Madeleine Dring

# Madeleine Dring

## Abstract

Madeleine Winefride Isabelle Dring (7 September 1923 – 26 March 1977) was an English composer, pianist, singer and actress.

## Life

Madeleine Dring spent the first four years of her life at Raleigh Road, Harringay, before the family moved to Streatham. She showed talent at an early age and was accepted into the junior department of the Royal College of Music where she began on her tenth birthday. She was offered scholarships for violin and piano and chose violin. She studied piano as a secondary instrument, with RCM students guiding her studies for the first several years.

As part of their training, all of the students performed in the children's theatre under the guidance of Angela Bull. Dring formally began composition studies at the junior department with Stanley Drummond Wolff in 1937, in 1938 with Leslie Fly, and worked with Sir Percy Buck for the next two years. Near the end of her studies, she was assigned to Lilian Gaskell for piano studies. She continued at the Royal College for senior-level studies where her composition teacher was Herbert Howells. She had occasional lessons with Ralph Vaughan Williams (an official substitute for Howells). She dropped the violin study after the death of her instructor, W.H. Reed, at the end of the first year. She focused on piano and composition and studied mime, drama, and singing. Dring's love of theatre and music co-mingled happily; many of her earliest professional creations were for the stage, radio, and television.

In 1947, she married Roger Lord who served as Principal Oboist with London Symphony Orchestra for over thirty years. She composed several works for Roger, including the highly regarded Dances for solo oboe. Soon after her marriage, her first pieces were published with Lengnick and with Oxford (1948). The Lords had one son in 1950.

Dring died in 1977 of a cerebral hemorrhage (brain aneurysm). Dring's tombstone was recently uncovered (in situ) at Lambeth Cemetery in Streatham. Both Roger and their son, Jeremy, died in 2014. Roger died at age 90 and Jeremy died of Amyotrophic lateral sclerosis (ALS).

A book, Madeleine Dring: Her Music, Her Life, by Ro Hancock-Child, was published in 2000 (2nd edition 2009), and included cartoon illustrations from Dring's own notebooks interpreted by Ro Hancock-Child. The biography was partially funded by Dring's husband, Roger Lord, in order to disseminate information about his late wife's compositions. Several articles, compact disc recordings, and inclusions of Dring's biographical information in books about composers in the last decade have secured her name a place in the modern lexicon.

Another book, Madeleine Dring: Lady Composer by Wanda Brister and Jay Rosenblatt was published in 2020 by Clemson University Press and Liverpool University Press and is distributed by OUP. Over 100 pages of footnotes and references are included in this volume as well as complete works lists and document performances by Dring. It has received positive press from journals on singing, women in music, double reeds, and light music.

Both of these authors have also worked diligently to record and publish works by Dring.

Dring's most recent posthumous honor was to have the Streatham & Clapham High School Dining Hall named after her. It is indeed an honour, since she did not attend this high school, but attended La Retraite Roman Catholic Girls' School in Clapham Park. It is geographically located in the middle of the neighborhood in which Dring spent most of her life.

## Music

Dring's favourite composer in her youth was Rachmaninov and she owned much piano and vocal sheet music by Rachmaninov, which is now in the possession of Ro Hancock-Child. Dring studied with Herbert Howells but her own work shows no debt to his musical style. Occasionally she was taught by Ralph Vaughan Williams but again there is little obvious influence, and her music does not reflect the English folk song tradition, although she studied this genre as a singer. She sometimes set a text she had encountered in a solo or choral work, leaving her mark on it. She looked further afield.

Dring particularly enjoyed (and imitated) the mannerisms of Poulenc, for instance in the accompaniment to her song I Feed A Flame. As observed by Ro Hancock-Child, Dring preferred jazzy idioms, Gershwin, Cole Porter and the sunny style of Arthur Benjamin. Having heard the calypso in London, she responded with her own Caribbean Dance and West Indian Dance, for piano.

Dring deliberately did not repeat her musical material from piece to piece, always finding a fresh approach to harmony and rhythm. If her vocal music has ever been compared to Roger Quilter (possibly because of similar text choices) it is a mistaken comparison. Quilter was solidly Victorian in outlook, and his songs are deeply melodic and contrapuntal. By contrast, Dring looked to the future, and thrived on novelty and surprise, hoping that what she wrote might gently shock or make you smile. Her vocal melodies arise from the underlying harmonies and can be difficult to pitch: the chords come first, as Ro Hancock-Child observes. Dring wrote most of her songs for her own use: she had a soprano voice with a wide range, and perfect pitch. Several informal and informative recordings exist of Dring singing and playing her own compositions.

Dring's cabaret songs and West End Revue material sometimes featured her own lyrics and are full of clever writing, both musically and textually. They have recently been recorded and published by several dedicated artists.

Dring chose not to compose large-scale works, therefore most of her output was in shorter forms. She wrote pieces for solo piano, piano duets, songs with piano, and some chamber music, including pieces for piano duo, flute, oboe, harmonica, recorder, and clarinet, a small number of which are pedagogical works. Her works for television and radio are all within a 45-minute time frame or shorter. She completed a one-act opera, Cupboard Love with her friend D.F. Aitken (never performed during her lifetime, but it was published in 2017 and received its stage premiere in the United States in April 2018 at Florida State University and its European premiere in Scotland in June 2019). A dance drama entitled The Fair Queen of Wu which was broadcast on BBC Television in 1951. The ballet called for a full company of soloists who were off camera. She was commissioned to write music for "The Real Princess," a ballet and for several stage plays in London given from 1946 to 1971. She often collaborated with Felicity Gray, choreographer, and D.F. Aitken, librettist.

## Works

Dring rarely provided dates for her compositions; many dates come from Alistair Fisher's treatise on her songs. Publication dates have been provided, many of which are posthumously published by her husband, Roger Lord. Some dates have more recently been re-established using dates of first performances and other information as confirmed in Dring's personal papers as well as in archival newspaper reviews. In 2018 three volumes of songs were engraved and published as well as four volumes of cabaret and musical revue numbers. Duets and ensembles were also published.

