text:
Talk:The Mountain

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Differing interpretations?
Is there any differing interpretations of the group? (anon 3 May 2005)

 * That's pretty vague. Differing as to who it included? No. Differing in almost any other respect? Yes. Did you have something in particular in mind? -- Jmabel | Talk 06:49, May 4, 2005 (UTC)

The Mountain
I would offer some different interpretations. I disagree with the statement that "the Girondists comprised mainly theorists and thinkers, whereas the Mountain consisted almost entirely of uncompromising men of action." There were a number of "men of action" alligned with the Gironde, including many of the Revolution's most accomplished journalists such as Brissot, Gorsas, Louvet and Carra, and a number of skilled orators such as Vergniaud, Barbaroux and Gensonne. On the other hand, there were also a number of Montagnards who were really more along the lines of theorists, including, one could argue, Robespierre. The assertion that temprament was the main source of the Girondin-Montagnard split is based largely on the work of Michael Syndenham, who contended that the two groups were actually motovated by similar ideologies. The point is debatable, but I would contend that the Girondins and the Montagnards were split on a number of issues, including their views on the Parisian militants, the war, the strength of the central government and the need for Terror. None of this is mentioned in the article. Also, the Mountain did not entirely dissolve after Robespierre's execution. A number of deputies continued to agitate for Montagnard principles over the course of the next year, and were referred to as "the Crest". Some collaborated with the insurrectionists during the Prarial uprising, and were subsequently guillotined. The group largely broke up during the repression which followed, but some of its members participated in the Babeuf plot. (anon 15 July 2005)

 * Prarial ==> Prairial
 * the "Crest" is also known as the "Summit"

I concur with most of the anonymous remark above (except that I'm not sure how much being a journalist or even an orator qualifies as being a "man of action"). But there is a lot here that probably should be worked into the article.

I think that when people say that their ideologies were similar, they consider the four matters you list as tactical rather than ideological. For example, they would that Gironde did not reject Terror on principle (they were, after all, committed Regicides), but because they simply didn't consider it an effective tactic to get what they wanted. Similarly, Robespierre's initial opposition to fighting a war to export the Revolution was almost certainly not a matter of principle: it was, overtly, based on a fear that even victory would simply bring a victorious general to power, precisely what happenned a decade later. -- Jmabel | Talk 04:28, July 16, 2005 (UTC)

This raises some interesting points of discussion. The correct spelling is, as you state Prairial, and the French "la Crete" can be translated both as "the Summit" and "the Crest" with roughly equivalent meanings. As for the main issues- I think that the whole "man of action" debate does not really get to the heart of the issue. The Montagne and the Gironde, like all political factions, both included skilled polemicists (for example, Marat for the Montagne and Louvet for the Gironde), eloquent parliamentary orators (say, Danton and Vergniaud) and theorists (say, Robsepierre and Condorcet). The main reason for the split was a question of political principle rather than political style. In terms of principle, I will concede that the issue of the war was, in fact, the least decisive factor. Only a handful of future Montagnards, most notably Robespierre, opposed the war. And once the war began, none of the Montagnards turned to defeatism, and instead became even more militaristic than the Girondins. The main issue is that the Girondins, who were more or less in power when the war began (spring of 1792), more or less supported its outbreak. I disagree with you on the issue of the Terror. First of all, the Girondins were never really supporters of the regicide. While some Girondins, most notably Vergniaud, voted in the end for the death of the King, this was largely a tactical conceit, since the issue had been more or less decided. In general, the Girondins, if not outright opponents of the death of Louis XVI, opposed the legality of his trial before the Convention and advocated instead a national plebicite on his fate, which was easily suppressed by the Montagnards.

The Girondins also opposed the Montagnard's increasing recourse to violent rhetoric, which was really the prelude to the actual Reign of Terror, which would only be enacted after the Girondins had been purged (indeed, their execution in October 1793 would be one of the first major steps toward the Terror). Perhaps the most important issue was the split between Paris and the provinces. The Montagne was largely created as a political faction in Paris during the fall of 1792, and thus was closely aligned with the already quite powerful Parisian radical movement, which had, in fact, existed from the very first days of the Revolution. The Gironde, by contrast, opposed what they saw as the increasing dominatation of Parisian radicals and, in the end, became inseperably linked to "federalism", which sought to raise the provinces against Paris. In this way, the Montagnard-Girondist split was the origin of the brief but bloody civil war which was waged in France in 1793 (excluding the Vendee, which was a different matter entirely). All of these arguments, I admit, are open to argument. However, I would say that it is evident that the article on "the Montagne", which seems to be only a sligtly modified version of the informative but quaint 1911 encyclopedia, needs to be revised. Joe Horan (16 July 2005)

 * (I can't tell if this last was from the same person as the first remark above. Either way, I'd sure appreciate if people would take accounts and sign their posts with ~ so we can see who said what when. Thanks -- Jmabel | Talk 22:13, July 16, 2005 (UTC))

 * I agree with pretty much everything you've said. I would welcome your taking a shot at the article. -- Jmabel | Talk 22:20, July 16, 2005 (UTC)
 * Yes, but wasn't "Mountain", a political term that emerged in the same context as the seminal political designations, "Left" and "Right", intended to infer the plebian mass base of the revolution, like people who sat in the bleachers in baseball games.Tom Cod (talk) 09:11, 11 April 2008 (UTC)

 * I agree with the anonymous author above that the distinctions between the 2 groups is probably largely based upon the opinions of Syndenham; It is a shame that we are in 2009, and still no one is able to distinguish either the 2 groups from one another or what really happened behaviorally during the French Revolution... Stevenmitchell (talk) 00:56, 1 March 2009 (UTC)

Disambiguation
Why was the organization of pages changed here without discussion -- and, I might add, without the person who moved this cleaning up the dozens of links pointing to one of the most important political groupings of the French Revolution?

Nothing against Steve Earle, but The Mountain (political group) is of a different order of importance than a record album and far more likely to be linked to. The disambiguation page should be The Mountain (disambiguation) and The Mountain should refer to the political grouping. -- Jmabel | Talk 20:28, 4 October 2005 (UTC)

We have consensus (see Talk:The Mountain (political group)) this is all back here again. -- Jmabel | Talk 19:44, 5 October 2005 (UTC)

And of course let's not forget the rock group Mountain. (Mountain (band). Tom Cod (talk) 09:11, 11 April 2008 (UTC)

Content
I came here to find out what La Montagne stood for, beleived in or accomplished. As the "left" political term originally pertained to this group, I was hoping this information might be here. Could I ask that the article include a little about these things? "very diverse shades of opinion" doesn't really cover it. Thankyou.

mr_happyhour 24 Dec 2006

 * Yes, this could be enormously expanded. Could someone take this on? - Jmabel | Talk 01:27, 27 December 2006 (UTC)
 * Yes, it did. Both the name Montagne and the concept of the political left derived from the fact that Robespierre and his closest allies took their seats on the upper ranks at the left of the speakerTropische Storm Sven 03:05, 8 March 2007 (UTC)

 * I don't see any expansion to speak of on the "very diverse shades of opinion". - Jmabel | Talk 22:57, 27 March 2007 (UTC)

 * I agree with you that information on the Mountain and its radicalization and political ideas need to be clarified and expanded in this article. In particular, the schism between the Girondins and the Mountain and how the Mountain was able to dominate the political body during the Terror. I would also like to see information on other figures in the Mountain, besides Robespierre, to clarify these "very diverse shades of opinion." Aweeksdu11 (talk) 15:44, 22 October 2009 (UTC)

The Mountain in the Second Republic
It seems worth noting that there was a new Mountain in the Second Republic which acted as the left wing in parliament throughout that government's short existence. I added a brief reference to it, but it'd be good to have more on this. At present, my main knowledge of it comes from Marx's 18th Brumaire, which I don't think is really a reliable source, so I'm reluctant to do much. john k (talk) 03:27, 23 February 2009 (UTC)
 * I've written an article on the Mountain in the Second Republic (The Mountain (1849)) and tried to incorporate some material from the 18th Brumaire, though it wasn't my primary source. Yohan euan o4 (talk) 19:10, 31 August 2009 (UTC)

Policies of the Mountain
I would like to create a section about the policies pursued by the Mountain, as well as their involvement in Lyon. I would also like to add information on their rise to power.Camryndreyer (talk) 15:49, 27 April 2017 (UTC) — Preceding unsigned comment added by Camryndreyer (talk • contribs) 15:26, 27 April 2017 (UTC)

Montagnards in Vietnam
Why is there nothing at all, not even a link, on this page or the disambiguation page, to the article on the Degar tribesmen in Vietnam, who also went by the name "Montagnards" before and during the Vietnam War? AnnaGoFast (talk) 12:13, 1 January 2018 (UTC)
 * .  — SMcCandlish ☏ ¢ 😼  02:08, 1 December 2018 (UTC)

Recent change (16 March 2020: Inclusion of extra information)
The content put forward in this change seems useful for both perspective and detail. But it deletes existing content without explanation. It's also unsourced, and that needs fixing.

Not only that. . it replaces content without changing the supporting citation.

It seems unlikely tht p.26 of Palmer's Twelve Who Ruled says both tht "The Mountain accused the Girondins of plotting against Paris because this caveat within the proposed constitution would have allowed rural areas of France to vote against legislation that benefits Paris, the main constituency of the Mountain. However, the real discord in the Convention occurred not between the Mountain and the Gironde, but between the aggressive antics of the minority of the Mountain and the rest of the Convention", as previously claimed, and tht " After the 'sans-culottes' had forced the National Convention to expel twenty prominent Girondins seen as counter-revolutionary, there were anti-Jacobin insurrections in major provincial cities, including Bordeaux, Lyon, Caen, Marseille and Toulon. Coming at a time of external military crisis and invasion, these 'federalist' revolts were ruthlessly repressed", as the changed article text claims. This is a bit like changing the points under the train; and it happens in other places too in this edit.

For all three reasons it seems necessary to revert the edit. . can the contributor, or anyone else, have a go?

