Martyman- (talk) 05:05, 4 November 2005 (UTC)

Looking up the gim.act.gov.au and putting in the 2 m contour the elevation is 423 meters where the river leaves the territory. However the low point would be in Jervis Bay at around sea level. Are we counting Jervis Bay in ACT?

GB 05:41, 7 February 2006 (UTC)

 * No Jervis bay is not technically par tof the ACT any more. --Martyman- (talk) 06:00, 7 February 2006 (UTC)

 * I think I got 429m from one of my paper maps I am sure the source you have is better. --Martyman- (talk) 06:01, 7 February 2006 (UTC)

The ACT does not have equal Federal representation.
I am just adding a comment The ACT does not have the full Federal representation accorded to a State to the governance section. That is a NPOV comment and it is notable. For example, the District of Columbia (in a similar situation to the ACT) has an entire section on the less than full Federal representation. http://en.wikipedia.org/wiki/District_of_Columbia#Representation_in_federal_government This is very much the type of information that someone from a country other than Australia (who does not have the fine detail knowledge of the Senate) would feel it helpful to have.Sad mouse 03:42, 7 December 2006 (UTC)

 * The Senate was dreated as a States' House, to protect WA and the other small states against Victoria and NSW. The introduction of Territory Senators went against this whole notion and was challanged twice in the High Court. As the ACT is not a State and was not an original State if anything it is overrepresented in the Senate. Xtra 04:08, 7 December 2006 (UTC)
 * Additionally the ACT is vastly different from D.C. as the ACT is represented in both houses with voting members, unlike D.C. and if people want to find out about the Senate they can click on the link. Xtra 04:10, 7 December 2006 (UTC)

 * That is the why. I understand that. Just because there is a reason does not mean that it should be hidden. As I already said, the DC article spends an entire paragraph on it, and you constantly revert half a sentence. Your removal of a relevant fact of Australian politics in regards to the ACT is POV. Sad mouse 04:12, 7 December 2006 (UTC)

It can be mentioned - but - in a NPOV way. Such as: "not being one of the original States, the ACT is not granted the Constitutional entitlement of 12 Senators, but rather has been granted 2" Xtra 04:14, 7 December 2006 (UTC)

 * You don't actually understand NPOV, do you? I'll leave this article to someone else to fix up, someone that you don't stalk around reverting. Sad mouse 04:18, 7 December 2006 (UTC)

 * Being a Westminster system, parliamentarians are just sheep lead by their party, since there is only 2 senate seats, one will go to each big party. —Preceding unsigned comment added by 202.161.0.162 (talk) 11:04, 22 February 2008 (UTC)

coat of arms
What happened to the coat of arms image? According to a comment on Talk:Coat of arms of Canberra there is no ACT coat of arms. --Astrokey 44 10:43, 21 March 2007 (UTC)
 * Technically it is the coat of arms of the city of Canberra; I have no idea what happened to the image. --Peta 03:52, 23 March 2007 (UTC)
 * There are no logs for it on Wikipedia. An image with the same name (perhaps same image) was deleted on the 1 January 2007 on Commons though.--cj | talk 04:14, 23 March 2007 (UTC)
 * I have loaded another image. But this page should probably not display any coat of arms, since the ACT doesnt have one. Left a message on Template talk:Australia state or territory about it --Astrokey 44 10:47, 24 April 2007 (UTC)
 * Fixed. - 52 Pickup 13:42, 10 May 2007 (UTC)

area in infobox
The area in the infobox was completely wrong. I corrected it from this source: http://www.ga.gov.au/education/facts/dimensions/areadime.htm It doesn't say anything about percentage of water and so on, so I had to leave that blank.--Barend 14:04, 19 April 2007 (UTC)
 * Unforunately, leaving it blank led to some funny behaviour. So, using the given percentage and total area, I've calculated some new values. If this data is inaccurate, it is only a temporary solution and the land/water are fields can be hidden if really necessary. - 52 Pickup 13:52, 10 May 2007 (UTC)

Proposed reworking of ACT & disambig pages
I've given some rationale for changing the way we currently use the ACT page (currently disambig), and was hoping to get some consensus for change, so I was hoping regular editors of this page might comment at talk:ACT.--YbborTalk 11:31, 31 July 2008 (UTC)

Australian Capital Territory = Canberra
Are the governmental borders of the ACT and Canberra coterminus? If so, this is a very important fact that needs to be made known in the opening paragraph. --Criticalthinker (talk) 10:46, 10 February 2009 (UTC)

If you mean that they are one in the same, then no. Whilst ACT usually equals Canberra, the majority of the ACT is actually national park. Canberra itself only occupies the northern part of the ACT. In regards to government representation, the ACT is actually divided into two electorates for federal and three for ACT elections. Bridabella (for both local and federial elections and the electrate I live in) covers most of the ACT which is not part of Canberra, as well as a good part of the southern half of Canberra. (eg Tuggies). —Preceding unsigned comment added by 59.167.251.161 (talk) 07:20, 17 April 2009 (UTC)

 * Villages such as Hall, Australian Capital Territory and Tharwa, Australian Capital Territory are part of the ACT but are not part of Canberra. For most practical intents and purposes they may as well be part of Canberra, but technically they're not.  --  JackofOz (talk) 12:39, 17 April 2009 (UTC)
 * In terms of local government, then yes, Canberra and the ACT are the same entity. The ACT government provides local government services as a unitary body to all of the ACT, including the outlying towns. There is no separate "City of Canberra" local government authority covering only the Canberra section of the territory. The Australian Bureau of Statistics makes a differentiation between the two. For example, the ACT had 324,034 residents at the 2006 census, while Canberra had only 322,036 residents. Thus, according to the ABS 2006 census, 1,998 people lived in the ACT but not in Canberra. Make of all that what you will! -- Mattinbgn\talk 12:53, 17 April 2009 (UTC)
 * It looks like Mttinbgn got what I was asking. If they are coterminous as far as governance, this should be made known.  I know that the actual urban area doesn't feel the boundaries of the territory, but the "municipal" boundaries, if you will are the same as that of the ACT's territorial boundaries.  They are one and the same. --Criticalthinker (talk) 07:32, 6 July 2009 (UTC)

 * That's because the government of the ACT governs the whole of the ACT, not just Canberra. The boundaries of the ACT are fixed and precise; but exactly where "Canberra" starts and ends is fuzzy, and not defined anywhere as far as I know.  Is it defined by the outer suburbs in any direction?  Maybe, but I couldn't say for sure.  It's fluid anyway; if they decided to build some more suburbs to the south of what is currently the most southern suburb in Tuggeranong, then Canberra would expand.  --  JackofOz (talk) 08:21, 6 July 2009 (UTC)
 * Again, Mattinbgn understood what I was asking exactly. And, again, I was simply saying that Canberra and the ACT are coterminous as far as local government is concerned.  I'm not talking about whether Canberra fills the entire area.  Anyone that can look at a map knows that's not true.  But, as far as government goes, ACT and Canberra are one and the same. --Criticalthinker (talk) 01:40, 8 July 2009 (UTC)

 * I actually disagree with that. The ACT, which includes Canberra, is governed by the ACT Government.  No argument there.  But that's not the same as saying they're the same thing, or are coterminous.  A person who lives in Tharwa or Tidbinbilla would never say they live in Canberra, because they don't, but they still live in the ACT and have the same government as Canberra does.   "Coterminous" is a geographical term, not commensurate with "governance", a political/governmental term.  Before the 1989 split-off, would you have said that Jervis Bay was "coterminous for governance purposes" with the ACT?  That would make as much sense as what I think you're getting at here.  --  JackofOz (talk) 09:00, 8 July 2009 (UTC)

William farrer has been removed
I noted the mention of Farrer in this article which sits oddly in the first few paras

One homestead of special historical interest was Lambrigg, near Tharwa. This was the place in which William Farrer developed the rust-resistant Federation wheat strain that had a major beneficial effect on Australia's wheat industry.