### Instrumental

- Italian Dance (1960) Oboe and Piano

- Fantasy Sonata in one Movement (1938, published 1948), solo piano

- Three Fantastic Variations on Lilliburlero for Two Pianos (1948), two pianos

- Jig (1948), piano

- Prelude and Toccata (1948), piano

- Tarantelle (1948), piano duet

- Festival Scherzo (1951), piano and string orchestra;

- Sonata for two pianos (1951)

- March: for the New Year (1954), piano

- Caribbean Dance (Tempo Tobago) (1959), piano duet or solo

- Dance Suite (1961), piano

- Polka (1962), oboe and piano

- Colour Suite (1963), piano

- Danza Gaya (1965), two pianos or oboe and piano (original score housed at Royal College of Music, London)

- Three Dances (1968; Josef Weinberger), piano

- Trio for Flute, Oboe, and Piano (1968)

- Valse française (1980), solo or duo piano * (original scores housed at Royal College of Music, London)

- Three Pieces: WIB Waltz, Sarabande, Tango (1983), flute and piano*

- Waltz (1983), oboe and piano*

- Suite (1984), harmonica and piano (later arranged by Roger Lord for oboe)*

- Trio for oboe, bassoon, and harpsichord (1986)* (original score housed at Royal College of Music, London)

- Idyll for oboe (viola) and piano (The composer's husband Roger Lord, disappointed that the piece remained unplayed and unpublished for many years, perhaps because of its chromaticism, decided to transcribe the solo part for oboe, his own instrument, to which it is well suited. Idyll was first recorded in 2007 by Thierry Cammaert, oboist of the Quartz Ensemble, a Belgian winds ensemble. The ensemble has also performed the work as a trio for flute, oboe and piano.)

### Vocal

- Three Shakespeare Songs (original score housed at Royal College of Music, London), (1949) (Published by Legnick 1949, republished with 4 additional Shakespeare songs, Thames 1992, published as Dring Volume 1)* First performance 10 May 1944 with Ifor Evans, Baritone, Madeleine Dring, Accompanist, performed at the RCM

- Thank you, Lord (1953), vocal, text L. Kyme (not published as composed - Dring did not approve of this edition)

- An additional four songs with texts by L. Kyme were written in 1953. They have now been published.

- The Pigtail (1963) vocal duet, text A. von Chamisso.

- Dedications: Five poems by R. Herrick (1967), vocal suite (published 1992 by Thames as Dring Volume 2)* (original score housed at Royal College of Music, London)

- Love and time: Four Songs (1970s) (published in 1994 by Thames as Dring Volume 5)*

- Four Night Songs: texts of Michael Armstrong (1976), (published 1985 Cambria (US) 1992 Thames as Dring Volume 3)*

- Five Betjeman Songs (1976) (published in 1980 by Weinberger)* (original score housed at Royal College of Music, London)

- Seven Songs for Medium Voice (various compositional dates, compiled and published by Thames in 1993 as Dring Volume 4)*

- Six Songs for High Voice (various compositional dates, compiled and published by Thames in 1999 as Dring Volume 6)* Includes: My true-love hath my heart, Echoes, The Cherry Blooming, The Parting, The Enchantment, Love is a Sickness

- Previously Unpublished Vocal Works Volume 1: Art Songs and Arrangements: Lyrics of Shakespeare, Herrick, Rossetti, Ellison, Anon, and Arrangements of Horn, Pinsuti, Kjerulf, and Pattison. Classical Vocal Reprints, Fayetteville, AR. Published 2018 Copyright Simon Lord.

- Previously Unpublished Vocal Works Volume 2: Cabaret Songs: All Music and Lyrics of Madeleine Dring. Classical Vocal Reprints, Fayetteville, AR. Published 2018 Copyright Simon Lord.

- Previously Unpublished Vocal Works Volume 3: More Art Songs: Lyrics of Cibber, Marlowe, Goldsmith, Blake, Dring, Longfellow, and Tynan. Classical Vocal Reprints, Fayetteville, AR. Published 2018 Copyright Simon Lord.

- Previously Unpublished Vocal Works Volume 4: More Cabaret Songs: Lyrics of Madeleine Dring and Charlotte Mitchell. Classical Vocal Reprints, Fayetteville, AR. Published 2018 Copyright Simon Lord.

- Previously Unpublished Vocal Works Volume 5: Still More Art Songs, Arrangements, and Love Songs: Lyrics of Herrick, Campbell, Lord, Dring, and Kyme. Classical Vocal Reprints, Fayetteville, AR. Published 2018 Copyright Simon Lord.

- Previously Unpublished Vocal Works Volume 6: Still More Cabaret and Theatre Songs: Lyrics of Dring, Mitchell, Vanbrugh, and Bridie. Classical Vocal Reprints, Fayetteville, AR. Published 2018 Copyright Simon Lord.

- Previously Unpublished Vocal Works Volume 7: Cabaret Duets: Lyrics of Aitken, Breton, Dring, Howitt, Lear, Mitchell, and Rafferty. Classical Vocal Reprints, Fayetteville, AR. Published 2018 Copyright Simon Lord.

- Previously Unpublished Vocal Works Volume 8: Cabaret Ensembles of 3 or More Voices: Lyrics of Dring, Mitchell, and Aitken. Classical Vocal Reprints, Fayetteville, AR. Published 2018 Copyright Simon Lord.

- Previously Unpublished Vocal Works Volume 9: Songs from West End Revues: Lyrics of Dring, Mitchell, and Rafferty. Classical Vocal Reprints, Fayetteville, AR. Published 2018 Copyright Simon Lord.

### Theatre, drama, and television

#### Incidental music

- The Emperor and the Nightingale (1941) Performed at the RCM 20 December 1941. No score is available at this time.

- Tobias and the Angel (1946) Incidental music and two songs published 2018

- Somebody’s Murdered Uncle (1947) for BBC radio; Duets: "I should have trusted you darling" and "There's nothing to stop us now" There are also two quartets: "There's no such thing as a perfect crime" and "Bloggins, Birch, and Frome," as well as a solo entitled, "J. Allington Slade." Songs published 2018

- The Buskers (1959), for which she provided music for the Wedding Song, not located at this time.

- Little Laura Cartoons (1960–61), Dring provided and played music for six episodes. Four episodes were broadcast in New Zealand in 1976.

- The Jackpot Question (1961), for Associated TV, repeated in 1962 with another cast.

- The Whisperers (1961), for ITV Season 7, Episode 7.

- The Provok’d Wife (1963), texts by Vanbrugh: Four pieces typeset by Alistair Fisher. Published in 2018

- The Lady and the Clerk (1964), for Associated TV

- I Can Walk Where I Like, Can’t I? (1964), for Associated TV

- When the Wind Blows (1965), for Associated TV

- Helen and Edward and Henry (1966), for Associated TV

- Variation on a Theme (1966), for Associated TV

#### Musical revues

- Airs on a Shoestring (1953) Songs: "Model Models," Films on the Cheap Side at Cheapside" "Strained Relations," and "Snowman" (all lyrics by Charlotte Mitchell), "Sing High, Sing Low" (Lyrics by Madeleine Dring). Songs published 2018

- Pay the Piper (1954) "Pay the Piper" (Lyrics at BL) Location of song scores unknown at this time).