--' SquisherDa (talk) 12:22, 16 March 2020 (UTC)

First paragraph: National Assembly vs. National Convention

Is this a typo? ″Its members, called the Montagnards (French: [mɔ̃taɲaʁ]), sat on the highest benches in the National Assembly."

Weren't the Mountain a major faction in the National Convention of 1792 instead of the National Assembly? Rest of article seems to support this. — Preceding unsigned comment added by 2601:741:8001:7A42:39C1:19CA:2736:A2AC (talk) 01:04, 2 June 2020 (UTC)

If Montagnards were "obliterated" in 1795, how did they win elections in 1798 and 1799?
The article says: "The Montagnards that survived were arrested, executed or deported. By 1795 the Mountain had effectively been obliterated." and "Finally, at the end of 1794 the Mountain largely devolved into a group called The Crest (French: crête), which lacked any real power." and nothing within the article describes the Montagnards past that.

And then, with zero commentary, Montagnards are shown winning Legislative Body elections in 1798 and 1799 in a landslide? What is up with that?

Using Encyclopedias as Sources
There happen to be some people who are using Encyclopedia Britannica as a source, you cannot do this. Encyclopedias, including Wikipedia, cannot be cited as sources. However, these encyclopedias do happen to be great starting points for research and they provide excellent sources they used to make the article one would currently be viewing, but you cannot use them as sources themselves. Encyclopedias are only meant for general information and are not made by just a handful of authors, they also get updated constantly (like Wikipedia articles). DragonMaster9817 (talk) 04:11, 15 May 2023 (UTC)

Have Never Heard Montagnard/Montagnards referred to as "The Mountain" in English language primary sources
I have researched the French Revolution, first at university 45 years ago, and have never Never NEVER seen Montagnard (which translates as "Mountain Man" not as "The Mountain")referred to as The Mountain. The French word "montagne" means mountain. I grew up in a French speaking community in Quebec (though I am an anglophone).

Let me repeat this: MONTAGNARD means MOUNTAIN MAN (or Mountain dweller or Mountain person). MONTAGNE means MOUNTAIN.

Yes, the club itself was called La Montange (The Mountain), but it is NEVER written in English, even in English sources, as "The Mountain", and the accepted term is MONTAGNARDS.

I have found in Wikipedia that, through what I assume is the arrogance of Wikipedians, that they decide to impose their will on established fact. This is a case of it. IT IS WRONG.

Why not translate Thermidor when referring to the French revolutionary month as "Heat"? This is arrogance, and it is a kind of cultural appropriation. You have declared war on the French language (a sensitive subject in Quebec).Montju (talk) 14:39, 24 August 2023 (UTC)

title: Talk:The Mountain


text:
Wikipedia:Articles for deletion/Rosa Shafigulina

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was DELETE. -Splash talk 23:47, 16 October 2005 (UTC)

Rosa Shafigulina
Although the story is slightly humorous, including its background at Novosibirsk State University, I don't think that this article belongs at Wikipedia..non-notable -- SoothingR 08:24, 4 October 2005 (UTC)
 * Delete - nn CLW 12:09, 4 October 2005 (UTC)
 * Agreed - delete, and unpick the links. DS 16:16, 4 October 2005 (UTC)
 * Delete as unencyclopedic personal POV essay (or republication of same authored by another). MCB 22:20, 5 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.

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


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LNER Thompson Class A2

LNER Thompson Class A2 may refer to:

 * LNER Thompson Class A2/1, four locomotives (nos. 3696-9, later 507-510) built new in 1944–45 and modified from class V2 during construction
 * LNER Thompson Class A2/2, six locomotives (nos. 2001-6, later 501-6) rebuilt from class P2 in 1943–44
 * LNER Thompson Class A2/3, 15 locomotives (nos. 500, 511-524) built new in 1946–7

title: LNER Thompson Class A2


text:
User talk:Lsherwood59

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Networked learning

Networked learning is a process of developing and maintaining connections with people and information, and communicating in such a way so as to support one another's learning. The central term in this definition is connections. It adopts a relational stance in which learning takes place both in relation to others and in relation to learning resources. In design and practice, networked learning is intended to facilitate evolving sets of connections between learners and their interpersonal communities, knowledge contexts, and digital technologies.

Networked learning can offer educational institutions more functional efficiency, in that the curriculum can be more tightly managed centrally, or in the case of vocational learning, it can reduce costs to employers and tax payers. However, it is also argued that networked learning is too often considered within the presumption of institutionalised or educationalised learning, thereby omitting awareness of the benefits that networked learning has to informal or situated learning.

History
Network and networked learning theories can be traced back into the 19th Century, when commentators were considering the social implications of networked infrastructure such as the railways and the telegraph. More recently, networked learning has its roots in the 1970s, with the likes of Ivan Illich's book, Deschooling Society, through to more recent commentary in the early 2000s, largely inspired by the Internet and social media.

1970s
In 1971, Ivan Illich envisioned 'learning webs' as a model for people to network the learning they needed:

 * I will use the words "opportunity web" for "network" to designate specific ways to provide access to each of four sets of resources. "Network" is often used, unfortunately, to designate the channels reserved to material selected by others for indoctrination, instruction, and entertainment. But it can also be used for the telephone or the postal service, which are primarily accessible to individuals who want to send messages to one another. I wish we had another word to designate such reticular structures for mutual access, a word less evocative of entrapment, less degraded by current usage and more suggestive of the fact that any such arrangement includes legal, organizational, and technical aspects. Not having found such a term, I will try to redeem the one which is available, using it as a synonym of "educational web." Ivan Illich, 1971

In 1977 Christopher Alexander, Sara Ishikawa, Murray Silverstein, Max Jacobson, Ingrid Fiksdahl-King and Shlomo Angel wrote and published A Pattern Language: Towns, Buildings, Construction. In this seminal text, mostly referred to by architects, lists a "Network of Learning" as the 18th pattern, and cites Illich's earlier book as "the most penetrating analysis and proposal for an alternative framework for education." Alexander et al. go on to advise builders and town planners interested in establishing learning networks with:

 * "...work in piecemeal ways to decentralize the process of learning and enrich it through contact with many places and people all over the city: workshops, teachers at home or walking through the city, professionals willing to take on the young as helpers, older children teaching younger children, museums, youth groups travelling, scholarly seminars, industrial workshops, old people, and so on. Conceive of all these situations as forming the backbone of the learning process; survey all these situations, describe them, and publish them as the city's "curriculum"; then let students, children, their families and neighborhoods weave together for themselves the situations that comprise their "school" paying as they go with standard vouchers, raised by community tax. Build new educational facilities in a way which extends and enriches this network."

In the 1970s, The Institute For The Future at Menlo Park in California experimented with networked learning practices based on the Internet and computer conferencing. Soon after their reports were published two educational pioneers in the use of Internet technologies, Hiltz and Turoff, linked education directly with this pioneering work.

1980s
In the late 1980s Dr. Charles A. Findley headed the Collaborative Networked Learning project at Digital Equipment Corporation on the East Coast of the United States. Findley's project conducted trend analysis and developed prototypes of collaborative learning environments, which became the basis for their further research and development of what they called Collaborative Networked Learning (CNL), and Collaborative Learning-Work (CLW).

1990s
Since the development of the Internet as a significant medium for access to information and communication, the practice of networked learning has tended to focus on its use. In the first phase of the Internet its use for networked learning was restricted by low bandwidth and the emphasis was largely on written and text based interactions between people and the text based resources they referred to. This textual form of interaction was a familiar academic medium, even though there was recognition of the unique qualities hypertext emerging in the online form.

In 1991, Jean Lave and Etienne Wenger published Situated Learning: Legitimate Peripheral Participation, in which they cited numerous examples of networked learning within a wide range of settings for informal learning and within communities of practice.

In the later half of the 1990s, open, interactive, situated and networked views of learning were marginalised by educational institutions as they tended to develop or deploy content and practice through proprietary learning management systems (e.g. Blackboard Inc, WebCT), and collaborative work tools such as IBM Lotus Notes/Learning Space and Quick Place), generally following concepts around "e-learning". These systems enabled the restriction of access and the management of students for the administrative concerns of educational institutions.

Since 1998, an international Networked Learning Conference has been held biannually. The conference proceedings from all the conferences since 2002 are available via the conference web site.

CSALT, a research group at Lancaster University, UK, associated with the Networked Learning Conference series and several edited collections, defined networked learning as "learning in which information and communication technology is used to promote connections: between one learner and other learners, between learners and tutors; between a learning community and its learning resources". This definition seems to ignore historical use of the term however, where computing was not of central importance.

2000s
In 2000, John Seely Brown and Paul Duguid released The Social Life of Information and introduced the concept of Networks of Practice (NoP's), an informal and emergent social network that supports the sharing of information between individuals clustered around a practice. Building on the work done by Jean Lave and Étienne Wenger on community of practice (CoP's), Seely Brown and Duguid argued that a network differed from a community in that the relationships among members were more informal and fluid when compared to communities. While CoP's were often localized with strong inter-personal relationships providing group cohesion, NoPs were more global with relationships that were both strong tie and weak tie relationships.

Salmon (2001) wrote "learning is built around learning communities & interaction, extending access beyond the bounds of time and space, but offering the promise of efficiency and widening access. Think of individuals as nodes on a network!"

From around 2004, the idea of networked learning had a popular resurgence, corresponding with the emergence of social media and concepts of open source, such as is covered in Yochai Benkler's 2006 book, The Wealth of Networks.

In 2005, George Siemens published a paper in the International Journal for Instructional Technology and Distance Learning, called Connectivism: A Learning Theory for the Digital Age in which he argued the need for a new learning theory, one that captured the essence and represented the process of networked knowledge creation and learning. In 2011, the International Review of Research in Open and Distance Learning published the first peer reviewed collection of scholarly articles on Connectivism. This special issue was edited by George Siemens (Athabasca University and Grainne Conole (Open University, UK).