While he made an important contribution this was to the national wheat industry not the history of the ACT per se. He died in 1906 which predates the founding of Canberra. Anyway he is covered in the accompanying history article  05:02, 12 May 2009 (UTC)  —Preceding unsigned comment added by Chrisfromcanberra (talk • contribs)

I have moved some of the more detailed content under History to the dedicated History Page
This article should be a summary of the ACT and ideally the 4 (5?) sections should be of equal length. Hopefully this change is greeted positively Chrisfromcanberra (talk) 10:29, 12 May 2009 (UTC)

Bush Capital??
The opening paragraph states that the ACT is regularly referred to as Australia's "Bush Capital". I live in Melbourne Australia, and am an active follower of Australian politics and have never hear this term used. I suggest this statement be removed or an external reference provided. Maybe this is a term used by people in Canberra? or Sydney?? but it's news to me.Pugsworth (talk) 06:14, 31 May 2010 (UTC)
 * Unfortunately, yes, often by greens as a reason not to build stuff we actually need. —Preceding unsigned comment added by Phil Ian Manning (talk • contribs) 00:00, 10 May 2011 (UTC)
 * I am a resident of Canberra and have spent more than 35 years here. I can assure you that the phrase 'Bush capital' has been used for all that time and long before I came here. When the site for Canberra was chosen, coastal locations and existing cities were not considered—hence the term 'bush' capital. --Greenmaven (talk) 04:42, 4 May 2012 (UTC)

Viceroy
this edit resulted in weird syntax appearing. I've stabbed wildly at trying to address the anonymous' concern, using 'Vice-regal representative' as mentioned at Governor-General of Australia. may be of use. John Vandenberg (chat) 10:17, 27 October 2010 (UTC)

Territory near Jervis Bay
The article says:

 * The ACT also has a small strip of territory around the southern end of the Beecroft Peninsula, which is the northern headland of Jervis Bay.

with the footnote
 * The area of ACT land on the Beecroft Peninsula is clearly shown in the New South Wales Roads Directory (Map 177, grid ref. S 2), which is published by the National Roads and Motoring Association and is based on NSW Department of Lands maps. Several maps showing the boundaries of the ACT exclave on the Beecroft Peninsula are available online, for example: http://www.exploroz.com/Places/24482/NSW/Longnose_Point.aspx

Can anyone confirm this? I have various maps (e.g. from the ABS or the ACT) that "clearly show" all of Beecroft Pensinsula as NSW territory. I think we need to rely on legal definitions for this.

—Felix the Cassowary 13:22, 12 March 2011 (UTC)

 * Well, waddaya know. Beecroft Peninsula seems to have the story.  Ask 10,000 ACT residents about this, and I'd guess you'd get 9,999 blank stares.  --   Jack of Oz   [your turn]  01:07, 13 March 2011 (UTC)
 * But see also Talk:Beecroft Peninsula. An editor foreshadowed he'd be changing a major error of fact by the end of January 2011, but has not done so yet.  --   Jack of Oz   [your turn]  01:15, 13 March 2011 (UTC)
 * Beecroft Peninsula has now been amended and it's clear that the entire Beecroft Peninsula is part of NSW. The erroneous idea that the southern tip of the Peninsula is part of the ACT comes from confusion between the concept of land owned by the Commonwealth government, as opposed to land that is under Commonwealth jurisdiction. Maps that show the southern tip as part of the ACT are simply inaccurate.  — Preceding unsigned comment added by Rithom (talk • contribs) 06:48, 11 August 2016 (UTC)

The new federal dept. states "...Athough the Jervis Bay Territory is not part of the Australian Capital Territory, the laws of the ACT apply, in so far as they are applicable and, providing they are not inconsistent with an Ordinance, in the Territory by virtue of the Jervis Bay Acceptance Act 1915." -

To say that the Jervis Bay Territory is or has ever been part of the ACT is incorrect. Jervis Bay has always been a separate territory, although it was administered as if it was part of the ACT until 1989. After that time, Jervis Bay was administered separately from the ACT. Refer and also Jervis Bay TerritoryDgnsnj (talk) 14:02, 11 September 2012 (UTC).

History
There is essentially nothing in this article about the ACT's history, but there is an article called History of the Australian Capital Territory that is linked to in the "See also" section. That article should be considered a sub-article of this one, with a section here written according to Summary style. That should probably be done by someone with some sensitivity to what is actually important, but I would recommend a paragraph (or at least sentence or two) on Pre-European history, another about the area's selection as the capital, and another paragraph or two about early relations with the federal government and moves toward self-governance. -Rrius (talk) 03:01, 4 May 2012 (UTC)

Gay Marriage Commentary
I have moved the commentary on gay marriage to the History of the Australian Capital Territory wiki page. It is a more appropriate spot to place such commentary as opposed to second paragraph of the main article. Libstooge 01 (talk) 13:11, 13 December 2013 (UTC)

Is the ACT a constitutional monarchy?
As stated (and cited) in the article, the ACT has no vice-regal post like Governor or Administrator. The article ACT Legislative Assembly makes the same claim and cites yet another source, a government website regarding the ACT Self-Government Act. On this basis, I have removed the Administrator from the infobox. I note that the infobox also says the ACT is a "constitutional monarchy", but is that quite correct if the ACT has no vice-regal post? If that statement is to remain, it should be cited from a reliable source. Origin238 (talk) 02:53, 4 December 2014 (UTC)
 * The form of government in the ACT is "constitutional monarchy" because the ACT is part of the Commonwealth of Australia, whose form of government is constitutional monarchy. That seems to me to be plain enough in the article.  It is so in all of the State articles, as well as that for the NT.  The Norfolk Island article is different and maybe that needs to be brought into line.  Wikiain (talk) 03:44, 4 December 2014 (UTC)
 * The main difference between the ACT and the other states is that the ACT has no vice-regal post representing the crown. The federal government has the Governor-General, each state has a Governor, and NT has an Administrator, all of which are representatives of the Queen. The ACT has no equivalent post. Even Norfolk Island has an Administrator who represents the crown. It could be that the ACT is still a "constitutional monarchy" anyway; I don't know. But I will remove the Administrator from the infobox because the article explicitly says that the ACT doesn't have one. If someone really wants to have an Administrator there, perhaps they can come here to form a consensus. Origin238 (talk) 07:07, 15 February 2015 (UTC)

I'm also wondering about this. There's no specific viceregal representative for the ACT, the Legislative Assembly elects the Chief Minister. There's a federal veto, but I'm not sure if the veto is vested in the federal government (i.e. the Governor-General) or federal parliament. Would we describe, e.g., the City of Sydney as a constitutional monarchy simply because the NSW state government has a veto power? I'm not sure. It would be good if someone could come up with a source explicitly calling the ACT a constitutional monarchy rather than us using analogy. Ivar the Boneful (talk) 16:05, 6 December 2018 (UTC)

Federal Capital Territory?
It's stated in the intro that the region was known as the "Federal Capital Territory" until 1938; unfortunately, this is unsourced, and I can find no law renaming it. In fact, the law establishing the territory specifies, "The Territory shall be known as the Australian Capital Territory." So can the article's statement be corroborated, or is it somehow wrong?

Similarly, History of the Australian Capital Territory says, "The Jervis Bay Territory Acceptance Act 1915 and the New South Wales Seat of Government Surrender Act 1915 created a Territory of Jervis Bay, which was administered as part of the Federal Capital Territory and with all laws of the Territory applicable.", but the actual text of the acceptance act uses the term "Australian Capital Territory" 14 times, and doesn't even contain the word "Federal." --Golbez (talk) 04:21, 26 October 2017 (UTC)
 * Hm, this may explain it: says the previous act was amended to add the name, and I guess all the version I'm finding are of the amended version. --Golbez (talk) 04:27, 26 October 2017 (UTC)

Here's a climate template from Wikivoyage, if someone can get it to work
A working version of the table is viewable at the Climate section of https://en.wikivoyage.org/wiki/Canberra/

Text below was made visible by deletion of initial double open curly brackets and final double close curly brackets. Those will likely need to be re-added for table to work.

Perhaps calls a template available in Wikivoyage that has been deleted in Wikipedia?

Climate
 * units = Metric
 * janhigh = 29
 * febhigh = 28
 * marhigh = 25
 * aprhigh = 20
 * mayhigh = 16
 * junhigh = 12
 * julhigh = 12
 * aughigh = 14
 * sephigh = 16
 * octhigh = 20
 * novhigh = 24
 * dechigh = 27
 * janlow = 14
 * feblow = 14
 * marlow = 12
 * aprlow = 7
 * maylow = 4
 * junlow = 1
 * jullow = 0
 * auglow = 1
 * seplow = 4
 * octlow = 7
 * novlow = 10
 * declow = 12
 * janprecip = 60
 * febprecip = 51
 * marprecip = 56
 * aprprecip = 49
 * mayprecip = 48
 * junprecip = 38
 * julprecip = 52
 * augprecip = 47
 * sepprecip = 65
 * octprecip = 62
 * novprecip = 59
 * decprecip = 46
 * description = The Australian government provides a seven-day weather forecast Canberra

— Preceding unsigned comment added by Ocdcntx (talk • contribs) 17:29, 12 December 2017 (UTC)

Demonym
On what authority is the claim that the denonym for ACT residents "Canberrans" made. I have lived in Canberra for the best part of 20 years and have never heard it so used. Within Canberra, the term refers exclusively to people from Canberra. If a reference is made to the group on the news, local or national, the term would, without exception, be "ACT residents". As far as I'm aware, there is no demonym for the ACT. — Preceding unsigned comment added by 101.112.5.103 (talk) 14:33, 27 June 2021 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 12:52, 15 December 2022 (UTC)
 * ACT Canberra density.jpg