- From Here and There (1955) "Resolutions" and "Life Sentence" (Lyrics Charlotte Mitchell) (Lyrics at BL) (Location of song scores unknown at this time)

- Fresh Airs (1955) "Mother knows," Sketch "Witchery," and "Miss Spenser," (Lyricist Madeleine Dring) (Lyrics at BL, but location of song score for Miss Spenser unknown at this time). Mother knows published 2018

- Child’s Play (1958) Overture, "High in the Pines," "Love Song," and "Hearts and Arrows" have been recovered. (Location of scores for four other songs missing this time)) (Lyricist Sean Rafferty) These are not at the BL because Players' Theatre is a private club and was not censored.

- Four to the Bar (1961) "Diedre" was included in this, also known as "Mother knows" from "Fresh Airs"(Lyricist Madeleine Dring.) An LP was produced by Philips of this music. Published 2018.

#### Ballet

- Waiting for ITMA (1947), for BBC TV

- The Real Princess (1971), scored for 2 pianos

#### Opera

- Cupboard Love (performed posthumously December 19, 1983, at St John's Smith Square by Intimate Opera Company). Published in 2017 by Classical Vocal Reprints, Fayetteville, AR, American staged Premiere in April 2018, Florida State University. European staged premiere Byre Opera, St Andrews University scheduled for June 2019. London staged premiere by The Operatists, Tête à Tête Opera Festival 6 September 2023.

#### Other compositions

- The Wild Swans (1950), children's play, Cygnet Company

- The Fair Queen of Wu (1951), dance-drama for BBC TV, Score at RCM

- The Marsh Kings’s Daughter (1951), children’s play, Cygnet Company

- The Scarlet Crabapple, Cygnet Company

## Sources

- Banfield, Stephen, "Madeleine Dring". Grove Music online. (subscription access)

- Barnett, Rob, "Madeleine Dring: her life and Music by Ro Hancock-Child" (review of 2000 edition), MusicWeb International, April 2000

- Berg, Gregory,"The Listeners Gallery: Songs of Madeleine Dring" Journal of Singing, Sept/Oct 2014, Vol 71, No 1, pp. 128–131.

- Berg, Gregory,"The Listeners Gallery: Cabaret Songs of Madeleine Dring" Journal of Singing, May/June 2019, Vol 75, No 5, pp. 621–625.

- Brister, Wanda, CD: Courtney Kenny, Nuala Willis, Matt Cooksey, "Madeleine Dring: Lady Composer," Cambria Music, 2022 liner notes. 30 vocal selections. Selections from stage, revues, radio, and song.

- Brister, Wanda and Jay Rosenblatt, "Madeleine Dring: Lady Composer," Clemson University Press 2020 (full academic biography) 356 pages.

- Brister, Wanda, The Songs of Madeleine Dring: Organizing a Posthumous Legacy, DMA dissertation, University of Nevada, Las Vegas, 2004. (Biography, overview of works, examination of art songs.)

- Brister, Wanda, "The Songs of Madeleine Dring," Journal of Singing: The Official Journal of the National Association of Teachers of Singing Vol 64 No 5, pp. 565–578. (Biographical sketch and discussion of all published art songs by 2004.)

- Brister, Wanda, CD: "The Songs of Madeleine Dring," Cambria Music, 2013 liner notes. 40 vocal selections.

- Brister, Wanda, CD: Courtney Kenny, Nuala Willis, "The Cabaret Songs of Madeleine Dring," Cambria Music, 2018 liner notes. 17 vocal selections.

- Brister, Wanda,"Madeleine Dring" (biographical notes), inside each volume of Previously Unpublished Vocal Works, Classical Vocal Reprints, Fayetteville, AR. (c) Wanda Brister.

- Davis, Richard, "The Published Songs of Madeleine Dring. Journal of Singing. March/April 2007. Vol.63. Nr. 4. pp. 393-403.

- Fisher, Alistair, The Songs of Madeleine Dring and the Evolution of Her Compositional Style", Bachelor's thesis, University of Hull, 2000

- Hancock-Child, Ro, Madeleine Dring: Her Music, Her Life 2nd edition, Micropress 2009 (biography and full catalogue of works)

- Kimball, Carol, "Madeleine Dring," article in Song: A Guide to Art Song Style and Literature, Rev ed, Hal Leonard 2006, pp 401–403. (biographical sketch, short look at vocal works, includes bibliography.)

- Lord, Roger, biographical notes, Thames/Elkins volumes of songs.

- Roland-Silverstein, Kathleen, "Past Treasures and New Discoveries," Journal of Singing, Nov/Dec 2018, Vol 75, No. 2, pp. 227–230. Review of newly published works.


The Grace Card

# The Grace Card

## Abstract

The Grace Card is a 2010 Christian drama film directed by David G. Evans. The film stars Louis Gossett Jr., Michael Higgenbottom and Michael Joiner. It was released on February 25, 2011, to 363 theaters, grossing $1 million in its opening weekend.

## Plot

When Mac McDonald (Michael Joiner) loses his son in an accident, the ensuing 17 years of bitterness and pain erode his love for his family and leave him angry with almost everyone, including God. Mac's rage damages his career in the police department, and his household is as frightening as anything he encounters on the streets of Memphis. Money is tight, arguments with his wife are common, and his surviving son Blake is hanging with the wrong crowd and in danger of failing school.

Things become heated when Mac is partnered with Sam Wright (Mike Higgenbottom), a rising star on the force who happens to be a part-time pastor and a family man. Sam never expected to be a police officer. He feels called to be a minister like his grandfather. In addition to leading a small, start-up church, Sam works as a police officer to provide for his family. When he gets promoted to Sergeant, however, Sam starts questioning if his true calling might be police work.

Can Sam and Mac somehow join forces or is it nearly impossible for either of them to look past their differences, especially their race ?

## Production

Filming for The Grace Card began in Memphis, Tennessee on October 14, 2009. The climax of the film was shot at Messiah Missionary Baptist Church on Chelsea. Other locations included St. Francis Hospital and the downtown banks of the Mississippi River. Screenwriter Howard Klausner explained, "We look at this project as Fireproof 2.0. The Sherwood Baptist guys have opened up a door for all of us, proving that faith-based features can stand up in the marketplace... Maybe it’s just because so few films coming out of Hollywood reflect the values we hold dear."