In 2007, Starke-Meyerring, Duin, & Palvetzian first described Globally Networked Learning Environments (GNLE)- networked learning environments which are specifically designed to connect students from different parts of the world. GNLEs are designed to facilitate dialogue and collaboration across and within groups of students, to develop greater understanding and competencies for global work and citizenship. GNLEs take many different shapes and forms.

Connectivist MOOC
A massive open online course (MOOC) engages networked learning methods within the typical structure of a course. The first such course so named was Connectivism and Connective Knowledge 2008, hosted by Stephen Downes and George Siemens. More like an online event, MOOCs invite open online participation around a schedule or agenda, facilitated by people with reputation or expertise in the topics, relying on successful formations of learning networks to assist people studying the topics.

Earlier examples of online courses using networked learning methods:
 * CyberOne: Law in the Court of Public Opinion – A 2006 course by Rebecca Nesson and co at Harvard Law School
 * Introduction to Open Education – 2007 course by David Wiley.
 * Composing free and open education resources – 2008 course on Wikiversity by Teemu Leinonen and Hans Põldoja of the Aalto University School of Arts, Design and Architecture.
 * Facilitating Online – 2008 course established by Leigh Blackall and Bronwyn Hegarty for Otago Polytechnic, and has since run in 2009, 2010, and 2011.
 * Connectivism – 2008 course run by George Siemens and Stephen Downes.
 * EC&I 831: Social Media & Open Education, 2008, 2009, 2010 By Alec Couros
 * CCK09: Connectivism and Connective Knowledge – 2009 by George Siemens and Stephen Downes
 * DS106: Digital Storytelling – 2010/2011 by Jim Groom, took the MOOC concepts into new dimensions with people creating celebratory media for the course, and the course itself breaking course like structure.
 * Globaloria – Started in 2006 by Idit Harel Caperton and World Wide Workshop as the first and largest social learning network where students develop digital literacy, STEM and Computing knowledge and global citizenship through game design.

Open and networked research
Some researchers have used networked learning methods to collaborate and support each other's research. The Wikiversity page for Doctor of Philosophy is supporting a small group interested in pursuing a PhD title informally. They name their practice OpenPhD or Open and Networked PhD.

Architecture of productive learning networks
Academics at the CoCo Research Centre, University of Sydney, have been carrying out an extensive analysis of examples of networked learning, in collaboration with the developers and organisers of learning networks in various parts of the world. Their work has focussed on the architecture of learning networks - aiming to identify arrangements of tasks, tools and people that contribute to successful learning networks. Some conclusions from this work have been published in The architecture of productive learning networks, which also includes a chapter on the history of networked learning.

Situated learning
Some have argued that using formal education as a setting for researching networked learning misses most if not all of the value proposition of networked learning. Instead, Fox proposes situated learning and actor-network theory as the better approach for research.

Books

 * Blackall, L. (Ed.)(2006). The Future of Learning in a Networked World.
 * Carvalho, L. & Goodyear, P. (Eds.) (2014) The architecture of productive learning networks. New York: Routledge.
 * Dirckinck-Holmfeld, L., Hodgson, V., and McConnell, D. (2011) Exploring the Theory, Pedagogy and Practice of Networked Learning. New York, NY: Springer.
 * Dirckinck-Holmfeld, L., Jones, C., and Lindström, B. (2009) Analysing Networked Learning Practices in Higher Education and Continuing Professional Development. Rotterdam: Sense Publishers, BV. Preview available
 * Downes, S. (2007). Emerging technologies for learning.
 * Goodyear, P. Banks, S. Hodgson, V. and McConnell, D. eds (2004) Advances in Research on Networked Learning. London: Kluwer Academic Publishers.
 * Hodgson, V., Laat, M. de, McConnell, D., and Ryberg, T. (2014). The Design, Experience and Practice of Networked Learning. New York: Springer.
 * Jones, C. (2015), Networked Learning: An educational paradigm for the age of digital networks. London: Springer.
 * Koper, R. (Ed.)(2009), Learning Network Services for Professional Development. Berlin, Heidelberg: Springer.
 * Steeples, C. and Jones, C. eds (2002) Networked Learning: Perspectives and Issues. London: Springer.

title: Networked learning


text: User talk:82.42.3.225

title: User talk:82.42.3.225


title: File:M1w1Layout.jpg


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Talk:Sally Martin

--208.102.242.86 (talk) 22:19, 6 March 2008 (UTC)Tori Hanson is the best power ranger ever and i think that kim anf tori are like sister i would be cool of that were sister i would tell my freiend kiryana who is a big fan of kim and i and a big fan of tori hanson--208.102.242.86 (talk) 22:19, 6 March 2008 (UTC)

Inconsistency
The article says she filmed Murder in Greenwich after PRNS, but the latter aired in 2003 while the former aired in 2002. Is that right?--Aresef (talk) 17:57, 4 June 2018 (UTC)

title: Talk:Sally Martin


text:
Nora Aunor

Nora Cabaltera Villamayor (born May 21, 1953), known professionally as Nora Aunor, is a Filipino actress, recording artist, and film producer. Aunor has also appeared in several stage plays, television shows and concerts. She is known as Philippine cinema's "Superstar" and was conferred as a National Artist of the Philippines for Film and Broadcast Arts in 2022. The Hollywood Reporter called her "The Grand Dame of Philippine Cinema" for her performances in the movies Taklub (Trap) and Hustisya (Justice), and for her contributions to the Philippine film industry.

Aunor started her career as a singer, after winning a local talent search. She rose to fame in the following years as both a singer and actress. After her film debut All Over the World (1967), she transitioned into heavy drama with highly acclaimed performances in films such as Tatlong Taong Walang Diyos (Three Years Without God) (1976), Minsa'y Isang Gamu-gamo (Once a Moth) (1976), Ina Ka ng Anak Mo (You Are the Mother of Your Daughter) (1979), Himala (Miracle) (1982), Bulaklak sa City Jail (Flowers of the City Jail) (1984), and Bona (1980). In the following decades, her performances in The Flor Contemplacion Story (1995), Bakit May Kahapon Pa? (1996), Thy Womb (2012), and Dementia (2014) gave her further international recognition and numerous international awards and nominations.

For her work, Aunor received 17 FAMAS Award nominations and is a "Hall of Fame" inductee, winning five Best Actress Awards. She is the most nominated actress in the history of the Gawad Urian Awards with 21 nominations, winning seven, and the only performer to be chosen as one of The Best Actors and Actresses of the Decade in three different decades (1980s, 1990s, and 2010s) by the same awards body. She has won eight trophies from PMPC Star Awards for her work in film and television, as well as eight Metro Manila Film Festival Awards, four Luna Awards, five Young Critics Circle Awards, a Cairo International Film Festival award, an Asia Pacific Screen Award, an Asian Film Award, among others.

Personal life
Nora Aunor was born as Nora Cabaltera Villamayor in Barrio San Francisco, Iriga City, Camarines Sur Province to Antonia Cabaltera and Eustacio Villamayor. She has nine siblings, including Eddie Villamayor, a former actor. When Nora was growing up, her grandmother Lola Theresa taught her to sing; the first song she learned was "The Way of a Clown". Her aunt, Belen Aunor, taught her diction, interpretation, and expression while singing, and gave her her screen name. Before her fame, she lived a poverty stricken childhood and selling peanuts on the buses and cold water in front of the Bicol Express Train Station to make ends meet. She became a champion at the Darigold Jamboree radio singing contest, singing her winning piece "You and the Night and the Music". After that, she won in another radio singing contest, The Liberty Big Show. She entered the national singing contest, Tawag ng Tanghalan, was defeated on her first try, but became a champion on her second attempt. The Grand National Finals of Tawag ng Tanghalan was on May 29, 1967, where she sang "Moonlight Becomes You".

Aunor went to Mabini Memorial College (1959 to 1960) when she was in the first grade and transferred to Nichols Air Base Elementary School (1960 to 1962) when she reached the second grade. She finished high school at Generosa de Leon Memorial College in Paranaque, a branch of Centro Escolar University.

Marriage and later life
Aunor and actor Christopher de Leon tied the knot on January 25, 1975, in a civil ceremony. She and De León have one biological child: actor Ian de León (born 1975) and four adopted children Lotlot De Leon, Matet de Leon, Kiko and Kenneth. She and her husband renewed their vows on January 27, 1976, in a religious service officiated by Rev Alleysius Rodríguez. The couple later separated, and their marriage was dissolved in 1996.

Aunor became a permanent resident of the United States in 2008, but retains her Filipino citizenship. In 2011, she came back to the Philippines to resume her acting and singing career after an 8-year hiatus.

Her niece Marion Aunor is also a singer and actress.

1960s
After winning the local talent search, Tawag ng Tanghalan in 1967, she made her first appearance as a guest at Timi Yuro's Araneta Coliseum concert. She made her first TV appearance as a guest in An Evening with Pilita hosted by Pilita Corrales and Carmen on Camera hosted by Carmen Soriano.

On October 2, 1967, Aunor signed an eight-picture non-exclusive contract with Sampaguita Pictures, with the assurance that she would be given a singing part. Aunor made several youth-oriented films like All Over The World and Way Out of the Country. From September to December 1967 Aunor had supporting and minor roles in six films. Meanwhile, she made several singles like "Moonlight Becomes You" and "There's Just Forever" for Citation Records, and "No Return, No Exchange" and "You are My First Love" for Jasper Recording. 1968 was a less busy time; she only had minor roles in three films, mostly for musical numbers.

By the beginning of 1969, she appeared in movies such as 9 Teeners, a popular TV show that time, and Young Girl, where she was teamed up for the first time with Tirso Cruz III. That year her contract with Sampaguita Pictures expired and she made movies with other studios, including Banda 24 and Drakulita for Barangay, Oh Delilah, Karate Showdown, Pabandying-Bandying and Adriana.

Tower Records gave Aunor her first starring role opposite Tirso Cruz III, the D' Musical Teenage Idols by Tower Productions, directed by Artemio Marquez and shown on September 23, 1969. Three days after, on September 26, 1969, Sampaguita Pictures released its 34th-anniversary presentation, Fiesta Extravaganza.