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 14:53, 15 December 2022 (UTC)
 * ACT Canberra density.jpg

All properties in the ACT to automatically become ownerless after 99-year leases expires?
According to 99-year lease, Due to the influence of the ideas of Henry George at the time the Australian Capital Territory (ACT) was established in the early 20th century, all land in the ACT is held under 99-year leases, the first of which will expire in 2023. I can find no mention of these 99 year leases or 2023 mentioned within this article about the ACT. You would imagine everyone should be freaking the f out over this. Agvulpine (talk) 09:36, 25 July 2023 (UTC)
 * This sounds like just a discussion rather than an article improvement. But perhaps our article needs to cover the facts. I think that some law was passed several years ago to stop this freaking out. One ref: Graeme Bartlett (talk) 11:02, 25 July 2023 (UTC)
 * It would be good to have something in the article about it. HiLo48 (talk) 21:34, 25 July 2023 (UTC)
 * I've added some details using a city council source. This is of some interest to me personally, given the age of my house. I'm wondering how big the charge will be in a couple of years time! Nobody is freaking out over the prospect of losing their houses, though; it's just not an issue here. --Pete (talk) 00:18, 26 July 2023 (UTC)

"The second smallest mainland state or territory by population"
The article refers to the ACT as the "second smallest mainland state or territory by population". This is confusing, if we are only including self-governing self-governing territories, then Tasmania is larger than the ACT and hence the word "mainland" is redundant. If we are including non-self-governing territories, then this is simply incorrect as the Jarvis Bay Territory is smaller than both the ACT and the NT, and then the ACT is the third smallest mainland state or territory.

Either way, the phrase "the second smallest mainland state or territory by population" has so many qualifiers to basically be meaningless. Marcus M Marcus (talk) 09:22, 6 September 2023 (UTC)

title: Talk:Australian Capital Territory


text: Category:User lv-4

title: Category:User lv-4


text:
Malcolm (film)

Malcolm is a 1986 Australian cult film comedy, written by the husband-and-wife team of David Parker and Nadia Tass, and directed by Nadia Tass (who made her debut as a feature director on this film). The film stars Colin Friels as Malcolm, a tram enthusiast who becomes involved with a pair of would-be bank robbers. His co-stars are Lindy Davies and John Hargreaves. The film won the 1986 Australian Film Institute Award for Best Film, and seven other AFI awards including Best Original Screenplay and Best Director.

Plot
At the start of the film Malcolm is working for the Metropolitan Transit Authority (then operator of Melbourne's trams). Autistic Malcolm is obsessed with trams, but he is also a mechanical genius whose modest inner-city cottage is fitted with a variety of remarkable gadgets. When his boss (Bud Tingwell) discovers that Malcolm has built himself a cut-down tram during work time and using work materials, and has taken it out on the tracks, Malcolm is sacked. With his mother dead and no other income, the local shop-owner advises him to take in a boarder, Frank (John Hargreaves). Frank's brassy girlfriend Judith (Lindy Davies) soon moves in with him, and Frank reveals that he is a petty criminal who has recently been released from prison. Despite their differences, the trio develop an awkward friendship, and when Malcolm learns of Frank and Jude's plans to stage a robbery, he decides to use his technical ingenuity to help them. In his first demonstration, he shows Frank the "getaway car" he has built, which splits into two independently powered halves, and they use this to successfully elude police after Frank steals some cash from a bank customer.

For his next demonstration, Malcolm stages a near-successful hold-up of a payroll delivery, using a radio-controlled model car and trailer, fitted with a video camera, a speaker, and a gun loaded with blanks with which to threaten the guards. Frank walks in on Malcolm's bedroom "control centre" while the robbery is in progress; joining in, he helps Malcolm to steal the cash, although it is eventually lost when the planned getaway route (through a street drain) proves too small and the bag of cash is knocked off the trailer.

The trio then devises an audacious plot to steal the weekly $250,000 cash delivery from a major bank, and Malcolm collaborates with Frank and Jude to create a set of ingenious inventions. They plant a set of armed, remote-controlled motorised robot rubbish bins inside the bank, which are then secretly manoeuvered up to an overhead walkway between the two bank buildings. When the guards cross the walkway with the cash on a trolley, they are bailed up by the robot bins. With Frank's specially modified Ford Transit delivery van, stationed below, a spring-loaded arm fitted with a hammer swings up, breaks the glass of the walkway window, and the robots push the cash into a chute fitted into the roof of the van. The trio then make their escape, stopping in a lane to disguise the van as an ice-cream truck; they also set loose a Ned Kelly-like dummy in a radio-controlled wheelchair, armed with two shotguns, which they send out as a decoy for the police while they make their escape. They manage to elude the pursuing police, but they are nearly caught when two officers on a routine patrol pull up beside them and ask them for an ice-cream. Frank speeds away, with the police in hot pursuit, and they now employ their backup getaway plan. They dump the van in a suburban street and decamp on foot, but when the police arrive moments later and scan the area for the fugitives, they see only the back of a tram, pulling away into the distance. However, when we see the front of the tram, it is revealed to be Malcolm's custom-made mini-tram, with the trio and their loot aboard.

In the final scene, Frank is leaving a bank in Lisbon, Portugal (another city with a major tram network) where he has just deposited the proceeds of the Melbourne robbery. He then meets up with Malcolm and Jude at a local cafe, and as the film concludes they lay plans for another daring robbery.

Cast

 * Colin Friels as Malcolm
 * Bud Tingwell as Tram Depot Supervisor
 * John Hargreaves as Frank Baker
 * Lindy Davies as Judith
 * Chris Haywood as Willy
 * David Johnston as News Reporter
 * Denise Scott as Willy's Wife
 * Ian McFadyen as Model Shop Salesman

Production
As revealed in the closing credits, the character of Malcolm was inspired by Nadia Tass' late brother, John Tassopoulos, who died after suffering an epileptic seizure after being hit by a car in 1983. As portrayed by Friels, Malcolm exhibits many traits that are characteristic of someone with high-functioning autism or Asperger syndrome, including a peculiar walk, reluctance to make eye contact, poor social skills and a deep-focus, obsessive interest (in this case, trams).

David Parker had never written a script before and he did it while working on location of Burke and Wills as a stills photographer. Raising money was very difficult. Channel Seven agreed to provide $175,000 as a presale, Film Victoria came in for $100,000, and the rest of the movie was raised from Parker and Tass mortgaging their house and via 10BA.

All of the gadgets in Malcolm's house and the ingenious inventions used in the robbery sequences were devised by writer David Parker.

Filming locations
The scenes of the exterior of Malcolm's house were filmed at 23 Napoleon Street, Collingwood. The house has since been demolished and redeveloped with apartments. The interior scenes were filmed at a house in John Street, Flemington, an inner city suburb of Melbourne.

A façade was constructed in Napoleon Street for the exterior scenes of the Milk Bar. The interior scenes were filmed at the former milk bar located on Peel Street near Napoleon Street.

The Leinster Arms Hotel, located in Gold Street, Collingwood, was used for filming the inside scenes at the pub Frank often frequents.

The scenes of the headquarters of the fictional Anglo Swiss Bank were filmed at two locations. The building where Frank and Judith deliver a number of ashtrays is the Commonwealth Bank in Collins Street near the intersection with Queen Street. All signage related to the Commonwealth Bank was removed for the purpose of filming.

The overhead bridge featured in the robbery of the bank is located at the William Angliss TAFE, on La Trobe Street.

The tram depot featured in the beginning of the film is the former South Melbourne tram depot which was located on Kingsway at the corner of Dorcas Street (and is now a BMW dealer). Kew tram depot features briefly in a dawn scene of a tram depot, prior to Malcolm taking his own tram for a test run. The foreman's office in which Malcolm is sacked is located in the body shop at Preston Workshops. The scene in which Malcolm, Frank and Judith switch from a getaway van to Malcolm's tram was filmed near the Workshops in Miller Street, Thornbury.

Vehicles
The model tram that Malcolm "built" ran on a motorbike engine, the rest having been put together by Ian McClay. A wooden pole was used to simulate the power input pole. After the film was completed, the tram was donated to the Tramway Museum Society of Victoria.

The split car gag was achieved with three different Honda Zs. One was tricked up with two motorbikes bought from Albert Park Golf Club - these were the split cars that the stunt riders drove in the movie. The second car was used for the actors on a caravan base towed behind a tracking vehicle generously donated for the job by Sydney grip, Ray Brown. The third car remained as a driveable - pre-split car. It is now housed in Cascade Films Foyer in South Melbourne. The drivable split car is now stored at the National Film & Sound Archive, Canberra.