The Calvary Church of the Nazarene in Cordova was the film's "sponsoring church." Church volunteers worked in the catering, wardrobe, hair and makeup departments, in addition to the professional filmmakers who handled the film's technical aspects. Director David Evans said about 90 percent of the 40 full-time crew members were mid-Southerners, as were almost all the 100-plus supporting actors and extras. They volunteered more than 10,000 hours, and the film was shot in 28 days.

## Release

On its opening day of wide release, The Grace Card grossed $360,000, and its opening weekend was $1,010,299. It was released to 352 theaters, with a $2,870 per-theater average.

### Reception

On review aggregator Rotten Tomatoes, the film holds an approval rating of 36% based on 28 reviews, with an average rating of 5.60/10. The website's critical consensus reads, "Tailored for a very specific audience, The Grace Card delivers its noble religious message via implausible plot twists and preachy dialogue." On Metacritic the film has a weighted average score of 43 out of 100, based on 14 critics, indicating "mixed or average reviews"

Steve Persall of the St. Petersburg Times said in a positive review, "This is a solid, sincere affirmation of faith and forgiveness. Praise the Lord, and pass the popcorn." Mike Hale of The New York Times said "Responses to religious films are bound to be personal, so at the risk of sounding patronizing, I'll say that my main reaction to The Grace Card was one of pleasant surprise at its competence." Orlando Sentinel's Roger Moore said, "The eggshells the screenwriter and director walk on distance the story from the reality it aims to imitate. And that robs this tale of loss, grief and redemption of its punch."

Critics did praise lead actor Michael Joiner, with The Hollywood Reporter and Variety giving Joiner rave reviews for his performance, as well as The Times of Northwest Indiana and The Kansas City Star.


Jagaddhatri (Telugu TV series)

# Jagaddhatri (Telugu TV series)

## Abstract

Jagaddhatri is an Indian Telugu language drama series airing on Zee Telugu which premiered from 21 August 2023. The show is an official remake of Bengali TV series Jagaddhatri. It stars Deepthi Manne and Darsh Chandrappa in lead roles.

## Plot

Jagaddhatri is a secret service officer, but pretends to be timid with her family. When her cruel stepmother plans to get her elder daughter married, Jagaddhatri discovers the groom's hidden reality.

## Cast

### Main

- Deepthi Manne as Jagaddhatri

- Darsh Chandrappa as Kedar

### Recurring

- Preethi as Koushiki

- Neelima as Nishika

- Balaji as Bharathwaja

- Lireesha as Balamani

- Laxmi as Siri

- Shanthi Reddy as Ragini

- Jaya as Dharani

- Rajendra as Sadhu

- Janaki as Subhadra

- Devaraj as Suresh

- Rajakumari as Janaki

- Ram Mohan as Sudhakar

- Raga Madhuri as Vajayanthi

- Suhan as Yuvaraj

- Gayathri as Madhuri

- Girish as Kamalakar

- Abhigna as Kavya

- Nagireddy as Dubai Babu

- Jasmika as Keerthi


The Graduates (2008 film)

# The Graduates (2008 film)

## Abstract

The Graduates is a 2008 American independent coming-of-age teen comedy film directed and written by Ryan Gielen. The film follows four friends—Ben (Rob Bradford), Andy (Blake Merriman), Mattie (Nick Vergara), and Nickie (Michael Pennacchio)—who head to Ocean City, Maryland to celebrate their high school graduation.

## Plot

18-year-old Ben, fresh out of high school in Maryland, is heading to Senior Week to hang out with friends, party, and chase the hottest girl in high school, Annie. While waiting outside a liquor store in Columbia for his older brother Josh, Ben is talking to himself when Brian, Josh's friend, overhears him, embarrassing Ben. Josh comes out of the store and hands Ben a bag of liquor. The two drive to pick up Ben's three friends, Andy, Mattie, and Nickie.

After picking up the trio, the group heads off to Ocean City. During the drive, the group has discussions about sex, which highlights the group's naïveté and their limited understanding of sex.

Upon arriving in Ocean City the group gets drunk and goes to a party. Josh attempts to instruct the younger guys on seducing women, telling them "the secret" about female body language. Annie, Ben's crush, enters the party, and her entrance completely distracts Ben. He sits down next to Annie and starts to flirt with her. As Ben and Annie begin to kiss, Nickie gets into a fight, which ends up causing Annie to leave and brings an early end to the party.

The next day, the group goes out on the town and cruises the boardwalk. They end up back at Ben's condo and play Asshole. Andy becomes president and declares that Nickie must toast him. After a brief verbal spat, Ben becomes Vice President and calls for a confession. After a descriptive story from Josh about losing his virginity, the boys stumble into an awkward conversation about divorce.

Throughout the ensuing week, the young men encounter a multitude of zany characters and situations.

## Cast

- Rob Bradford as Ben

- Blake Merriman as Andy

- Nick Vergara as Mattie

- Michael Pennacchio as Nickie

- Stephanie Lynn as Annie

- Josh Davis as Josh

- Max Lodge as Stuart

- Laurel Reese as Megs

- Brian Seibert as Brian

- Rachel Kiri Walker as Rachel

- Zak Williams as Mike "The Resonator" Resniski

- Josh Folan as Jesse Swomley

- Meghan Miller as Mellisa

- Lena Hall as Inga

## Production

The film is the feature-length directorial debut of Maryland native Ryan Gielen, who previously directed short films with his brother Matthew, a producer for the film.

It was shot on location in Ocean City, Maryland in September 2007.

The film is also the feature film debut of Zak Williams, son of actor Robin Williams.

### Music

The film has three original composed songs by Seth Freeman. Indie rock band The New Rags also have three songs featured in the film.

## Release

The film premiered at the Rhode Island International Film Festival on August 6, 2008. The filmmakers used grassroots campaigning to promote the film and held screenings along the East coast. The film was also shown at the Myrtle Beach International Film Festival on December 2, 2008.

## Awards and honors

At the Rhode Island Film Festival, the film was given the Directorial Discovery Award.


Biy

# Biy

## Abstract

Biy (Kazakh: Би, Bi) were elected Kazakh judges and administrators during the Kazakh Khanate era. Biys are below Sultans in rank. Many consider "Biy" to simply be a kazakh variation of " Bey ", though there are major differences: like, for example, the fact that "biy" is not an inheritable position.