Superstar, Aunor's musical variety show, began airing in 1967, and will eventually hold the record as the longest-running musical variety show on Philippine prime-time TV. On December 19, 1969, during the coronation of Nora as muse of Sampaguita Family Club, Tirso gave her a doll "Maria Leonora Theresa", which reportedly became the most popular doll in Philippine showbiz history.

1970s
Aunor continued to make teeny-bopper movies alongside Tirso Cruz III. They are known as Guy and Pip to their fans. Their biggest film, Guy and Pip, stayed in the cinemas for six months, had an unprecedented record-breaking box-office gross, and was seen by more than 4 million Filipinos. Adjusted for ticket-price inflation, Guy and Pip's P8-million gross in 1971 is equivalent to P560-million at 2009 average ticket prices.

On April 2, 1970, 17-year-old Aunor signed an exclusive contract with Tower Records and was sued by Sampaguita Pictures for Breach of Contract. Nora eventually graduated from being a teen idol to dramatic actress when she received her first Best Actress award in 1972 for her film And God Smiled at Me from Quezon City Film Festival. She was first nominated as a best actress in FAMAS (Filipino Academy for Movies, Arts and Sciences) for A Gift of Love. From 1972 to 1986 she was nominated for FAMAS Best Actress, the only actor or actress to receive a FAMAS nomination for 15 consecutive years. During this time, she also released several albums.

In 1973, Aunor established her own film production company, "NV Productions" and produced its first movie entitled Carmela. She was again nominated in the 22nd FAMAS Awards for Paru-parung Itim (The Black Butterfly). She made Fe, Esperanza, Caridad (1974) another critically acclaimed movie which was directed by three different directors namely Cirio H. Santiago and two National Artists for film; Gerardo de Leon and Lamberto V. Avellana. This movie earned Nora her third nomination from the 23rd FAMAS Awards.

She also produced and starred in the hit film Banaue: Stairway to the Sky (1975) which was directed by national artist Gerardo de Leon. This is a story about the tribe of Ifugao and their struggles to achieve the promised land. Aunor received her fourth FAMAS nomination at the FAMAS Awards. Her co-star Christopher de Leon later became her husband and the father of her only son, Ian Kristoffer De Leon.

In 1976, Aunor produced the movie Alkitrang Dugo (Blood of Tar) through her own movie production company, NV Productions. This movie was based on the novel Lord of the Flies by the Nobel Prize-winning English author Sir William Golding.

Aunor continued to star and produce critically acclaimed, quality films like the hit period drama Tatlong Taong Walang Diyos (Three Years Without God). She played the role of a school Teacher, named Rosario, who experienced the atrocities of World War II. Her very convincing performance won her the first ever best actress award from the Manunuri ng Pelikulang Pilipino (Gawad Urian Award) and her first Best Actress Award from FAMAS. The double victory is considered by many as the first acting grand slam since there were only two award giving bodies for movies at that time. Tatlong Taong Walang Diyos has since been regarded by critics and audiences as one of the best Filipino films ever made.

Before the year ended, Aunor starred in the groundbreaking Minsa'y Isang Gamu-gamo (Once There Was a Firefly) (1976). This is the story of Corazon de la Cruz, a nurse who wanted to go to America to provide a better future for her family, until her brother was shot by an American soldier on the eve of her flight to America. Knowing that the administration of President Ferdinand Marcos would not allow the public showing of any films criticizing the American presence in the Philippines, the producers tapped Aunor to star in the film believing the superstar had the support of the president and his wife, former First Lady, Imelda Marcos. The film from Premiere Productions won two awards at the 1976 Metro Manila Film Festival, and it also won Best Picture, Director (for Lupita Aquino-Kashiwahara), Screenplay, Story and Editing at the 1977 FAMAS Awards. For Aunor's brilliant performance and its powerful, incendiary message, Minsa'y Isang Gamu-gamo is now considered as one of the all-time Filipino film classics.

In 1977, Aunor did a romantic-comedy movie with the King of the Philippine Movies Fernando Poe Jr. The film Little Christmas Tree was shown on November 25, 1977, and it was a blockbuster hit. This was the only collaboration between the two of the biggest stars of the Philippine movies, and of the two actors who would eventually become National Artists for Film. On December 25, 1977, her movie "Bakya Mo, Neneng" (Your Wooden Clogs, Neneng) was the official entry of JE Productions to the 1977 Metro Manila Film Festival. She was paired to the movie actor who later became Philippine President Joseph Estrada.

In the 1978 FAMAS Awards, Aunor received another nomination for her movie Bakya Mo Neneng, this was her sixth straight nomination from the academy, and the movie won Best Picture. She also starred in Ikaw ay Akin (You are Mine), with Vilma Santos and Christopher de Leon, and directed by Ishmael Bernal. This film gave Aunor her second nomination as best actress from Gawad Urian.

Later that year, her movie Atsay (Maid) was an official entry to the 1978 Metro Manila Film Festival. It was one of the two best entries of the film festival along with Rubia Servios directed by Lino Brocka. Atsay was the only film to have won Best Performer in the Metro Manila Film Festival history. That year, the organizers decided to give just one citation for performers - no best actor nor actress nor supporting actor nor actress award - only the Best Performer Award.

Aunor won the Best Performer award for Atsay. Amy Austria who played a supporting role in this movie was a nominee for the Best Performer award. The film festival organizers wanted to adopt a sense of gender sensitivity by giving out a gender-neutral award. The move, however, was scrapped the following year. Atsay also won the Best Picture Award, Romeo Vitug for Best Cinematography and Eddie Garcia for Best Director. Aunor was nominated for the seventh time at the 27th FAMAS Awards.

Before the end of the decade, she made two more movies which were big hits at the 1979 Metro Manila Film Festival, Kasal-Kasalan, Bahay-Bahayan and Ina ka ng Anak Mo. Both lead actresses, Nora Aunor and veteran actress Lolita Rodriguez, were recognized as Best Actresses for Ina ka ng Anak Mo. The same film won Best Director for Brocka, Best Actor for Raoul Aragon and Best Picture. Aunor was also nominated for Urian Best Actress and won at the 28th FAMAS Awards for her role. This was Aunor's second FAMAS Best Actress Award.

1980s
In the 1980s Aunor continued to do quality films as well as commercial movies. Her first movie in the decade was Nakaw Na Pag-ibig (Stolen Love), another collaboration of Aunor and the National Artist for film Lino Brocka together with Hilda Koronel and Phillip Salvador, both of whom were Brocka protégés. That same year, Aunor made a movie with Mario O'Hara after so many years. They made Kastilyong Buhangin (Sandcastle) with now Senator Lito Lapid as her screen leading man. The movie turned out to be a monster hit. Before 1980 ended, two of Aunor's film were part of the 1980 Metro Manila Film Festival as official entries. In Kung Akoy Iiwan Mo, directed by Laurice Guillen, she played the role of Beatrice Alcala, a singing superstar, and how she showed her complex emotion through singing. The film won Best Sound Engineering and Best Cinematography.

Her other entry in the 1980 Metro Manila Film Festival was Bona, a film by Lino Brocka. During the 1980 MMFF, there were three nominees for Best Actress: Aunor for Bona, Aunor for Kung Akoý Iiwan Mo (If You Leave Me), and eventual winner Amy Austria for Brutal. Aunor won her second Gawad Urian Best Actress for Bona, tying her with Gina Alajar, who won for Brutal; Aunor won her ninth Best Actress nomination from the 29th FAMAS Awards for the same movie. The film was also shown at the 1981 Cannes International Film Festival as an entry to the Director's Fortnight. In September 1982, the film competed at Figueira da Foz International Film Festival in Portugal and won the Premio de le Juri de la Federacion Internationale des Cine Clubs (Jury Prize of the International Federation of Cinema Clubs). It was the only Filipino Film cited as one of "The Best 100 Films in the World" by the Museum of Tolerance in Los Angeles, USA (1997). It is the only Filipino film to be archived at The Museum of Modern Art (MoMA) in New York. 30 years later, Bona was successfully adapted to the stage by PETA with actress Eugene Domingo in the title role.

In 1981, Aunor made six movies most of them are romantic-comedy like the blockbusters Totoo Ba ang Tsismis (Is Gossip True) and Dalaga si Mister, Binata si Misis. She produced and starred in two hit films: Ibalik ang Swerti with the Reycard Duet, and Rock N Roll, which was the official entry to the 1981 Metro Manila Film Festival. This film was also one of the top grossers of the said film fest. Aunor made only one serious drama that year, Bakit Bughaw ang Langit? (Why is the Sky Blue?). Aunor received her 10th FAMAS Best Actress nomination and 5th nomination from Gawad Urian for her performance in this film. She won best actress from the Catholic Mass Media Awards. Unfortunately, no print of this film is known to officially exist.

Aunor continued to make romantic comedy films in 1982, such as Annie Sabungera (Annie the Woman Cockfighter) andPalengke Queen. In the same year, Aunor starred in three films that drew acclaim for her performances. The first one was Mga Uod at Rosas (Worms and Roses), a story of a struggling artist frustrated with life and has been entertaining the thought of giving up his art. Aunor played Socorro, a landlady daughter who falls for the painter who is in love with a model. The art of painting plays a central and integral role in this film. This film gave Aunor her 11th nomination from FAMAS. The second was T-Bird at Ako (T-Bird and Me), Aunor essayed the role of a lesbian lawyer who falls for a woman she is helping to defend in court.

Her third acclaimed performance for 1982 was in Himala (Miracle), where Aunor played the role of a young woman who claimed to have seen the Virgin Mary. Produced by the Experimental Cinema of the Philippines, the film won Best Picture, Best Actress for Aunor, Best Director for Ishmael Bernal and six other awards in the 1982 Metro Manila Film Festival. The film became the first Filipino film to be included in the "Competition Section" of the prestigious Berlin International Film Festival and received many international awards like Bronze Hugo Awards, 19th Chicago Film Festival (1983) (winner), Asia-Pacific Film Festival Special Achievement for Best Depiction of Socially Involved Religion (1983), and Best Asian-Pacific Movie of All Time, CNN APSA Viewers Choice Award (2008). Decades after its release, Himala has since been successfully made into a stage musical, rediscovered by new generations of film audiences, and is now universally acclaimed by local and international film critics and cineastes alike as one of the all-time greatest cinematic works of the Philippines.