The remote controlled car used by Malcolm to rob his first bank is a Tamiya Sand Scorcher, model number 58016.

All the remote control cars, including the ashtrays, were built by David Parker, Tony Mahood and Ian McClay. The split cars were built by Tony Mahood, Steve Mills (from Ted's Camera Store) and David Parker.

The staged television news item which screens during the movie, detailing Malcolm's failed remote-control payroll robbery was read by Channel Ten Melbourne news reader David Johnston.

Music
The music used in the film was composed by Simon Jeffes and performed by him and fellow members of the Penguin Cafe Orchestra.

Box office
Malcolm grossed AU$3,482,129 at the box office in Australia.

Critical response
On Rotten Tomatoes the film has 3 positive reviews and 1 negative review.

Walter Goodman of the New York Times wrote: "Malcolm is likable, albeit a touch slow, and the same can be said of the new Australian comedy that bears his name." Desson Howe of the Washington Post wrote: "The story line meanders like a sunstroked wallaby, the hackneyed characters fail to interact logically or even interestingly, and the gadgets are just so many mildly diverting toys."

Home media
Malcolm was released on DVD by Umbrella Entertainment in November 2001. The DVD is compatible with all region codes and includes special features, such as the trailer, a photo montage, location map, the press kit, a Popcorn Taxi Q&A, More Malcolm Gizmos and audio commentary with Nadia Tass and David Parker. In 2021, Umbrella Entertainment released a region-free Blu-ray of Malcolm, retaining the special features from the DVD release and adding exclusive new features.

title: Malcolm (film)


text: User talk:82.82.205.55

title: User talk:82.82.205.55


text:
Talk:JJ Lin

RfC on content in Notes column of filmography tables in Singapore artistes BLPs
There is a current RFC on certain content in Singapore artistes BLP articles that editors watching/editing/passing through this article may be interested in weighing in: Requests for comment/Content in Notes column of filmography tables in Singapore artistes BLPs. This article may be affected due to the inclusion of Category:Singaporean actors and/or one of its subcategories in the article. RobertskySemi (talk) 23:53, 30 July 2020 (UTC)

title: Talk:JJ Lin


text:
Chilly Gonzales

Jason Charles Beck (born 20 March 1972), professionally known as Chilly Gonzales or just Gonzales, is a Canadian musician, songwriter, and producer. Currently based in Cologne, Germany, he previously lived for several years in Paris and Berlin. Gonzales’ career spans numerous genres. He is known for his rap albums, his collaborations with singer and musician Feist and rapper Drake, his albums of classical piano compositions (including the Solo Piano trilogy), and for his collaborations with electronic musicians Daft Punk and Boys Noize, the latter of whom he also produces under the moniker Octave Minds. In 2022, he and Plastikman released a piano rework of the latter's 1998 minimal techno classic album Consumed in collaboration with Canadian musician Tiga, titled "Consumed in Key".

Gonzales broadcasts a web series Pop Music Masterclass on WDR, the documentary Classical Connections on BBC Radio 1, The History of Music on Arte, and Music's Cool with Chilly Gonzales on Apple Music's Beats1 radio show. He has written several newspaper and magazine opinion pieces in The Guardian, Vice, Billboard, and others. He is the younger brother of film composer Christophe Beck. Gonzales won a Grammy award for his work on Daft Punk's 2013 studio album Random Access Memories.

Early life and career
Jason Charles Beck is the son of Ashkenazi Jews who were forced to flee from Hungary during World War II. He began teaching himself piano at age three, when his older brother Christophe began taking lessons. Beck graduated from Crescent School in Toronto, Canada. He was classically trained as a pianist at McGill University, where he began both his composing career, co-authoring several musicals with his brother, and his performing career, as a jazz pianist.

In the 1990s, he began a pop career as the leader of the alternative rock band Son, with Dominic Salole and Dave Szigeti. Son was signed to a three-album deal with Warner Music Canada in 1995, a subsidiary of Warner Bros. Records. Their first release, the Prince/Elvis Costello-flavored LP Thriller, was moderately successful, spawning one single that received heavy radio airplay ("Pick up the Phone") and leading to several opening gigs for the Barenaked Ladies. The album's production values were limited; Warner Bros. simply released the band's hastily recorded demo as a record.

Son's second release, Wolfstein, was recorded at a fully equipped studio in LA with the assistance of his brother Christophe. Nominally a concept album about a man who starts turning into a wolf after hitting one with his car, it features a darker, more complex sensibility than its predecessor.

To Warner Music, the album represented too radical a change in direction, and it lacked any singles deemed acceptable for Canadian radio; the most upbeat tune on the album had the radio-unfriendly title, "Making a Jew Cry". The label gave little promotional support to the release, and dropped the band soon after.

Move to Berlin
Finding dealing with the expectations of the Canadian music industry difficult, Gonzales moved to Berlin in 1999, despite speaking no German. He declared himself "The President of the Berlin Underground" and adopted the stage name Chilly Gonzales in 1999.

With this change in image came another major change in Gonzales's musical style. His four albums on the German label Kitty-yo (Gonzales Über Alles (1999), The Entertainist (2000), Presidential Suite (2002), and Z (2003)) were recorded as rap records, though his skills as a keyboardist were demonstrated on a series of interspersed instrumental tracks. European critics and audiences were more receptive to the eclectic and experimental nature of Gonzales's output. His first Kitty-yo single, "Let's Groove Again", became a dance floor hit upon its 1999 release. It was used in a 2007 BBC promotional trailer for their new TV programme The Restaurant. Gonzales performed regularly at nightclubs and on the summer pop festival circuit.

Solo Piano, Chambers, and classical music
In 2004, Gonzales released an album of instrumental material, Solo Piano. Praised by public and critics, it drew comparisons to the work of Erik Satie and so attracted a new global audience to his work. Solo Piano remains Gonzales's best-selling album to date.

He followed it up nine years later with Solo Piano II, long-listed for the 2013 Polaris Music Prize.

In 2015, he released Chambers, a piano and chamber piece recorded with Hamburg's Kaiser Quartett, to generally positive reviews.

The trio of Solo Piano albums was completed with the release of Solo Piano III, on 7 September 2018.

Collaborations and songwriting
In the meantime, Gonzales continued to develop as a producer and songwriter for other artists, collaborating on singles and albums with Peaches, singer Jane Birkin and indie rocker Leslie Feist. The output of the latter collaboration – Feist's 2003 album, Let It Die, became a bestseller, won critical acclaim and industry awards. Gonzales returned as a contributor on Feist's 2007 album, The Reminder, which was nominated for four Grammy Awards and won five Juno Awards.

Apart from his solo career, Gonzales is also a member of the Berlin-based hip-hop band Puppetmastaz.

Gonzales played keyboards in the song "Give Life Back to Music" and piano on "Within" from Daft Punk's fourth studio album, Random Access Memories, which won a Grammy Award for Album of the Year. In June 2013, his studio album Solo Piano II was longlisted for the 2013 Polaris Music Prize.

Gonzales collaborated with Jhené Aiko on the track "From Time" from Drake's third album Nothing Was the Same. They met to discuss a collaboration after Gonzales learned that Drake had used the entirety of Gonzales's song "The Tourist" on the track "Outro" from So Far Gone.

In 2016, Gonzales hosted Music's Cool, a two-hour radio show on the Apple Music radio station Beats 1. In the show, he analysed the musical theory behind various artists, including past collaborators and music icons.

Soft Power and Ivory Tower
In early 2008, Gonzales signed with Mercury Records, and on 7 April Soft Power was released. While maintaining a typically eclectic mix of styles, Soft Power was recorded as a pop album, with a sound reminiscent of the Bee Gees and Billy Joel. Gonzales chose to sing on the album.

Gonzales' album Ivory Tower (produced by Boys Noize) appeared on the !Earshot National Top 50 Chart in 2010. His song "Never Stop", from the album was one of his better known tunes, and the opening piano tune was featured on Apple Inc.'s worldwide advertising campaign for the iPad 2. Apple adapted the tune for electric guitar.

Grammy Award
In 2014, Chilly Gonzales won an Album of the Year Grammy Award for his work on Daft Punk's Random Access Memories.

Guinness World record
On 18 May 2009, at the Ciné 13 Théâtre, Paris, he set a world record for the longest solo-artist performance with a total time of 27 hours, 3 minutes and 44 seconds, breaking a record set by Prasanna Gudi. He played over 300 songs during the course of the record attempt.

Room 29
On 17 March 2017, Gonzales released Room 29, in collaboration with Jarvis Cocker. The album is a song-cycle, and tells of happenings in one room at a Hollywood hotel. Gonzales and Cocker performed the first concert of the album on the day that it was released, in Hamburg, Germany at the Kampnagel concert hall.