Biys of Kazakhstan were chosen mainly based on their personal qualities. They possessed knowledge of history, the people's lives, customs and traditions, they were distinguished with their wisdom and eloquence. During the years of the strengthening of the Kazakh Khanate (XVII-XVIII centuries) and continuous wars fought with the Dzonghar Khanate, biys of three zhuzs played a major role: Senior — Töle Biy, Middle – Qazybek Biy, Junior – Äiteke Biy. They are considered to be three of the most important historical figures in Kazakh history. During the years of colonialism of the Russian Empire, these professions and their practices were either weakened or stopped completely. The profession of Biys was eventually abolished by an imperial order on 25 March 1891.

The Council of biys was the highest council, a kind of senate.


Carlos Alazraqui

# Carlos Alazraqui

## Abstract

Carlos Jaime Alazraqui (born July 20, 1962) is an American actor and comedian. His extensive voice-over work includes the original voice of Spyro from Spyro the Dragon; Shameless O'Scanty, Leslie P. Lilylegs, Elliott Sampson and Tad Tucker on New Looney Tunes; the Taco Bell chihuahua in the Taco Bell commercials; Denzel Crocker, Juandissimo Magnifico, and Sheldon Dinkleberg on The Fairly OddParents; Rocko and Spunky on Rocko's Modern Life; Scooter on SpongeBob SquarePants; Lazlo, Clam, and other characters on Camp Lazlo; Rikochet in ¡Mucha Lucha!; Grandpapi Rivera in El Tigre: The Adventures of Manny Rivera; Carlos Casagrande, Sergio, Vito, and other characters in the franchise of The Loud House; Mr. Weed in Family Guy; and the Disney character Panchito Pistoles since 2001. He is a weekly contributor on The Stephanie Miller Show. In live-action, Alazraqui is known for playing Deputy James Garcia on Reno 911!.

## Early life

Alazraqui was born Carlos Jaime Alazraqui in Yonkers, New York on July 20, 1962 to Argentine parents. He has Sephardic Jewish heritage from his father. His mother was a Methodist priest. He moved with his family to Concord, California, at an early age. Alazraqui graduated from Concord High School. He attended college at California State University, Sacramento from 1982 to 1986, where he began competing in open mic contests. After winning in his fourth year, Alazraqui took his prize money and moved to Los Angeles.

## Career

### Stand-up comedy

Originally, Alazraqui began his career in stand-up comedy. He was the winner of the San Francisco Comedy Competition in 1993, beating out fellow comedians Marc Maron and Patton Oswalt.

In addition, Alazraqui joined Miller's Sexy Liberal Comedy Tour in 2014, playing some of the dates with Ward and he has a semi-regular segment on Miller's radio show Coffee with Carlos.

### Film and television

Alazraqui is known for his live-action work in Reno 911!, in which he portrayed Deputy James Garcia for five seasons (2003–2008). He played the same role in the series' 2007 spin-off film Reno 911! Miami. As a nod to this role, he also played a "bumbling" Reno cop in the CSI: Crime Scene Investigation episode " Let it Bleed." He has been a celebrity on the Tom Bergeron version of Hollywood Squares.

Alazraqui also wrote and starred in The Last White Dishwasher, a short film.

In 2020, he reprised his role as Deputy James Oswaldo Garcia in the seventh season of Reno 911! which aired on Quibi. He also appeared in the 2021 Paramount+ movie, Reno 911! The Hunt for QAnon. The eighth season of the series, now titled Reno 911! Defunded, premiered on The Roku Channel in February 2022.

He reprised his role as Denzel Crocker in The Fairly OddParents: Fairly Odder, a live-action sequel to The Fairly OddParents, which premiered on Paramount+ in March 2022.

### Voice acting

Alazraqui has performed several voices for Nickelodeon cartoons, including Rocko on Rocko's Modern Life, as well as Denzel Crocker and Juandissimo Magnifico on The Fairly OddParents, Winslow T. Oddfellow and Lube on CatDog, and Scooter on SpongeBob SquarePants. He also voiced several additional voices for the Cartoon Network shows, Cow and Chicken, Kidscity: The Village Dome of Kids, and I Am Weasel during their runs in the mid-late 1990s. He also voiced Spyro in Spyro the Dragon; he was later replaced by Tom Kenny as Spyro in Spyro 2: Ripto's Rage!, Spyro: Year of the Dragon, and Spyro: Enter the Dragonfly. In 1997, he voiced Crash Bandicoot in promotional trailers for the game Crash Bandicoot 2: Cortex Strikes Back, also switching out live performances as him with Tom Kenny at E3 1997. He also voiced the Taco Bell chihuahua in the Taco Bell commercials, Rikochet in the first two seasons of ¡Mucha Lucha! and Mr. Weed (the head of the "Happy Go Lucky" toy factory) on Family Guy. It is mentioned in the DVD commentary track that Alazraqui was reluctant to leave Family Guy. In particular, Seth MacFarlane suggests that the death of Alazraqui's character took the actor by surprise. He also voiced Dr. Julius No in GoldenEye: Rogue Agent.

In 2005, he added the voices for two Cartoon Network series: The Life and Times of Juniper Lee where he played Monroe, a guardian dog with a Scottish accent and three characters in Camp Lazlo: Lazlo, Clam and Chef McMuesli. In 2006, he added Salty Mike from Squirrel Boy and Walden in Wow! Wow! Wubbzy! on Nick Jr. to his credits. He played Wisk in Glen Hill's 2000 film version of L. Frank Baum 's The Life and Adventures of Santa Claus. He also provided the voice of Nestor in the Happy Feet films. He has also voiced the Hanna-Barbera characters Baba Looey, Mudsy the Funky Phantom, and Loopy De Loop in modern appearances.

Jeff "Swampy" Marsh, a storyboard writer for Rocko's Modern Life, described Alazraqui's normal voice as bearing "no accent at all". Marsh describes Alazraqui's "Scottish accent" as "one of the best" and that he performs his other accents as "all very well". According to Marsh, Alazraqui uses various accents in his comedy routines. He had worked for the Disney Channel on Handy Manny, where he provided the voice for Felipe, the bilingual Phillips-head screwdriver and for Abuelito, Manny's grandfather. He was the original "voice guy" on the Stephanie Miller Show, later being replaced by Jim Ward, who had previously substituted for him. In January 2008, Alazraqui returned to fill in briefly while Ward recovered from surgery. In 2014, he voiced Mesmo and Torts in Mixels. He voices Tio Tortuga in Sheriff Callie's Wild West.

In 2023, Alazraqui joined the cast of The Case of the Greater Gatsby, a noir parody podcast produced by Shipwrecked Comedy, playing a singing cowboy actor in 1940s Hollywood. The show also features his Fairly Odder co-stars Lesli Margherita and Mary Kate Wiles (Wiles is also a producer). The show premiered on July 26, 2023.