In 1983, Aunor made only one film, Minsan, May Isang Ina, with Charito Solis and Maricel Soriano, and directed by Maryo J. De Los Reyes. For this film, Aunor received her 12th consecutive FAMAS Best Actress nomination.

In 1984, Aunor released three highly-acclaimed films. She portrayed an Overseas Filipino Worker (OFW) who works as a nurse in America and her struggles to fight loneliness and homesickness in 'Merika. The film also tackles the story of Filipino illegal aliens who will do anything just to get a Green card. Directed by Gil Portes, Aunor's performance in this film gave her the very first best actress trophy from, (PMPC) Star Awards for Movies and her eighth Gawad Urian best actress nomination. The next film was given an "A" Rating by the Film Ratings Board, Condemned is a story of siblings Yolly (Aunor) and Efren (Dan Alvaro), and how their lives changed when Efren worked as a driver and a hired killer for ruthless money laundering lady Connie played by (Gloria Romero). The best scene of the film is the final confrontation between Yolly and Connie over the missing half million dollars makes for a gripping film-noir drama.

The third Nora Aunor film of 1984 is Bulaklak sa City Jail (Flowers of the City Jail), the film depicts the violence, despair and destitution women face in the City Jail and the only way to survive this gruesome situation is to turn yourself from the hunted to a hunter. The film was an official entry to the 1984 Metro Manila Film Festival, for her role as a pregnant prisoner and a victim of injustice, Angela Aguilar, Aunor won best actress from Metro Manila Film Festival, Catholic Mass Media Awards and her third best actress trophy from FAMAS. At the Gawad Urian that year, Aunor was a double nominee for Best Actress for the films Bulaklak sa City Jail and Merika, while at the PMPC Star Awards for Movies, Aunor was a triple nominee for Best Actress for 'Merika, Condemned, and Bulaklak sa City Jail. She was the first actor to achieve both feats. She was also nominated for Best Actress at the Film Academy of the Philippines for Bulaklak sa City Jail.

In 1985, Aunor made five films. The first was Beloved, a film about four people torn between the love of power and the power of love and infidelity. The film was also serialized in King Komiks. Next was Tinik sa Dibdib as Lorna, a long-suffering daughter of irresponsible parents who drove her to marry a security guard, who himself is the breadwinner of a very dysfunctional family. Her next project was the box-office hit Till We Meet Again. This was followed by an anthology film Mga Kwento ni Lola Basyang, which was even stronger at the box-office, and finally, I Can't Stop Loving You, an entry to the year-end Metro Manila Film Festival, which was a top-grosser for that year.

For the next three years, she slowed down in making films releasing only a handful including her final team-up with Dolphy, My Bugoy Goes to Congress, which was a hit. Other films she made were 1986's I Love You Mama, I Love You Papa, co-starring with her estranged husband, Christopher de Leon and their children, Lotlot and Ian Kristoffer, and garnering her 15th consecutive FAMAS Best Actress nomination; Sana Mahalin Mo Ako; Tatlong Ina, Isang Anak (Three Mothers, One Son); and Balut...Penoy.

1989 was a bittersweet year for Aunor. She filmed Bilangin ang mga Bituin sa Langit (Count the Stars in the Sky), about the rise and fall of a poor, hard-working, and determined barrio lass and her lifetime stormy relationship with a childhood sweetheart. Bilangin ang Bituin sa Langit, a critical and box-office hit, won Aunor the Best Actress Awards in Gawad Urian, FAMAS, and FAP. On the other hand, after 22 years, her longtime musical-variety show Superstar aired its last episode on October 1, 1989. The program briefly returned on television from November 1989 when it was produced on Channel 13.

1990s
In the 1990s Aunor only made 10 films, a far cry from earlier decades when she made up to 10 movies a year. Showbiz insiders and others were saying that Aunor's popularity was waning. But most of these 10 movies were critically acclaimed and won not only local but international awards. Aunor also did three stages plays, the first two produced by the Philippine Educational Theater Association or (PETA).

In the first of these films, Aunor portrayed an activist who went to the mountains to search for her husband who was killed by the military. In the 1990 film Andrea, Paano Ba ang Maging Isang Ina? (Andrea, How is it Like to Be a Mother?), Aunor plays a NPA rebel who leaves her newborn baby to search for her husband. The film won for Aunor all the Best Actress Awards given by the Philippines' five annual award-giving bodies at that time: Gawad Urian, Star Awards for Movies, Film Academy of the Philippines, and her fifth FAMAS Award for Best Actress, thus elevating her to the Hall of Fame. She won the first Young Critics Circle Award for Best Performance. The film was also the official entry to the 1990 Metro Manila Film Festival and she also won the Best Actress award.

On May 18, 1991, a few days before her 38th birthday, she staged her first major concert at the Araneta Coliseum, thus earning the name "concert queen" for filling the big dome with about 30,000 eager fans. Her guests included Gary Valenciano, Mon Faustino, The Hotlegs, The Operas, and many more. The audio recording of the concert was later released as her very first live album Handog ni Guy Live. Many showbiz personalities came to show their support to Aunor like Sharon Cuneta, Joseph Estrada, Regine Velasquez, Pilita Corrales, Danny Tan, Edgar Mortiz, Juan Rodrigo, Carlo Orosa, Ivy Violan, and others.

Later in 1991, Aunor ventured into the world of theater and showed versatility and genius when she did the stage adaptation of her critically acclaimed film, Minsa'y Isang Gamu-gamo. It was staged by the Philippine Educational Theater Association or PETA and helmed by Socrates "Soxy" Topacio, then PETA's artistic head. Rody Vera penned the stage adaptation of Gamu-Gamo. She did two more stage plays, DH in 1992 and The Trojan Women in 1994. Her performances in the three plays were acclaimed by peers, critics, and audiences.

On December 25, 1991, Ang Totoong Buhay ni Pacita M. was part of the 1991 Metro Manila Film Festival. The film tells the story of Pacita M., a singer-entertainer in a seedy Quezon City nightclub whose daughter Grace was shot in the head by a stray bullet just as she was preparing to go off to college. Although initially, Pacita held out for a miracle to save her daughter from her vegetative state, eventually she relents and seeks to allow Grace a dignified death by turning off her respirator. The emotional battle becomes a personal epiphany for Pacita. This highly acclaimed film directed by Elwood Perez bravely tackles the sensitive issue of euthanasia. Aunor won numerous awards for her performance, including the Metro Manila Film Festival Best Actress and her third consecutive Best Actress trophy from the Film Academy of the Philippines. She also won at the Star Awards for Movies and from the Young Critics Circle Award for Best Performance.

In 1992, Aunor was busy with her stage play, DH, a PETA production. PETA toured the play in North America, Europe, and Hong Kong. On the same year, Aunor returned to television via a once a week drama anthology, Star Drama Presents NORA. She won the Best Actress Award from Star Awards for Television (Philippine Movie Press Club). In 1994, she won the Best Actress in a Single Performance award from Star Awards for Television (Philippine Movie Press Club)for her performance i "Spotlight" for the episode: "Good Morning, Ma'am". She went back into the recording studio to record bonus tracks for a compilation album to be released in co-operation with Alpha Records and Warner Brothers. The new songs were written by an American songwriter, a neighbor of her sister Tita in San Diego, California. The songs were released as a single but sales suffered after a rumor circulated that Aunor had gotten an abortion while she was in San Diego. The song hit number 12 on the charts after two weeks and dropped off completely on its third week.

In 1994, Aunor received the Lifetime Achievement Award from the Film Academy of the Philippines. She is the youngest recipient of this special award. In 1995, Aunor found renewed success in the box office when she starred in the biographical film The Flor Contemplacion Story, about Filipino domestic worker Flor Contemplacion who was hanged in Singapore for allegedly killing her fellow maid. Her performance in The Flor Contemplacion Story got rave reviews  earning her first international best actress awards from Cairo International Film Festival, she swept all the Best-Actress awards given by the Philippines' different award-giving bodies, including the Best Performance by Male or Female, Adult or Child, and Individual or Ensemble in Leading or Supporting Role given by the Young Critics Circle Award for Best Performance.

Aunor's other 1995 film was Viva Films' official entry to the 1995 Metro Manila Film Festival. Muling Umawit ang Puso is the story of a once-famous actress now struggling to regain her popularity. Winner of 8 awards at the 1995 Metro Manila Film Festival including Best Picture, Director, Actress, Supporting Actor and Supporting Actress.

In June 1996, Aunor was cast to play Sisa in Premiere Productions' then-upcoming film adaptation of José Rizal's novel Noli Me Tángere, though the project did not come to fruition. In 1997, Aunor won her second international Best Actress trophy from the 1st East Asia Film and Television Awards and her sixth Urian Best Actress Award for her role as a psychotic woman who plots her revenge on the family of her parents' killer in Bakit May Kahapon Pa?.

In 1999, Aunor made only one film, Sidhi, written by Rolando Tinio, a National Artist for Theater and Literature. Later that same year Aunor received the Centennial Honor for the Arts conferred by the Cultural Center of the Philippines.

2000s
In 2002, Aunor returned to Philippine television through her nightly drama show entitled, Bituin, a Filipino soap opera that was aired by ABS-CBN from September 23, 2002, to May 23, 2003. It starred Carol Banawa and Desiree del Valle, Aunor and Cherie Gil. The show was very consistent as one of the top rating shows of ABS-CBN, its highest rating was 48.7% for the "Ultimate Showdown: The Diva VS The Supernova" of Melody and Bernadette at the Araneta Coliseum, while the lowest was 29.5%, its fifth episode. Bituin was shown in different countries via The Filipino Channel's ABS-CBN international affiliate KPTV.

In 2003, Aunor held her 50th birthday "Gold" sell-out concert at the Araneta Coliseum.