The Gonzervatory
In 2018, Chilly Gonzales launched his own music school. Seven musicians from around the world joined him to study at "The Gonzervatory", an eight-day all-expenses-paid residential music performance workshop in Paris. The workshop included coaching sessions hosted by Gonzales, followed by masterclasses from Gonzales' friends and collaborators including Peaches, Socalled, Fred Wesley and Jarvis Cocker. Evening rehearsals culminated in a finale concert at the Trianon Theater.

Discography

 * Let's Groove Again – Single, 1999 (under the name "Gonzales")
 * O.P. Original Prankster – (EP), 1999 (under the name "Gonzales")
 * Gonzales Über Alles – Kitty-Yo, 2000 (under the name "Gonzales")
 * The Entertainist – Kitty-Yo, 2000
 * Presidential Suite – Kitty-Yo, 2002 (under the name "Gonzales")
 * Z – Kitty-Yo, 2003 (under the name "Gonzales")
 * Daft Punk – "Too Long" from Daft Club (2003)
 * Solo Piano – No Format!, 2004 (under the name "Gonzales")
 * Soft Power – Mercury/Universal, 2008 (under the name "Gonzales")
 * ''Le Guinness World Record 'The Works', 2009
 * Ivory Tower – Gentle Threat, 2010
 * The Unspeakable Chilly Gonzales – Gentle Threat, 2011
 * Solo Piano II – Gentle Threat, 2012
 * Daft Punk – "Give Life Back to Music" and "Within" from Random Access Memories – 2013
 * Octave Minds (Chilly Gonzales and Boys Noize) – 2014
 * Chambers – Gentle Threat, 2015
 * Room 29 (Chilly Gonzales and Jarvis Cocker) – 2017
 * Live at Massey Hall – Gentle Threat, 2018
 * Other People's Pieces – Gentle Threat, 2018
 * Solo Piano III – Gentle Threat, 2018
 * A Very Chilly Christmas – 2020
 * Consumed in Key (Plastikman & Chilly Gonzales) – 2022
 * He Thinks That I'm An Angel (Goldie Boutilier & Chilly Gonzales) from Cowboy Gangster Politician EP - 2022
 * Daft Punk - "GLBTM (Studio Outtakes)" from Random Access Memories (10th Anniversary Edition) - 2023
 * French Kiss - Gentle Threat, 2023
 * F*CK WAGNER - Single, 2024

DVD content

 * From Major to Minor – 2006 – No Format!
 * The Unspeakable Chilly Gonzales Live with Orchestra – May 2012 – Gentle Threat

Books
In 2020, Gonzales published a book called Enya: A Treatise on Unguilty Pleasures. Gonzales discussed his childhood appreciation for Enya in a metaphorical context, recognizing the factor of involuntary taste on music choice rather than the factors of outside influences and social judgement.

title: Chilly Gonzales


text:
Karen Anderson (squash)

Karen Anderson (born 22 January 1971, in Kingston) is a professional female squash player who represented Jamaica during her career. She reached a career-high world ranking of World No. 94 in December 2005 after having joined the Women's International Squash Players Association in the same year.

Career, rankings, championships and trophies

 * 1981: National and Caribbean Junior Representative
 * 1986: National U17 Junior Champion
 * 1987: National Ladies Champion and National U19 Girls Champion
 * National Senior Team Representative at Caribbean Championships

 * 1988: Runner-up National Ladies Champion
 * National U19 Girls Champion

 * 1989: National Ladies Champion
 * National U19 Girls Champion
 * Caribbean U19 Girls Champion

 * 1990-1995: National Senior Team Representative at Caribbean Championships
 * 1999: PanAm Games Winnipeg Team Member
 * 2000-2001: Milex Liguanea Open Champion
 * 2000-2003: National Ladies Champion
 * 2001: Ranked #3 in Caribbean
 * 2002: Commonwealth Games Manchester, England Team Member
 * Plate Competition Runner-up

 * 2002: CAC Games El Salvador - Silver Medalist Team Competition
 * CAC Games El Salvador - Bronze Medalist Mixed Doubles

 * 2002: Started coaching part-time
 * 2003: PanAm Games Dominican Republic team member
 * 2003: Coaching full-time
 * 2004: Coaching Certification Technical Component
 * 2004: 3rd Place Trident Barbados Open
 * 2004: Coached Jamaica's Junior Elite Squad
 * 2005: Caribbee/Playfair Barbados Open Champion
 * 2005: Attained B2 Referee Certification (Squash Canada)
 * 2005: St. Lucia Open Runner-Up
 * 2005-2009: National Ladies Champion
 * 2005: Ranked #3 in Caribbean
 * 2005: Ranked #95 in the World
 * 2006: Silver Medallist Ladies Doubles CAC Games
 * Bronze Medallist Ladies Singles CAC Games

 * 2006: Named National Junior Coach for Junior Caribbean Squash Championships
 * 2006: Refereed at the Women's World Team Championships
 * 2007: Caribbean Ladies Champion
 * 2007: Retired from competitive play after the Caribbean Championships
 * 2007–present: National Junior Coach
 * 2010: Selected as referee for the Commonwealth Games 2010

title: Karen Anderson (squash)


text:
David Parker (director)

David Parker (born 1947 in Brisbane, Queensland) is an Australian cinematographer, film producer, screenwriter, and film director.

Films written by Parker include Malcolm, Rikky and Pete, The Big Steal, Amy, and Matching Jack (with Lynne Renew). Parker won the AFI Best Screenplay awards for Malcolm and The Big Steal.

Films produced by Parker include Malcolm, The Big Steal, Rikky and Pete, Hotel de Love, Irresistible, 'Amy, Matching Jack, and The Gates of Hell. He also produced Stark - (a BBC mini-series written by Ben Elton) and Fatal Honeymoon (for Lifetime TV in 2013). Parker co-produced the film Kath and Kimderella.

He has directed three films, Hercules Returns, Diana & Me and The Menkoff Method. He directed television commercials in the 90's notably - the "I'd Like To See That" AFL Campaign, Motorola, Nike, and Vodafone with Michael Richards. Hercules Returns was invited to both Venice and Sundance Film Festivals in 1994.

Films shot by Parker include Malcolm, Rikky and Pete (United Artists), The Big Steal, Pure Luck (Universal), Amy (Village Roadshow), Mr. Reliable (Polygram), Matching Jack, John Doe, Kath and Kimderella, (Village Roadshow). Parker's TV cinematography includes The Outsiders (Francis Ford Coppola's offshoot series of the movie, Stark (BBC), Felicity, Samantha, The Miracle Worker (Disney, 2000), Child Star (Disney, 2001), Custody, Catalina Trust, Lea to the Rescue, and Fatal Honeymoon.

He is married to director Nadia Tass, and together they established Cascade Films in 1983, a Melbourne-based production company which has produced a series of acclaimed feature films and high-quality television. Parker and Ms Tass also owned and operated the Melbourne Film Studios in Port Melbourne from 1989 until 2009; many internationally successful films and TV series were shot in these studios prior to the Docklands Studios Melbourne opening in 2004.

In 1986, Parker and Tass also won the Byron Kennedy Award for their "fiercely independent approach to film making".

Parker served as a Commissioner on the Australian Film Commission from 1992 to 1995, and was also a board member of Film Victoria from 2010 to 2018.

title: David Parker (director)


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title: User talk:69.40.59.29


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Diana of the Crossways

Diana of the Crossways is a novel by George Meredith which was published in 1885, based on the life of socialite and writer Caroline Norton.

Background
Diana of the Crossways was first serialized in the Fortnightly in 1884, then published as a book the following year. The book was Meredith's first popular novel; at least three editions of Diana of the Crossways would come out in 1885, and for many years it remained Meredith's most popular work. The book's popularity has been attributed in part to the boost in recognition that 1879's The Egoist gave Meredith, but also its roots in a high society scandal.

Meredith based the titular character of Diana on socialite, poet and novelist Caroline Norton, with whom he was acquainted, and the politics of the story on the troubled history of Robert Peel's administration and the 1845 Corn Laws. Norton had been accused of selling to The Times the news, allegedly told to her by admirer Sidney Herbert, of Peel's intent to repeal the laws. The story was later proven false, but its prominence in Meredith's fictionalized story drew significant credence to the claim. Beginning with the 1890 edition, Meredith added a disclaimer to the preface of the book that "the story of Diana of the Crossways is to be read as fiction."

Diana of the Crossways has been described as a feminist novel, and contemporary writers have drawn additional parallels between Diana's marriage and Meredith's similarly troubled marriage to his first wife Mary Ellen, the dissolution of which had deeply troubled him for several decades. Critic Richard Cronin argues that Meredith's choice to make Diana childless -- unlike Norton, whose political activism over losing custody of her sons famously led Parliament to pass several reforms concerning married women's rights -- stemmed from a desire to "avoid reflecting on the similarities between [George Norton's behavior] and his own behavior toward Mary Ellen."