### Web

In 2009, he collaborated with Ted Nicolaou on the web series The Club, which was released in November 2010. The series features Jill-Michele Meleán, Debra Wilson, Johnny A. Sanchez, Lori Alan, and Daran Norris.

In 2013, Alazraqui starred as a drug dealer in one episode of the Melinda Hill web series Romantic Encounters.

## Personal life

Alazraqui resides in Los Angeles, California with his wife and two daughters. One daughter Rylee is a voice actor as well. Rylee is the voice of Rohk-Tahk in the Paramount+ series Star Trek: Prodigy.

## Awards and nominations

- 2012 – Annie Award for Best Voice Acting in a Television Production – The Fairly OddParents - Nominated

- 2015 – Annie Award for Best Voice Acting in a Television Production – The Fairly OddParents - Nominated

- 2016 – Emmy Award for Outstanding Performer in an Animated Program – The Fairly OddParents - Nominated

- 2017 – Annie Award for Best Voice Acting in a Television Production – The Mr. Peabody & Sherman Show: Ponce de León - Won

- 2022 – Emmy Award for Outstanding Television Movie - Reno 911!: The Hunt for QAnon - Nominated


The Greatest (2009 film)

# The Greatest (2009 film)

## Abstract

The Greatest is a 2009 American drama film written and directed by Shana Feste in her directorial debut, and starring Pierce Brosnan, Susan Sarandon, Carey Mulligan, and Michael Shannon.

## Plot

Eighteen-year-old Bennett Brewer and Rose have sex together, the only time either of them have ever done so. When Bennett is killed when a truck crashes into his car while he is parked in the middle of the road at night, his family feel like they cannot go on. His mother Grace and his father Allen get an unexpected visitor knocking at their door; it turns out to be Rose, who is pregnant with Bennett's child. As the story develops, Bennett's younger brother Ryan is introduced and he is grieving the fact he did not say a final good bye to his brother. One sees the true relationships of the family as the story comes together, Grace waits at the bed of Jordan Walker, the man driving the truck which collided with Bennett's car in the crash. She is waiting for him to wake so she can ask him what occurred during the 17 minutes between the crash and his death. After a while, she finds out the truth, but is disappointed with what she hears. In the last moments, Bennett was not calling for his mother – he was calling to Rose asking Walker to make sure that she was safe.

Allen hires a cleaner to clean the house, but when Grace finds out she is terribly angry, claiming their son has been washed away. Allen then appears to be having a heart attack, whilst Grace carries on shouting until she realises what is happening. At the hospital bed, shortly after Grace returns from finding out about Bennett's final minutes, Allen breaks down crying, saying that he had been holding in all his grief and upset, and that he could have done something to prevent the crash and his son's death.

Meanwhile, Rose has overheard Grace saying Rose should have died instead of Bennett, so she leaves and seeks the help of her own mother. She soon realises that all her mother is bothered about is trying to get money from the Brewers, claiming it will help her. The Brewers try to find Rose and they find her in labor and persuade her to go to the hospital and, while in the car on the way, she seeks to find out everything about Bennett she did not already know.

When the film draws to a close, one sees Rose and the baby, a girl called Ruby, Grace's favourite girl's name. The film ends with the moment Bennett spoke to Rose earlier on the day he died.

## Cast

- Pierce Brosnan as Allen Brewer

- Susan Sarandon as Grace Brewer

- Carey Mulligan as Rose

- Johnny Simmons as Ryan Brewer

- Aaron Taylor-Johnson as Bennett Brewer

- Zoë Kravitz as Ashley

- Jennifer Ehle as Joan

- Amy Morton as Lydia

- Michael Shannon as Jordan Walker

## Production

Feste received the help of Creative Artists Agency (CAA) director Richard Lovett, for whom she had been working as an assistant in the past. The CAA sent Pierce Brosnan 's producing partner, Beau St. Clair, the script and she convinced him to read it. Shortly after, Susan Sarandon joined the film, convinced by Brosnan. Feste met with a lot of actresses for Carey Mulligan's role but ultimately Mulligan stood out. It was Feste's directorial debut. To gain the confidence of investors and producers, she made a scrapbook which contained her ideas on tone, camera movement, color, space and lines.

Principal photography took place in Rockland County, New York. The film was shot in 35 mm format.

## Reception

The film screened at the 2009 Sundance Film Festival. Another film starring Mulligan, the Oscar -nominated An Education, also screened at the festival. The film ranking website Rotten Tomatoes reported that 53% of critics had given the film positive reviews, based upon a sample of 58. The website’s critics consensus reads, "It's burdened by a predictable, overly melodramatic story, but The Greatest benefits from strong performances by its talented cast."


Ayenbite of Inwyt

# Ayenbite of Inwyt

## Abstract

The Ayenbite of Inwyt —also Aȝenbite (Agenbite) of Inwit; literally, the "again-biting of inner wit," or the Remorse (Prick) of Conscience is the title of a confessional prose work written in a Kentish dialect of Middle English.

Rendered from the French original, one supposes by a "very incompetent translator," it is generally considered more valuable as a record of Kentish pronunciation in the mid-14th century than exalted as a work of literature.

## Origins and content

The Ayenbite is a translation of the French Somme le Roi (also known as the Book of Vices and Virtues), a late 13th century treatise on Christian morality; the popularity of this latter text is demonstrated by the large number of surviving copies. The subject-matter is treated primarily allegorically; for example, the seven deadly sins are identified with the seven heads of the Beast of the Apocalypse.

The surviving copy of the work was completed on 27 October 1340, by a Benedictine monk, Michael of Northgate. This can be stated with rare certainty, for the author specifies all these details himself, writing in the preface,

And in a postscript,

It is usually assumed that Michael of Northgate was himself the translator, not merely a copyist; the library of St Augustine's contained two copies of the French work at this time.

## Language

Since the work was intended for the use of Kentish commoners, its language has a number of unusual features.

Firstly, the vocabulary shows a marked preference for translating technical terms into compounds of English words, rather than borrowing French or Latin terminology. The title itself is a common example: it uses ayenbite, "again-bite", for modern English "remorse", and inwyt, "in-wit", or 'inward-knowledge', for modern English "conscience", both terms being literal translations (calques) of the Latin words. Even "amen" is often translated, into the phrase zuo by hit ("so be it"). It is thus an early example of linguistic purism in English.