In 2004, Aunor made her last film shot entirely in the Philippines before she went on hiatus for almost 8 years. Naglalayag tells the story of a May–December affair between a middle-aged judge and a young taxi driver. It sparkles because of the superb acting by Aunor and Yul Servo. Aunor portrayed a judge who recently presided over a well publicized criminal case trial. Her character Dorinda is a 50-year-old widow with a twenty-something-year-old son, Yul Servo played Noah Garcia, a courteous and charming taxi driver who keeps a rosary in his pocket and shares stories from the Bible. Stranded with a non-operational taxi, the 23-year-old novice driver Noah offers shelter to his passenger. The performances by Aunor and Servo gave them their international acting awards at the 31st Festival International du Film Indépendant de Bruxelles, the film won the jury prize, and the film and both actors also received local recognition.

On December 1, 2005, Aunor received her own star on the Philippines Walk of Fame. She was one of the first inductees. This project was spearheaded by German Moreno. For the first time since she was inducted, Aunor visited her star on August 7, 2011, she even laid down to her star as the TV cameras documented the event.

While in the United States, Aunor did two independently produced films namely Ingrata and Care Home. Even with only a limited run in a few Metro Manila theaters, the films, particularly Care Home, was still able to score for Aunor critical praise and even nominations for Best Actress, specifically from PMPC STAR Awards for Movies in 2007.

2010s
At the start of the decade, Aunor was still doing a series of concerts in the United States and Canada performing to Filipino communities and to her fans as well. In February 2010, she was shortlisted by the Green Globe Film Awards which was later renamed to Green Planet Movie Awards as one of the 10 Best Asian Actresses of the Decade. On March 23, 2010, Aunor was named one of the 10 Best Asian Actresses along with Gong Li and Maggie Cheung. She was the only Filipino actress to be shortlisted and win this award.

The legendary actress had been absent for years, and 2010 was Nora's comeback year. She jumpstarted her career via two endorsement deals in Japan and one of them as an endorser of a Japanese Aesthetic and Lasix Center. However, due to a botched surgery in Japan, Aunor lost her "Golden Voice" which propelled her to superstardom in the Philippine Showbiz Industry. During her concert in May 2010 in Toronto, Ontario, Canada, Aunor tearfully announced that it would be her last concert as she could no longer sing. Her voice was hoarse and raspy.

As early as December 2010, news of Aunor's comeback to the Philippines was all over the news in both TV and broadsheets but there were no formal confirmations yet. Finally on August 2, 2011, Tuesday, Nora finally came back to the Philippines via Philippine Airlines flight 103.

On her return, Aunor signed a three-year contract with TV5, she did a mini series, Sa Ngalan ng Ina, and a historical film with Governor ER Ejercito entitled El Presidente, a biopic of the first Philippine President Emilio Aguinaldo intended for 2012 Metro Manila Film Festival, in which she played the role of Aguinaldo's second wife Maria Agoncillo. Also in 2011, she received eight Lifetime Achievement Awards for film and music from different award giving bodies.

Sa Ngalan ng Ina was the first project of Aunor after her return. It was also the last directorial job of the late Mario O'Hara. Sa Ngalan ng Ina is a film made for television or a miniseries is a political drama about a widow that ran as a governor when her husband was assassinated. In his review, film critic Noel Vera point out that the show is rare creature in Philippine television, the political melodrama. He said: "Longer and more complex soap operas have been mounted on Philippine television before, and politics has been touched upon before, but far as I can recall there has never been a series (the exact name of the genre is, I believe, the teleserye) fully driven by politics, hinging upon the election into office and subsequent administration of the main character". All of the performances were great especially Aunor which gave her a nomination from Golden Screen TV Awards and a best actress trophy from 2012 Star Awards for Television. This miniseries would be the last collaboration between Aunor and O'hara before his death from leukemia.

In 2012, Aunor collaborated with the Cannes best director awardee Brillante Mendoza for the film Thy Womb which was part of the 69th Venice International Film Festival. In the film, Aunor plays Shaleha, a barren Badjao midwife who helps her husband look for a wife who can bear a child. The film was nominated for Golden Lion for Best Film and Volpi Cup for best actress for Aunor. On the eve of Venice awards rites, Aunor was chosen by an independent film critics, the "Premio Della Critica Indipendiente" as their best performer and gave her the Bisato d'Oro.

In November 2012, Aunor won the Best Actress Award at the 6th Asia Pacific Screen Awards and the film also won Best Director for Brillante Mendoza. By virtue of her nomination from Asia Pacific Screen Award, she became the first Filipino actor to be inducted as a member of Asia Pacific Screen Academy. She was also nominated at the 55th Asia Pacific Film Festival, Dubai International Film Festival, 43rd International Film Festival of India, and won Best Actress at the 7th Asian Film Awards.

At the 2012 Metro Manila Film Festival, Aunor won her eighth best actress award from the Festival.

Also in 2012, Aunor guested in Enchanted Garden a fantasy-drama TV series. She played the role of Nana Sela a faith healer who happens to be Queen Oleya. She guested in Third Eye. In 2013, she returned to TV via her new soap opera, Never Say Goodbye. In 2013, she finished Ang Kwento ni Mabuti an official entry to the 1st CineFilipino film Festival directed by acclaimed director Mes de Guzman. The film is a morality tale set in rural Nueva Vizcaya. In the film, Aunor spoke Ilocano, the language of that area.

On May 21, 2013, Aunor celebrated her 60th birthday dubbed as "Nora at 60" at the Meralco Multi-Purpose Hall. The venue was transformed into a virtual museum as posters of her classic films adorned the lobby and the hallway leading to the ballroom.

On June 18, 2013, Aunor won the Gawad Urian Best Actress Award for the movie Thy Womb. This was her 17th nomination and her 7th win.

On August 30, 2013, Aunor won her 4th international Best Actress award from the 3rd Sakhalin International Film Festival in Russia for the movie Thy Womb. Aunor wasn't able to attend the awarding ceremony but the award was received on her behalf by her director Brillante Mendoza who attended the Festival together with his writer Henry Burgos.

2014 was the busiest year for Aunor after she returned from her hiatus. She started the year by filming her second tele-movie/miniseries with TV5 entitled When I Fall in Love, The miniseries was directed by Joel Lamangan. Aunor portrays Fely, a devoted wife, who takes care of her husband who has pancreatic cancer. The made-for-TV movie had its premiere showing in January 2014 and was seen on TV in February 2014.

Aunor was honored as one of the "People of the Year" by People Asia magazine on January 21, 2014. In the promotional news of TV5, Aunor was announced to top-bill a TV5's musical-drama, Trenderas, which tells the tale of how three musically gifted young ladies rise from being sidewalk vendors to YouTube-famous singers. Aunor played the role of Celina Palomar, a famous singer who mysteriously disappeared at the height of her popularity. After years of living a life of a recluse, music finds Celina again through three young, talented, and hopeful singers.

On February 2, 2014, Aunor received her second Ani ng Dangal Award from the National Commission for Culture and the Arts (Philippines) or NCCA. The Ani ng Dangal (Harvest of Honors) Awards recognizes artists who have earned international awards and accolades during the past year. in 2013, Aunor won two international Best Actress awards from the 7th Asian Film Awards in Hong Kong and 3rd Sakhalin International Film Festival in Russia.

On July 18, 2014, the University of the Philippines College of Mass Communication announced that for the year 2014, the recipient of Gawad Plaridel is Nora Aunor for Television, Music and Film.

Aunor made four films in 2014 and one of them was Hustisya, which is part of the 10th Cinemalaya Independent Film Festival. This is the first time that Aunor participated in the said Film festival. Hustisya is a story of a woman who works for a human trafficking agency controlled by a powerful syndicate. The movie was directed by Joel Lamangan and penned by Ricky Lee. On August 10, 2014, during the awards night of the Cinemalaya Independent Film Festival, Aunor won her first Best Actress award from the awards body, she was so thankful for the award and promised to continue making meaningful movies and her movies will be an inspiration to the youth. The movie was also declared by the Filmfest organizers as the box-office winner during its weeklong run. News about Aunor's win at the 10th Cinemalaya Independent Film Festival

Before the middle of the year, Aunor finished three other movies aside from Hustisya. One is a psychological horror drama entitled Dementia directed by newcomer director Perci Intalan. The other two movies, Padre de Pamilya and Whistleblower, were both directed by Adolfo Alix, Jr. On August 27, 2014, University of the Philippines College of Mass Communication conferred to her the Gawad Plaridel for her excellence in film and television. Gawad Plaridel is the sole award in the University of the Philippines System given to outstanding media practitioners. Aunor gave a speech about how she became a singer, an actress, and eventually a movie producer

In 2012, Aunor received the Asian Achiever Award as Asia's Best Actress Awardee by the Asia Pacific Awards Council (APAC) led by noted Filipino consumers advocate Jonathan Navea. She again received the same prestigious accolade during the 26th Asia Pacific Excellence Awards on Araw ng Kagitingan on April 9, 2015, held at the AFP Theater commemorating the SAF 44 Heroes Tribute organized by the same organization together with Japanese performing artist Aisaku Yokogawa. On March 17, 2015, Nora publicly called for President Noynoy Aquino's resignation.

On May 16, 2015, Aunor won her eighth International Best actress for her film Dementia which also won the Best Foreign Language Film at the St. Tropez International Film Festival in France. Aunor was not there to personally receive her award but it was accepted by its director Perci Intalan who was elated for the recognition. She also won another international award in 2015, when she was bestowed the Lifetime Achievement Award at the 2015 ASEAN International Film Festival and Awards. During the ceremony, Malaysian-born Hollywood actress Michelle Yeoh, who won the same award two years earlier, presented the award to Aunor.

In 2015, Aunor was recognized by several universities and colleges in the Philippines, naming her as a cultural Icon. Bicol University gave her a very special recognition, she was presented with the ONRA Award upon the initiative of Ako Bicol Partylist Rep. Rodel M. Batocabe for bringing honor and pride to her fellow Bicolanos in particular, and to the country in general, through her achievements in the arts. The Ateneo de Naga University gave her "Bulawan na Bikolnon" award for giving pride to the Bicol Region. De La Salle University also recognized her with the "Gawada La Sallian para sa Sining" for her contributions to Philippine Arts. The National Teachers College and Far Eastern University also gave their recognition to Nora Aunor.