Plot
Diana Warwick, beautiful, charming and intelligent but hotheaded, becomes embroiled in a political as well as a social scandal. She says: "We women are the verbs passive of the alliance, we have to learn, and if we take to activity, with the best intentions, we conjugate a frightful disturbance. We are to run on lines, like the steam-trains, or we come to no station, dash to fragments. I have the misfortune to know I was born an active. I take my chance." Her efforts to advance her husband, through cultivating a friendship with Cabinet Minister Lord Dannisburgh, lead to scandal and alienation from her husband, Augustus Warwick. Her intention to live "independently" through writing is initially successful, but her involvement in politics brings her to grief, both personal and public.

Characters

 * Diana Meredith, the fiery title character. She enters into a loveless marriage with Augustus Warwick. She was heavily inspired by Caroline Norton
 * Dan Meredith, the father of Diana. A noted wit, his relation to Diana parallels that of Caroline Norton's grandfather, Richard Brinsley Sheridan.
 * Augustus Warwick, a politician who marries Diana, but later attempts to divorce her due to her platonic friendship with Lord Dannisburgh.
 * Lord Dannisburgh, an elderly cabinet minister who befriends Diana
 * Percy Dacier, the nephew of Lord Dannisburgh. He is infatuated with Diana, but is betrayed when she leaks information about him to the newspapers.
 * Marcus Tonans, a newspaper editor
 * Constance Asper, a wealthy and well-regarded heiress. She ultimately marries Percy Dacier
 * Captain Rampan, a womaniser who pursues unmarried women. He forms part of the reason why Diana is forced to marry Augustus Warwick.
 * Mary Paynham, a portrait-painter with a damaged reputation
 * Mrs Crambourne Wathin, the wife of a tradesman whose social ambition leads her to insult Diana Meredith's character
 * Thomas Redworth, the faithful lover of Diana Meredith who remains alongside her throughout her marriage to Augustus Warwick. After Warwick's death, he marries Diana.
 * Arthur Rhodes, a failed writer who unsuccessfully proposes to Diana.

Adaptation
In 1922 the novel was adapted into a film Diana of the Crossways directed by Denison Clift and starring Fay Compton and Henry Victor.

title: Diana of the Crossways


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Eendracht (1989 ship)

The Eendracht is a three-masted schooner from the Netherlands, built in 1989 at the Damen shipyard after a design by W. de Vries Lentsch.

She is now run on a charter base by Stichting het Zeilend Zeeschip (the Sailing Seaship Foundation) and used as a sail training ship to give young people an introduction to the sea. This is the second "Eendracht", Eendracht meaning 'unison' in the Dutch language). The first vessel run by the same foundation was a two masted schooner, which was sold to German owners and now sails under the name of "Johann Smidt".

The foundation that runs the programme was founded in 1938 but with the second world war disrupting the plans, it took a lot longer than anticipated to raise the funds for the first ship. Soon after the first vessel, originally a topsail schooner, was launched, it was realised that the vessel was too small for the purposes of the foundation. Immediately the planning for a larger three masted vessel began.

This three-masted vessel has sailed continuously since her launch date. Every year she spends the winter months in the south, and the summer in the North Sea region. She has a crew of around 350 mostly professional, volunteers.

On 21 October 1998, Eendracht ran aground at Newhaven, East Sussex, United Kingdom. All 51 people on board were rescued by helicopter. She was later refloated and returned to service.

title: Eendracht (1989 ship)


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Overbrook station

Overbrook station is a SEPTA Regional Rail station on the Paoli/Thorndale Line, located near 63rd Street and City Line Avenue (US 1) in the Overbrook neighborhood of Philadelphia, Pennsylvania. It serves many of the residents of Overbrook Farms and the suburban neighborhoods across City Avenue in neighboring Montgomery County, as well as Saint Joseph's University and Talmudical Yeshiva of Philadelphia. Overbrook has two low-level side platforms with pathways connecting the platforms to the inner tracks.

History
The current station building was constructed around 1860 on the inbound (eastbound) side. The station, platforms, and canopies were restored from 1999 to 2003 in a $9.1 million project. A smaller shelter serves westbound passengers.

Amtrak served Overbrook with some westbound Keystone Service trips until 1987.

In 2009, the station was the site of a fire involving a Budd Silverliner II electric multiple unit catching fire due to a faulty heater.

title: Overbrook station


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The Sleeping Beauty (ballet)

The Sleeping Beauty (Спящая красавица ) is a ballet in a prologue and three acts to music by Pyotr Ilyich Tchaikovsky, his Opus 66, completed in 1889. It is the second of his three ballets and, at 160 minutes, his second-longest work in any genre. The original scenario was by Ivan Vsevolozhsky after Perrault's La belle au bois dormant, or The Beauty Sleeping in the Forest; the first choreographer was Marius Petipa. The premiere took place at the Mariinsky Theatre in St. Petersburg on January 15, 1890, and from that year forward The Sleeping Beauty has remained one of the most famous ballets of all time.

History
Tchaikovsky was approached by the Director of the Imperial Theatres in St. Petersburg, Ivan Vsevolozhsky on 25 May 1888 about a possible ballet adaptation on the subject of the story of Undine. It was later decided that Charles Perrault's La Belle au bois dormant would be the story for which Tchaikovsky would compose the music for the ballet. Tchaikovsky did not hesitate to accept the commission, although he was aware that his only previous ballet, Swan Lake, met with little enthusiasm at that stage of his career.

Tchaikovsky based his work on Brothers Grimm's version of Perrault's 'Dornröschen'. In that version, the Princess's parents survive the 100-year sleep to celebrate the Princess's wedding with the Prince. However, Vsevolozhsky incorporated Perrault's other characters from his stories into the ballet, such as Puss in Boots, Little Red Riding Hood, Cinderella, Bluebird, Bluebeard, Ricky of the Tuft and Tom Thumb. Other French fairy tale characters to be featured are Beauty and the Beast, Pretty Goldilocks and The White Cat. Regardless, Tchaikovsky was happy to inform the Director of the Imperial Theatre that he had great pleasure studying the work and came away with adequate inspiration to do it justice.

The choreographer was Marius Petipa, ballet master of the Imperial Ballet, who wrote a very detailed list of instructions as to the musical requirements. Tchaikovsky worked quickly on the new work at Frolovskoye; he began initial sketches in the winter of 1888 and began orchestration on the work on 30 May 1889.

The ballet's focus was on the two main conflicting forces of good (the Lilac Fairy) and evil (Carabosse); each has a leitmotif representing them, which run through the entire ballet, serving as an important thread to the underlying plot. Act III of the work, however, takes a complete break from the two motifs and instead places focus on the individual characters of the various court dances.

The ballet's premiere received more favorable accolades than Swan Lake from the press but Tchaikovsky never had the luxury of being able to witness his work become an instant success in theatres outside of Russia. He died in 1893. By 1903, The Sleeping Beauty was the second most popular ballet in the repertory of the Imperial Ballet (the Petipa/Pugni The Pharaoh's Daughter was first), having been performed 200 times in only 10 years.

A production mounted at the La Scala in Milan did not arouse much interest and it was not until 1921 that, in London, the ballet finally gained wide acclaim and eventually a permanent place in the classical repertoire. In 1999, the Mariinsky Ballet reconstructed the original 1890 production, including reproductions of the original sets and costumes. Although the 1951 Kirov production by Konstantin Sergeyev is available on DVD/Video, the 1999 "authentic" version was never commercially released.

The Sleeping Beauty is Tchaikovsky's longest ballet, lasting nearly four hours at full length (counting the intermissions). The complete score runs practically 3 hours. It is nearly always cut.

At the premiere, Tsar Alexander III summoned Tchaikovsky to the imperial box. The Tsar made the simple remark 'Very nice,' which seemed to have irritated Tchaikovsky, who had likely expected a more favorable response. In any case the Tsar immediately paid Tchaikovsky a substantial bonus.