Secondly, the orthography transparently reveals many details of pronunciation. Most notably, initial fricatives are regularly voiced: the word "sin" is spelt zenne, "father" becomes vader, "first" becomes verst or averst.

The spelling is unusually consistent for the time, which implies that it is an accurate representation of the author's speech: it has been described as "as close to a 'pure' dialect as we can get". As such, and particularly given our precise knowledge of its place and date of writing, it is an invaluable resource in reconstructing the linguistic history of southern England.

The text is also notable for its archaic morphology compared to other specimens of Middle English. For instance, the neuter gender and dative case of Old English are still distinguished; þe t child bed our e Lhord e, þe t gernier/to þe gernier e. The spelling Lhord(e) (Old English hlaford(e)) also suggests retention of the Old English /hl/ consonant cluster. None of these features are found in the Ormulum, from Lincolnshire, which is almost two centuries older.

## Reception

As Michael explains in his postscript, the Ayenbite was intended to provide a confessional treatise that would be accessible to "lewede men," those who could read neither French nor Latin, for the good of their souls. In this aim it can be compared to Robert Mannyng 's contemporary Handlyng Synne, but unlike that work, the Ayenbite appears not to have gained any popularity; only one copy has survived, in the British Library Arundel MS 57, and that is almost certainly the original. No demonstrable influence on later works has been found; a 19th-century theory that Chaucer might have used the work as a source for his Parson's Tale has long been abandoned.

In the 20th century, the work gained some recognition when its title was adopted by James Joyce, who used it numerous times in his novel Ulysses as a trope for conscience, especially in referencing Hamlet and Walt Whitman. In Joyce's spelling, agenbite of inwit, the title has gained a limited foothold in the English language.


Ulises Dávila

# Ulises Dávila

## Abstract

Ulises Alejandro Dávila Plascencia (born 13 April 1991) is a Mexican professional footballer who last played as an attacking midfielder for A-League club Macarthur FC.

## Club career

### Guadalajara

Born in Guadalajara, Jalisco, Dávila was champion with Guadalajara in the category 1990–91 in the National Youth Championship in July 2006, with a 1–0 win over Pachuca, where he scored the only goal. That same year, Chivas also won the Manchester United Premier Cup "Generation 1991", beating Arsenal by a score of 2-1. In the 2008–09 season, he was loaned to affiliate club Tapatio, scoring three goals in eighteen matches in the Primera División A.

He made his debut for Guadalajara in the Primera División on 29 August 2009, in a 2–2 draw against Pachuca. Dávila also featured in five matches in the Copa Libertadores tournament.

### Chelsea

On 27 August 2011, it was announced that Dávila had signed for English club Chelsea, signing a five-year contract, making him the first Mexican to sign with Chelsea.

#### Loan to Vitesse

On 30 August 2011, it was announced that Dávila joined Dutch football club Vitesse Arnhem on loan for the 2011–12 season. He was given the number 24 jersey. He made his club debut against Roda JC Kerkrade on 17 September 2011, with the game ending in a 5–0 win for Vitesse. Unlike his teammate from Chelsea, Tomáš Kalas, Dávila struggled to get into the starting XI and had been an unused substitute for a number of games. Playing for their reserve side, he had more success, scoring three goals in three games. On 19 February 2012, once again returned onto the bench against FC Twente but was an unused sub, the game ended in a 1–4 loss for Vitesse. On 28 April 2012, again returned onto the bench against Excelsior but again was an unused sub, the game ended in a 3–2 win for Vitesse. Dávila spent the majority of his time at Vitesse with the reserve squad.

#### Loan to Sabadell

On 13 July 2012 CE Sabadell announced that Dávila will join them on loan for the 2012–13 season. On 29 September 2012, Dávila scored his first league goal against Guadalajara, winning the game 2–1. On 18 November Dávila scored a brace against Recreativo de Huelva, and also hit the post almost scoring his first hat trick, Sabadell won the game 5–2 away.

#### Loan to Córdoba

On the last day of the 2013 Summer transfer window, Chelsea confirmed that Dávila was having a medical at Córdoba CF of the Spanish Segunda División. Later on that day he secured his deal on a season-long loan.

On 23 June, he scored an equaliser in injury time away to UD Las Palmas in the second leg of the play-off final, earning Córdoba's promotion to La Liga for the first time in 42 years.

#### Loan to Vitória Setubal

On 23 January 2015, Dávila ended his loan with Tenerife to join the Portuguese side on loan for the rest of the season. On 3 August 2015, it was announced that Dávila will remain with Vitória for the 2015–16 season.

### Santos Laguna

On 4 December 2015, Santos Laguna announced they had purchased Dávila from Chelsea and signed him to a three-year contract.

### Delhi Dynamos

In December 2018, Dávila signed with Indian Super League side Delhi Dynamos, and scored his only goal on 17 February 2019, against Bengaluru FC in a 3–2 win.

### Wellington Phoenix

In July 2019, Dávila signed with A-League side Wellington Phoenix on a two-year deal. Dávila secured a fourth goal in six starts with a goal from outside the box against Brisbane Roar on 23 November 2019. The goal proved vital in their 2–1 victory, Wellington's first win of the 2019–20 A-League season. Dávila helped the Phoenix to its best ever regular season finish, ending in third place for the League, before the team lost 0–1 to Perth Glory FC in their first game of the elimination finals. Dávila finished the season with 12 goals and five assists, winning the Johnny Warren Medal along with Miloš Ninković.

### Macarthur FC

On 17 May it was announced that Dávila had signed a three-year deal to join Macarthur FC for the 2021–22 season. On 6 November 2021, Dávila was announced as the captain for the 2021–22 A-League Men season. On 24 June 2024, the club announced that they agreed a mutual termination of contract with Dávila. At the same time, Dávila was arrested for allegedly being involved in match fixing.

## International career

### Youth

Dávila was part of the under-20 side that played the 2011 CONCACAF U-20 Championship, in which Mexico finished as champions. He also participated in the 2011 Toulon Tournament in France, where Mexico finished as fourth place losing to Italy in a penalty shoot-out. Dávila scored two goals during the 2011 Toulon Tournament, scoring against France and Hungary.

Dávila was part of the 20-man squad that participated in the 2011 FIFA U-20 World Cup in Colombia. Mexico would eventually finish third in the tournament by beating France 3–1, and he was able to score a goal against France.

### Senior

Dávila received his first call up to the senior national team to play the 2011 Copa América, to replace one of the five players that were suspended for having disciplinary problems in Quito, Ecuador. He did not play in any of Mexico's matches.