On September 17, 2015, Aunor was conferred the Gawad CPP para sa Sining for Film and Broadcast Arts by the Cultural Center of the Philippines. The Gawad CCP Para sa Sining is the highest award given by the CCP. The award was also conferred on Denisa Reyes and Basilio Esteban Villaruz for Dance; Fides Cuyugan-Asensio for Music; Tony Mabesa for Theater; Roberto Chabet for Visual Arts; Ricardo Lee and Leoncio P. Deriada for Literature; Paulo Alcazaren for Architecture; Ben Farrales for Design; Armida Siguion-Reyna for Musical Theatre and Film, and the Talaandig School of Living Traditions. The Missionary Society of St. Columban received the Tanging Parangal. In her speech, Aunor said the becoming an actress was a worthwhile decision, despite the heartaches.

At the 63rd FAMAS Awards on September 20, 2015, Aunor together with other movie queens was recognized as the Iconic Movie Queen of Philippine Cinema.

After the death of German Moreno and as a tribute to her dear friend, Aunor said she was happy to look after Moreno's late night variety-talk show Walang Tulugan. However, the plan fell through, and the show aired its final episode on February 13, 2016.

After consecutive nominations for Thy Womb, Ang Kwento ni Mabuti, Dementia, and Taklub, Aunor received her fifth consecutive and 21st Urian Best Actress nomination in 2017 for Hinulid, her very first film shot entirely in her native dialect Bicolano.

2020s
After over 180 films and almost six decades in show business, Aunor has shown no signs of slowing down. In 2020, she starred with Phillip Salvador and Michael de Mesa in Isa Pang Bahaghari (Another Rainbow), a film directed by Joel Lamangan. It was the first time in forty years that Aunor and Salvador acted together in a film. The film competed in the 2020 Metro Manila Film Festival, with Michael de Mesa winning Best Supporting Actor.

In May 2020, at the height of the COVID-19 global pandemic, Aunor starred in an online monologue (monovlog), Lola Doc, on Tanghalang Pilipino's YouTube channel. In the 10-minute monologue which premiered on her 67th birthday, Aunor played a medical frontliner on a video conference call with her grandchildren, talking about the pain of losing one's husband in the middle of the pandemic and the courage she has to muster every day to deal with this deadly virus face-to-face while tending to the sick. It was produced to honor the Filipino medical frontliners around the world who worked and served during the pandemic, and Aunor was well-regarded by critics and the viewing public for her performance and for pioneering a new art form so relevant and fitting during the global lockdown.

In 2021, Aunor was chosen as one of the Best Actors and Actresses of the Decade (2010s) by the Manunuri ng Pelikulang Pilipino, the Filipino film critics group who hands out the Gawad Urian Award.

In late 2021, Aunor tackled her first film role as a villain or antagonist in the film Kontrabida (The Villain), directed by Adolfo Alix Jr. The film competed at the 6th Hanoi International Film Festival, winning the Network for the Promotion of Asia Pacific Cinema (NETPAC) Prize for Best Asian Film.

In June 2022, Nora Aunor and seven other illustrious figures in Philippine culture and arts received the National Artist of the Philippines awards. The announcement of new National Artists was made through Proclamation 1390 inked by President Rodrigo Duterte. The award was given to Aunor, Marilou Diaz-Abaya, and Ricardo Lee (Film and Broadcast Arts); Tony Mabesa (Theater); Agnes Locsin (Dance); Fides Cuyugan-Asensio (Music); Salvacion Lim-Higgins (Design); and Gemino Abad (Literature). Diaz-Abaya, Mabesa and Lim-Higgins were posthumously bestowed as National Artists.

In March 2023, Aunor filmed Pieta, a drama-thriller which reunited Aunor with director Adolfo Alix Jr. and actors Bembol Roco, Gina Alajar, and Jaclyn Jose. In the film, Aunor plays a mother who is going blind and suffering from early-onset Alzheimer's when she meets her son who just got out of prison after 25 years. Actor Alfred Vargas, who produced the film, played the son who is trying to reconcile with his past.

Legacy
In 1983, Aunor was recognized as one of The Outstanding Women in the Nation's Service (TOWNS) in the Field of the Arts. In 1999, Aunor received the Centennial Honors for the Arts awarded by the Cultural Center of the Philippines (CCP). She was the only film actress included in the list of awardees. In 2010, she was hailed by the Green Planet Movie Awards as one of the "10 Asian Best Actresses of the Decade". She received the Ani ng Dangal Award (Harvest of Honors). from the National Commission for Culture and the Arts in 2013, 2014 and 2016. In 2013, she received the "Light of Culture Awards from Philippine Centre of the International Theatre Institute and the ITI-Earthsavers UNESCO Dream Center for pioneering in the integration of theater, television, and film. In 2014, Aunor is the recipient of University of the Philippines College of Mass Communications, Gawad Plaridel Award. On September 17, 2015, Aunor was conferred the Gawad CCP para sa Sining for Film and Broadcast Arts, the highest award given by the Cultural Center of the Philippines. She was also conferred of the Gusi Peace Prize in 2015.

In 2022, Aunor was conferred The Order of National Artists of the Philippines for Film and Broadcast Arts.

In 2023, a new species of Begonia, B.noraaunorae was named after Aunor as an honor to her various achievements in the entertainment industry.

Cinema
Since the late 1960s up to the present, Aunor has made more than 180 films in different genres, from musicals, comedy, romantic comedy, romance and Love story. Later on, she made films in other genres such as drama, biographical, film noir, action, thriller, horror and arthouse films.

She has received recognition for the outstanding box-office performances of her films. She has won the Philippine Box Office Queen Award in the 1970s, 80s and 90s.

For being the consummate actor, Aunor has received numerous national and international awards and nominations. She is the first Filipino actor to win an International acting award in a major Film Festival (Cairo 1995 for The Flor Contemplacion Story), along with several Best Actress awards from numerous international film festivals for Thy Womb, Dementia, Naglalayag, and Bakit May Kahapon Pa?. She was named Best Actress for Thy Womb at the Asian Film Awards and the Asia Pacific Screen Awards, and given the Lifetime Achievement Award in 2015 by the ASEAN International Film Festival and Awards. She has been directed by four Philippine National Artist Awardees: Gerardo de Leon (Fe, Esperanza, Caridad and Banaue: Stairway to the Sky), Lamberto Avellana (Fe, Esperanza, Caridad), Lino Brocka (Ina ka ng Anak Mo, Nakaw Na Pag-ibig, Bona), and Ishmael Bernal (Himala, Ikaw Ay Akin).

Music
Aunor has released more than 360 singles and recorded more than 200 songs and over 50 albums. She has notched more than 30 gold singles and with an estimated gross sales of one million units, Nora's cover of "Pearly Shells" (1971) is one of the biggest-selling singles in the Philippines. Due to a botched cosmetic surgery in Japan in 2010 while endorsing a cosmetic surgery clinic based in Shinigawa and Makati, her vocal chords were damaged and she can no longer sing due to paralysis of her left vocal chords.

Television
Aunor started her career in television when she was given her own musical show via Nora-Eddie Show, with the late singer and former Tawag ng Tanghalan Champion Eddie Peregrina. The show later became, The Nora Aunor Show and eventually was re-titled Superstar.

Radio
Aunor was heard and guested in Fiesta Extravaganza and in the long running afternoon radio program of German Moreno (The Germiside Show where he had a Guy and Pip portion) and only songs of Nora Aunor and Tirso Cruz were played over and over again from 2 to 3 pm every Sunday aired via DZMM.

Stage
Aunor has performed in three plays: Minsa'y Isang Gamu-Gamo (1991), DH (Domestic Helper) in 1992, and The Trojan Women (1994). The first two were staged by the Philippine Educational Theater Association (PETA) and helmed by Socrates Topacio, then PETA's artistic head. Rody Vera penned the stage adaptation of Gamu-Gamo while renowned screenwriter Ricky Lee created DH. PETA toured both plays in North America, Europe, and Hong Kong. The third play, a Filipino adaptation of Euripides' immortal tragedy, was produced by Cecille Guidote-Alvarez's theater company, directed by a Greek national, and staged at the Ninoy Aquino Parks and Wildlife.

Product endorsement
At the peak of her career, Aunor was the top product endorser for television, print, and radio advertisements. The sales of Dial bath soap, for instance, shot up after Aunor endorsed it. Originally imported from the US, Dial soap first catered the AB bracket. When it was eventually manufactured locally, it courted the CD market by making Aunor its product endorser. Aunor appeared in a television commercial of Dial soap taking a shower and singing, "Aren't you glad you used Dial?". The television commercial proved successful as sales of Dial soap went up, and the masses, which comprise the bulk of her fans, patronized Dial soap.

Aunor has endorsed many local and international brands.

Awards and nominations

Aunor has been awarded, recognized and received multiple nominations from different organizations, academe, institutions, critics and award giving bodies for her work in film, television, music and theater. She is the most nominated actress for the leading role in the long history of FAMAS Awards, having nominated 17 times since 1973 when she was first nominated for A Gift of Love but only second to Eddie Garcia with 23 nominations both in leading and supporting role.

With her fifth FAMAS Award for Best Actress in 1991, Aunor became the sixth performer to be elevated to the FAMAS Hall of Fame joining the likes of Eddie Garcia, Joseph Estrada, Charito Solis, Fernando Poe Jr. and Vilma Santos. This award is given to the person who won more than five times in its particular category. She is also the only performer in the history of FAMAS Awards to be nominated for 15 straight years from 1973 to 1987.