Performance history
St. Petersburg premiere (world premiere)

 * Date: 15 January 1890
 * Place: Imperial Mariinsky Theatre, St. Petersburg
 * Balletmaster: Marius Petipa
 * Conductor: Riccardo Drigo
 * Scene Designers: Henrich Levogt (Prologue), Ivan Andreyev (Act 1), Mikhail Bocharov (Acts 1 & 2), Matvey Shishkov (Act 3)
 * Director of the Imperial Theaters: Ivan Vsevolozhsky
 * Costumes:
 * Original Cast: Feliks Krzesiński (King Florestan), Giuseppina Cecchetti (Queen), Carlotta Brianza (Princess Aurora), Marie Petipa (Lilac Fairy), Enrico Cecchetti (Carabosse, Bluebird), Pavel Gerdt (Prince Désiré), Varvara Nikitina (Princess Florine)

Moscow premiere

 * Date: 17 January 1899
 * Place: Moscow Imperial Bolshoi Theatre
 * Balletmaster: Aleksandr Gorsky
 * Conductor: Andrey Arends
 * Scene Designers: Anatoliy Geltser, Karl Valts (Waltz)
 * Original Cast: Lyubov Roslavleva (Princess Aurora), M. Grachevskaya (Lilac Fairy), Vasily Geltser (Carabosse), Ivan Khlyustin (Prince Désiré)

Other notable productions

 * 1896, Milan, La Scala, staged by Giorgio Saracco, Carlotta Brianza as Aurora
 * 1921, London, Alhambra Theatre, as The Sleeping Princess, Diaghilev production, staged by Nikolay Sergeyev, scenes by Léon Bakst
 * 1937, Philadelphia, staged by Catherine Littlefield
 * 1945, San Francisco, staged by Sergei Temoff for the San Francisco Russian Opera and Ballet Association
 * 1946, London, Royal Opera House debut, performed by the Sadler's Wells Ballet.
 * 1968, London, with the Royal Ballet at the Royal Opera House, Covent Garden. Costumes and masks were created by Rostislav Doboujinsky, in collaboration with Lila de Nobili.
 * 1978 at Stuttgart Ballet, choreographed by Marcia Haydée with sets by Jürgen Rose. The production shows Carabosse as a virtuoso role for a male dancer. It has been staged also at Turkish National Ballet (2000), Teatro Municipal Santiago de Chile (2006), Royal Ballet of Flanders in Antwerp (2006), West Australian Ballet in Perth (2010), Royal Swedish Ballet at Stockholm (2012), Korea National Ballet at Seoul (2016), Czech National Ballet at Prague (2021), Les Grands Ballets Canadiens (2022) and Berlin State Ballet (2022)
 * 1990, San Francisco, with San Francisco Ballet as choreographed by Helgi Tómasson in tribute to Tchaikovsky, and with a focus on maintaining the Russian-French connection
 * 1992, Basel, Theater Basel reworked by Youri Vámos with new narrative involving the life of Anna Anderson and her claim to be Grand Duchess Anastasia. The order of musical numbers has been slightly changed, some numbers omitted with other music by Tchaikovsky added and major set pieces of Petipa's choreography retained, but now placed in different narrative context - often performed as Anderson's "memories". This version has been performed by a number of central European ballet companies over the past two decades.
 * 1999, St. Petersburg, Mariinsky Theatre, staged by Sergei Vikharev from Stepanov notations with recreations of the original sets and costumes.

Synopsis
Setting
 * Time: Baroque
 * Place: Europe

Prologue — Le baptême de la Princesse Aurore King Florestan XXIV and his Queen have welcomed their first child, Princess Aurora, and declare a grand christening ceremony to honor her. Six fairies are invited to the ceremony to bestow gifts on the child. Each fairy brings a gift of a virtue or positive trait, such as beauty, courage, sweetness, musical talent, and mischief. The most powerful fairy, the Lilac Fairy, arrives with her entourage, but before she can bestow her gift, the evil fairy Carabosse arrives with her minions. Carabosse furiously asks the King and Queen why she had not received an invitation to the christening. The blame falls on Catalabutte, the Master of Ceremonies who was in charge of the guest list. Carabosse gleefully tears his wig off and beats him with her staff, before placing a curse upon the baby princess as revenge: Aurora will indeed grow up to be a beautiful, healthy, delightful young lady, but on her sixteenth birthday she will prick her finger on a spindle and die. The King and Queen are horrified and beg Carabosse for mercy, but she shows none. However, the Lilac Fairy intervenes. Though she does not have enough power to completely undo the curse, she alters it, allowing the spindle to cause a peaceful 100-year sleep for the princess, rather than death. At the end of those 100 years, she will be woken by the kiss of a handsome prince. Relieved that Aurora's life will ultimately be spared, the court is set at ease.

Act I — Les quatre fiancés de la Princesse Aurore It is the day of Princess Aurora's sixteenth birthday. Celebrations are underway, though the King is still unsettled by Carabosse's omen. The master of ceremonies discovers several peasant ladies frolicking about with knitting needles and alerts the King, who initially sentences the women to a harsh punishment. The Queen gently persuades him to spare the innocent citizens, and he agrees. An elaborate waltz is performed and Princess Aurora arrives. She is introduced to four suitors by her doting parents. Aurora and the suitors perform the famous Rose Adagio. Presently, a cloaked stranger appears and offers a gift to the princess: a spindle. Having never seen one before, Aurora curiously examines the strange object as her parents desperately try to intervene. As predicted, she pricks her finger. While initially appearing to recover quickly, she falls into a swoon and collapses. The cloaked stranger reveals herself to be Carabosse, who believes that her curse still stands and that the princess is dead. Once again, the Lilac Fairy quells the hubbub and reminds the King and Queen that Aurora is merely asleep. The princess is carried off to bed, and the Lilac Fairy casts a spell of slumber over the entire kingdom, which will only be broken when Aurora awakens. A thick layer of thorny plants grows over the palace, hiding it from view.

Act II, Scene I — La chasse du Prince Désiré One hundred years later, Prince Désiré is attending a hunting party. Though his companions are lighthearted, the prince is unhappy and eventually asks to be left alone. On his own in the forest, he is met by the Lilac Fairy, who has chosen him to awaken Aurora. She shows him a vision of the beautiful princess, and the prince is immediately smitten. The Lilac Fairy explains the situation, and Désiré begs to be taken to the princess. The Lilac Fairy takes him to the hidden castle. Carabosse makes one last attempt to cement her vengeful curse, but the Lilac Fairy and the prince manage to defeat her together at last.

Act II, Scene II — Le château de la belle au bois dormant Once inside the castle, Désiré awakens Aurora with a kiss. The rest of the court wakes as well, and the King and Queen heartily approve when the prince proposes marriage and the princess accepts.

Act III — Les noces de Désiré et d'Aurore The royal wedding is under way. Guests include the Jewel Fairies: Diamond, Gold, Silver and Sapphire, and of course the Lilac Fairy. Fairytale characters are in attendance, including Puss in Boots and The White Cat, Princess Florine and the Bluebird, and others. Aurora and Désiré perform a grand Pas de Deux, and the entire ensemble dances. The prince and princess are married, with the Lilac Fairy blessing the union.

Roles
• The Royal Court

• King Florestan XXIV

• Queen

• Princess Aurora or The Sleeping Beauty

• Catalabutte (the Master-of-Ceremonies)

• Courtiers, Maids of Honor, Pages, and Lackeys

• The Fairies

• Candide (Candor), or Crystal Fountain Fairy

• Coulante, Fleur de farine (Flowing, Wheat flour), or Enchanted Garden Fairy

• Miettes qui tombent (Falling breadcrumbs), or Woodland Glade fairy.

• Canari qui chante (Singing canary), or Fairy of Songbirds.

• Violente (Force), or Fairy of Golden Vine.

• The Lilac Fairy

• Carabosse, the evil fairy

• The Gold, Silver, Sapphire, and Diamond Fairies

• The Four Suitors

• Prince Chéri

• Prince Charmant

• Prince Fortuné

• Prince Fleur de Pois

• The Prince's Hunting Party

• Prince Désiré (Florimund)

• Gallifron, Prince Désiré's tutor

• The Prince's friends, Duchesses, Marchionesses, Countesses, Viscountesses, Baronesses

• Fairy-Tale Characters

• Puss-in-Boots

• The White Cat

• Cinderella

• Prince Charming

• Princess Florine

• Bluebird

• Little Red Riding Hood

• The Gray Wolf

• Hop-o'-My-Thumb, his brothers, and the Ogre

Instrumentation

 * Woodwinds: 2 Flutes, Piccolo, 2 Oboes, Cor anglais, 2 Clarinets (B♭, A), 2 Bassoons
 * Brass: 4 horns (F), 2 Cornets (B♭, A), 2 Trumpets (B♭, A), 3 Trombones, Tuba
 * Percussion: Bass Drum, Cymbals, Glockenspiel, Side Drum, Tambourine, Tam-tam, Timpani, Triangle
 * Keyboards: Piano
 * Strings: Harp, Violins I, Violins II, Violas, Cellos, Double basses

Musical structure
Major changes made to the score for Petipa's original production are mentioned, and help explain why the score is heard in various versions in theatres today. Theatre programs in Imperial Russia were produced in Russian and French versions, respectively.

Prologue — Le baptême de la Princesse Aurore
 * No.1-a Introduction
 * No.1-b Marche
 * No.2-a Entrée des fées
 * No.2-b Scène dansante
 * No.3 Grand pas d'ensemble (a.k.a. Pas de six) —
 * a. Grand adage. Petit allégro
 * b. Variation - Candide
 * c. Variation - Coulante–Fleur de farine
 * d. Variation - Miettes–qui tombent
 * e. Variation - Canari–qui chante
 * f. Variation - Violente–échevelée
 * g. Variation - La Fée des lilas–voluptueuse
 * h. Coda générale
 * No.4 Scène et final—
 * a. Entrée de Carabosse
 * b. Scène mimique de Carabosse
 * c. Scène mimique de la Fée des lilas

Act I — Les quatre fiancés de la Princesse Aurore
 * No.5-a Introduction
 * No.5-b Scène des tricoteuses
 * No.6 Grande valse villageoise (a.k.a. The Garland Waltz)
 * No.7 Entrée d'Aurore
 * No.8 Grand pas d'action—
 * a. Grand adage (harp cadenza extended by Albert Heinrich Zabel)
 * b. Danse des demoiselles d'honneur et des pages
 * c. Variation d'Aurore (coda edited for the first production)
 * d. Coda
 * No.9 Scène et final—
 * a. Danse d'Aurore avec le fuseau
 * b. Le charme
 * c. L'arrivée de la Fée des lilas

Act II, Scene I — La chasse du Prince Désiré
 * No.10-a Entr'acte
 * No.10-b Scène de la chasse royale
 * No.11 Colin-Maillard
 * No.12 Danses des demoiselles nobles—
 * a. Scène
 * b. Danse des duchesses
 * c. Danse des baronnes (cut by Petipa from the original production)
 * d. Danse des comtesses (cut by Petipa from the original production)
 * e. Danse des marquises (cut by Petipa from the original production)
 * No.13 Coda–Farandole
 * No.14-a Scène et départ des chasseurs
 * No.14-b Entrée de la Fée des lilas
 * No.15 Pas d'action—
 * a. L'apparition d'Aurore
 * b. Grand adage (harp cadenza extended by Albert Heinrich Zabe)
 * c. Valse des nymphes–Petit allégro coquet

 * Interpolation: 4 bars added to end no.15-c and facilitate a key change for the proceeding nunber. Composed by Riccardo Drigo.)
 * Interpolation: Variation Mlle. Brianza (originally No.23-b Variation de la fée-Or from Act III)
 * d. Variation d'Aurore (cut by Petipa from the original production)
 * e. Petite coda
 * No.16 Scène
 * No.17 Panorama

 * Interpolation: 3 transitional bars for the end of no.17 composed by Riccardo Drigo to lead into no.19, as no.18 was cut in the original production
 * No.18 Entr'acte symphonique (solo for violin for Leopold Auer, cut from the original production)

Act II, Scene II — Le château de la belle au bois dormant
 * No.19 Scène du château de sommeil
 * No.20 Scène et final – Le réveil d'Aurore

Act III — Les noces de Désiré et d'Aurore
 * No.21 Marche
 * No.22 Grand polonaise dansée (a.k.a. The Procession of the Fairy Tales)
 * Grand divertissement—
 * No.23 Pas de quatre
 * a. Entrée
 * b. Variation de la fée-Or (transferred by Petipa to Act II as a variation for Carlotta Brianza in the original production)
 * c. Variation de la fée-Argent (changed by Petipa in the original production – Pas de trois pour la Fées d'Or, d'Argent et de Saphir)
 * d. Variation de la fée-Saphir (cut by Petipa from the original production)
 * e. Variation de la fée-Diamant
 * f. Coda

 * Interpolation: Entrée de chats (a 10 bar introduction written by Tchaikovsky for no.24)
 * No.24 Pas de caractère – Le Chat botté et la Chatte blanche
 * No.25 Pas de quatre (changed by Petipa in the original production – Pas de deux de l'Oiseau bleu et la Princesse Florine)
 * a. Entrée
 * b. Variation de Cendrillon et Prince Fortuné (changed by Petipa in the original production – Variation de l'Oiseau bleu)
 * c. Variation de l'Oiseau bleu et la Princesse Florine (changed by Petipa in the original production – Variation de la Princesse Florine)
 * d. Coda
 * No.26 Pas de caractère – Chaperon Rouge et le Loup

 * Interpolation: Pas de caractère – Cendrillon et Prince Fortuné
 * No.27 Pas berrichon – Le Petit Poucet, ses frères et l'Ogre
 * No.28 Grand pas de deux
 * a. Entrée (only the first eight bars were retained)
 * b. Grand adage

 * Interpolation: Danse pour les Fées d'Or et de Saphir in 6/8 (Petipa utilized the music for the Entrée as accompaniment for the Gold and Sapphire Fairies)
 * c. Variation du Prince Désiré
 * d. Variation d'Aurore — Mlle. Brianza (edited by Riccardo Drigo for the original production)
 * e. Coda
 * No.29 Sarabande – quadrille pour Turcs, Éthiopiens, Africains et Américains (cut by Petipa soon after the ballet's premiere)
 * No.30-a Coda générale
 * No.30-b Apothéose – Helios en costume de Louis XIV, éclairé par le soleil entouré des fées (music based on Marche Henri IV)

Trademark controversy
In 2007, The Walt Disney Company registered a trademark with the US Patent and Trademark Office for the name "Princess Aurora" that was to cover production and distribution of motion picture films; production of television programs; production of sound and video recordings. This could have limited the ability to perform this ballet, from which Disney acquired some of the music for its animated 1959 film Sleeping Beauty. However, this trademark has since been removed from the registry.

Video samples
Sleeping Beauty, Kirov Ballet, 1965 Corinth Films
 * The Sleeping Beauty - Choreography by Rudolf Nureyev
 * The Ballet Soloist (aka Russian Ballerina) – 1947 Soviet musical film with scenes from Tchaikovsky's Swan Lake and The Sleeping Beauty. With subtitles in Esperanto.
 * Solo of Prince Désiré from Pas de deux (Act 3) danced by Rudolf Nureyev (from YouTube)

History

 * Tchaikovsky Research

title: The Sleeping Beauty (ballet)


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Santillana (footballer)

Carlos Alonso González (born 23 August 1952), known as Santillana, is a Spanish former footballer who played as a striker.

He was best known for his Real Madrid spell, which consisted of 17 La Liga seasons and 645 competitive matches. He signed with the club in 1971, from Racing de Santander.

The recipient of more than 50 caps for Spain, Santillana represented the nation in two World Cups and as many European Championships.

Club career
Born in Santillana del Mar, Cantabria, Santillana (nickname taken from birthplace) started playing professionally with local Racing de Santander, moving to Real Madrid and La Liga in 1971 alongside teammate Francisco Aguilar, aged just 19, and proceeding to score ten goals in 34 games in his debut season as the team were crowned league champions.

Santillana went on to win nine league titles, four Copa del Reys and back-to-back UEFA Cups, while scoring in both of the latter competition's finals. He played 645 first-team matches – a record which stood until Manolo Sanchís surpassed him during the 1997–98 campaign – in which he netted 290 goals; the eighth-highest all-time scorer in the first division, with 186 goals in 461 appearances, he never won the Pichichi Trophy.

After just 12 league appearances in 1987–88, in which he scored four times, Santillana retired from football at almost 36, finding the net in a 2–1 home win against Real Valladolid. Madrid conquered three titles in a row in his final three seasons.

International career
Santillana played 56 times and scored 15 goals for the Spain national team, his debut being on 17 April 1975 in a 1–1 draw with Romania for the UEFA Euro 1976 qualifiers held in Madrid. He represented his country in the 1978 and 1982 FIFA World Cups, as well as three European Championships: 1976, reaching the quarter-finals, 1980, failing to advance to the second round, and 1984 which ended with a runner-up finish to hosts France, with the player coming close to scoring the opener on a header saved just off the line by Luis Fernández, of Spanish origin.

On 21 December 1983, during a European Championship qualifying match against Malta that had to be won by 11 goals in order to qualify, Santillana scored a hat-trick in the first half and added a fourth in the second period, as the national side qualified at the expense of the Netherlands – incidentally, his former understudy at Real Madrid, Hipólito Rincón (now at Real Betis), also netted four times in a 12–1 victory.

Style of play
Santillana possessed stellar heading skills despite not reaching 1.80 m, courtesy of his jumping ability, and was widely regarded as one of the best strikers in the history of Spanish football.

Honours
Real Madrid
 * La Liga: 1971–72, 1974–75, 1975–76, 1977–78, 1978–79, 1979–80, 1985–86, 1986–87, 1987–88
 * Copa del Rey: 1973–74, 1974–75, 1979–80, 1981–82
 * Copa de la Liga: 1985
 * UEFA Cup: 1984–85, 1985–86

Spain
 * UEFA European Championship runner-up: 1984

Individual
 * Pichichi Trophy (Segunda División): 1970–71

title: Santillana (footballer)