Aunor has more international best actress awards and nominations more than any other Filipino actor. She is the only Filipino actress who have won international awards from 5 different continents. 19th Cairo International Film Festival in 1995 (Africa), 1st East Asia Film and Television Award in 1997 and Asian Film Awards in 2013 (Asia), 31st Festival International du Film Indépendant de Bruxelles in 2004 and Premio Della Critica Indipendiente in 2013 (Europe), Asia Pacific Screen Award in 2013 (Australia) and from the Green Planet Movie Award (North America). Among Filipino actors, she has the most Lifetime Achievement Awards received locally and internationally for her contribution in film, television, music, and theater.

Notable citations as a recording artist
In 1968, Nora Aunor was contracted by Alpha Records upon the recommendation of singer Carmen Soriano. Although Aunor's first singles were not major hits, she subsequently went on to smash local record sales with songs like "It's Time to Say Goodbye", "Silently", "Forever Loving You", "It's Not Unusual", and countless others. In her seven years with Alpha Records, Aunor was able to set all-time high record sales which up to this day has not been surpassed. At the height of her popularity as a recording artist in the late 1960s and early 1970s, local records soared up to 60% of national sales according to Alpha Records Philippines.

She is the artist with the most singles in Philippine recording history (with more than 260 singles). Over-all she has recorded more than 500 songs. She has notched more than 30 gold singles, a record in the local music industry. With estimated sales of one million units, Nora's cover of "Pearly Shells" (1971) is one of the biggest-selling singles in the Philippines ever. She has recorded some 46 hit long-playing albums, and several extended plays.
 * At the height of her popularity as a recording artist in the late 1960s and early 1970s, sales of local records soared up to 60% of national sales according to Alpha Records Philippines.
 * She is the artist with the most singles in Philippine recording history (with more than 260 singles). Overall she has recorded more than 500 songs.
 * She has notched more than 30 gold singles.
 * With estimated sales of one million units, Nora's cover of "Pearly Shells" (1971) is one of the biggest-selling singles in the Philippines.

title: Nora Aunor


text:
LNER Peppercorn Class A2

The London and North Eastern Railway (LNER) Peppercorn Class A2 is a class of steam locomotive designed for express passenger work by Arthur Peppercorn, the chief designer of the LNER after Edward Thompson. All save the first of the 15 built were constructed under British Railways after nationalisation in 1948. Only one example is preserved.

Design
The A2s were a development on the 6 ft 2 in driving wheel locomotives of Peppercorn's predecessor, Edward Thompson. Thompson's designs were rebuilds of preexisting Gresley designs, in addition to being constrained by wartime pressures. With a dilapidated locomotive and rolling stock fleet, Peppercorn designed his A2s to augment Thompson's designs and replace the aging Gresley locomotives.

Peppercorn's design was influenced greatly by Thompson's A2/3 design, although his design differed most obviously with the less stretched look. This was achieved by moving the outside cylinders forward over the leading truck and amending the steam ducts, shortening the smokebox and wheelbase while retaining the same cylinder and valve gear arrangement. However, this came at the cost of either discarding the Kylchap exhaust or the self-cleaning device in the smokebox, of which the former was omitted by the design team. A new smoke deflector design was fitted, although the omission of the Kylchap exhaust led to visibility issues during service. Some Gresley styled features returned in the form of the V-shaped cab and the 'Banjo Dome' steam collector. Much of the rest of the locomotive remained the same as the Thompson A2/3, utilising the same 250 psi boiler with a total heating surface of 3141.04 sq-ft, heated by a 50 sq-ft grate, powering a 19in by 26in cylinder, controlled from an electrically lit cab. This gave a tractive effort of 40,430 lb all whilst staying in a maximum axle load of 22 tonnes. The boiler utilised a small percentage of nickel plate for the barrel, saving 7cwt without compromising integrity.

Construction
The first of the Peppercorn A2s, No. 525 A.H.Peppercorn, was outshopped from Doncaster in December 1947 on the eve of nationalisation, and named after the designer of the class, Arthur Peppercorn. The first two of the class were turned out in LNER apple green livery, and this colour was also applied to the next 13 engines delivered between January and August 1948. Repainting in British Railways Brunswick green began the following year. Another 20 members of the class were also planned, but were put on hold and ultimately cancelled on 4 May 1948 after the 1948 Locomotive Exchanges. No. 60539 Bronzino emerged in August 1948 with Kylchap double blastpipe and chimney in place of the self-cleaning apparatus as an experiment, with Nos. 60526, 60529, 60532, 60533 and 60538 similarly modified in 1949.

Performance
The class's 50 sq ft grate, a remnant of the P2 lineage (from both Thompson and Peppercorn) boilers, meant the A2's were capable of high power and endurance; however, with the exception of the Aberdeen road, there was little need for this large grate firebox in the postwar era, and as a result, on comparable duties the A2's were heavier on fuel than the Gresley machines which pre-dated them, but for outright power and haulage capability, they were the logical successor to the P2 class, and finally provided the answer the Edinburgh-Aberdeen route required. As a result, they were amongst the last multi-cylindered express steam locomotive classes to remain in service in the UK.

Stock list
Only No. 525 was built during LNER ownership, but 526-31 received LNER 1946 numbers. From 60532 onwards, the A2s received BR numbers from new, BR numbers being the LNER 1946 numbers with the addition of 60000. With the exception of No. 525, named after the last Chief Mechanical Engineer of the LNER, they were named after racehorses.

Service
Initially, the A2s were based at depots the length of the East Coast Main Line, ranging from New England (Peterborough) in the south to Edinburgh's Haymarket. It is said that Edinburgh Haymarket and Aberdeen Ferryhill shed welcomed the engines in stark comparison to the Thompson A2/2 and A1/1. In 1949, five were put to work on the Edinburgh-Dundee-Aberdeen route and proved the ideal engines for its stiff gradients and sharp curvature. The A2s also worked to Perth, Glasgow, Carlisle, Newcastle upon Tyne and occasionally more southerly outposts. In 1963, Nos. 60525, 60530, and 60535 crossed the LNER-LMS divide and were allocated to a Glasgow depot, Polmadie. They replaced ex-LMS Coronation Class over the ex-Caledonian Railway route to Carlisle.

The final years of the A2s came in eastern Scotland with many notable performances over the Aberdeen road during the early 1960s. No. 60527 Sun Chariot started from Aberdeen with a 400-ton train and reached Montrose, Arbroath and Dundee ahead of schedule. In 1961 on Stoke bank in Lincolnshire, the location of Mallard's 1938 world speed record, No. 60526 Sugar Palm achieved 101 mi/h with the up “West Riding” express. Withdrawals began in the following year. Neither 60526 Sugar Palm or No. 60525 A. H. Peppercorn were saved for preservation.

Withdrawal
Withdrawal occurred between 1962 and 1966. The last three engines - 60528 Tudor Minstrel, 60530 Sayajirao and 60532 Blue Peter - were retired in June 1966.

Preservation

One Peppercorn A2, 60532 Blue Peter, has survived.

title: LNER Peppercorn Class A2


text:
1743 in architecture

Buildings

 * Construction begins on the Basilica of the Vierzehnheiligen, in Bavaria, designed by Johann Balthasar Neumann.
 * Dresden Frauenkirche, in Dresden, Germany, designed by George Bähr, is completed.
 * Eltzer Hof in Mainz completed
 * September 29 – Church of the Gesuati on the Giudecca canal in Venice, designed by Giorgio Massari in 1724, is consecrated.

Births

 * April 13 – Thomas Jefferson, American President and amateur architect (died 1826)

Deaths

 * May 22 – Thomas Archer, English Baroque architect (born 1668)

title: 1743 in architecture


text:
George Nolfi

George Nolfi (born June 10, 1968) is an American filmmaker. He made his directorial debut in 2011 with sci-fi action, romance thriller, The Adjustment Bureau starring Matt Damon and Emily Blunt.

Nolfi's work has been known to blend genres and employ tones ranging from serious to comedic. His stories often have protagonists who are exceptional at what they do; touch on central themes of philosophy, the human condition or world politics; and convey some form of social commentary.

Early life
Nolfi was born in Boston. He graduated summa cum laude from Princeton University, earning a bachelor's degree in public policy and was awarded a Marshall Scholarship to Oxford University where he studied philosophy. He then entered the PhD program in political science at UCLA with an eye toward a career in government and academia.

Career
While working on his PhD dissertation at UCLA in 1997, Nolfi sold his first spec script, Pathfinder, in a three-studio bidding war. It would ultimately convince him to change his career path.

In 2003, Nolfi received his first screenwriting credit for the sci-fi film Timeline, a Michael Crichton bestselling book adaptation starring Paul Walker. His spec screenplay, Honor Among Thieves, was adapted into Ocean’s Twelve (2004), with an all-star ensemble cast led by George Clooney and Brad Pitt. In 2006, Nolfi wrote and co-produced The Sentinel, a political action thriller starring Michael Douglas.

Nolfi is uncredited with rewriting the ending for Bourne Supremacy (2004) two weeks before its release. He returned to the Matt Damon spy thriller franchise in 2007 to co-write Bourne Ultimatum with Tony Gilroy, and Scott Z. Burns.

His continued working relationship with Damon lead to a feature directorial debut with The Adjustment Bureau (2011). The film was adapted from the 1954 Philip K. Dick short story classic titled "The Adjustment Team," which had been nominated for several awards. The story raises the questions of fate and whether we control our own destiny. Among some sci-fi cinephiles, The Adjustment Bureau is considered one of the most underrated sci-fi films.

Nolfi created, executive produced, and served as the principal director for the 2015 espionage television series Allegiance, which ran for one season on NBC. Allegiance was based on the Israeli television show The Gordin Cell, which was produced in 2011.

Nolfi directed and co-wrote The Banker (2020), starring Anthony Mackie and Samuel L. Jackson. The passion project, based on a true story, brought public awareness to two African American businessmen, heroes of their time, and to their endeavors to overcome racism and redlining. The film has been widely praised, particularly among the black community. It continues to be used as an educational tool and to delve into deeper conversations on redlining, business, real estate, and generational wealth. In March 2021, The Banker won Outstanding Independent Motion Picture at the 52nd NAACP Image Awards.

To date Nolfi's filmography has collectively grossed over $1 billion at the box office worldwide.

title: George Nolfi