## Personal life

In March 2020, Dávila's wife Lily Pacheco gave birth to a son. Lily died on 30 May 2022.

## Match fixing scandal

On 17 May 2024, Dávila along with two Macarthur FC teammates, Kearyn Baccus and Clayton Lewis, were arrested by New South Wales Police Force over an alleged match fixing scandal.

## Honours

Santos Laguna

- Liga MX: Clausura 2018

Macarthur FC

- Australia Cup: 2022

Mexico U20

- CONCACAF U-20 Championship: 2011

Individual

- A-League Player of the Month: December 2019

- A-League PFA Team of the Season: 2019–20, 2020–21, 2021–22

- Johnny Warren Medal: 2020–21

- Mark Viduka Medal: 2022


Models of disability

# Models of disability

## Abstract

Models of disability are analytic tools in disability studies used to articulate different ways disability is conceptualized by individuals and society broadly. Disability models are useful for understanding disagreements over disability policy, teaching people about ableism, providing disability-responsive health care, and articulating the life experiences of disabled people.

The most frequently discussed models are the Medical model of disability, which views disability as caused by medical disorders; and the Social model of disability which instead views disablement being a result of societal exclusion and discrimination.

Different models can be combined - for example, the medical model is frequently combined with the tragedy model, which views disability as a personal misfortune. Together they form hegemonic views of disability in Western society. Other models exist in direct opposition: the affirmation model, which views disability as a positive form of social identity, is inherently incompatible with the tragedy model.

Different models can be used to describe contrasting disabilities: for example, an autistic person who also has Myalgic encephalomyelitis/chronic fatigue syndrome may view their autism through the affirmation model, but their ME/CFS through the medical model.

## Deficit-focused models

This category of models centre on different deficits held by disabled people, such as the medical model (a deficit in health) and the rehabilitation model (a deficit in employment).

### Disability as a personal problem

#### Tragedy model

The tragedy model views disability as an individual's misfortune. It is one of the most dominant conceptualizations of disability in Western society. It is generally an individualistic view of disability: each disability is an individual, personal tragedy.

The tragedy model is criticized for being ableist; it is associated with the view that living with a disability is worse than death. In the tragedy model, pity is seen as an appropriate response to disability, and used to justify infanticide and other murders of disabled individuals. The tragedy model underlies the supercrip stereotype: if a disabled person is seen as thriving, it is because they did so in spite of their disability.

#### Charity model

The charity model positions disabled people as pitiable victims, and abled people who provide them with charity as beneficent saviours. This model is frequently combined with other deficit models, such as the tragedy and medical models.

This model is criticized by disabled people, as it centres the people who provide the charity, rather than those ostensibly being "helped". Disability acts as a means for abled people to feel good about themselves, through providing charity—without regard for whether this charity was wanted or effective.

#### Moral and religious models

The moral model of disability, also known as the religious model, views disability as a form of punishment for having a deficit in one's morality. In Judeo-Christian tradition, disability may be viewed as a punishment by God for having sinned; in Hindu tradition, disability may be understood as karma for misdeeds committed in one's past life. The moral model is characterized by a distrust of disabled individuals.

The moral model is frequently seen regarding disabilities where individuals' actions may have contributed to acquiring the disability, such as AIDS, Type 2 diabetes, obesity, and addiction. Concerning addictions, the moral model is often contrasted with the medical model: addiction is less likely to be seen as a moral failing if one understands it instead as an involuntary, medical condition.

### Expert/Professional models of disability

In the expert or professional model of disability, disability is a problem that requires expert professionals to identify and then prescribe a series of interventions. This model produces a power dynamic where an abled, authoritarian service provider acts on behalf of a passive, disabled client. At its extreme, disabled people are given no authority or autonomy over their care or everyday life. It has been described as a fixer/fixee relationship.

#### Medical model

The medical model, also known as the normalization model, views disability as a medical disorder, in need of treatment and ultimately cure. Its endpoint is a world where disability no longer exists, as all disabilities have been "cured".

In the medical model, physicians are the primary authorities on disability. It is categorized as a deficit model, as it views disability as a defecit in health. It is also categorized as an individualistic model, in that disablement is a result of each individual's body/mind. The medical model has been heavily critiqued by the disability community, as many disabled people do not wish to be cured, and reject the deficit framing.

#### Rehabilitation and functional limitations models

The rehabilitation model, also known as the functional limitations model, aims to "rehabilitate" disability through alterations both to the disabled individual and their environment. Like the medical model, it is categorized both as an individualistic model and as a deficit model, but instead of a deficit in health it is a deficit in employment. Unlike the medical model, the rehabilitation model does not aim to alter the underlying cause of a person's impairment; the focus instead is on functional capacity.

Unlike the medical model and the eugenic model, the goal is not to eliminate disability. The desired endpoint instead is to minimize the effects of disability in society. This model expects disabled people to conform as much as possible to society. Similar to the medical model, it places rehabilitation experts as the authorities on disability, rather than disabled people.

##### Technological model

The technological model, also known as disability technoscience, aims to reduce the effect of disability through technological means. It is a subtype of the rehabilitation model which focuses specifically on how technology can reduce functional limitations. Unlike the rehabilitation model, it positions engineers and designers as the authorities on disability.

This model has been criticized by disability advocates for expecting disabled people to need complex, expensive technologies rather than implement changes in society. For example, why design a costly and likely unsafe "stair-climbing wheelchair" when instead building codes should be changed so ramps and elevators are provided? In their Crip Technoscience Manifesto, scholars Hamraie and Fritsch further critique the implication "that disabled people are not already making, hacking, and tinkering with existing material arrangements".

#### Biopsychosocial model

The biopsychosocial model was developed by mental health practitioners to recognize how the interactions between biological, psychological, and social factors can influence the outcome of any given medical condition.

The model has been critiqued by both disability and medical communities as the psychological element is often overemphasized in clinical practice. For example, the biopsychosocial model has been used by physicians to dismiss myalgic encephalomyelitis and medically unexplained symptoms as psychosomatic in nature without adequate investigation to somatic causes nor consideration of social determinants of health.

Disability advocates have criticized the biopsychosocial model as victim-blaming. According to Inclusion London, the biopsychosocial model treats the primary cause of unemployment amongst disabled people not due to workplace discrimination but instead due to the disabled individuals themselves having negative attitudes and behaviours about work. If a disabled person becomes depressed because they repeatedly encounter workplace discrimination, and stop applying for jobs, the biopsychosocial model places the onus on the disabled person for not having tried hard enough.

### Disability as a collective problem

#### Economic model

The economic model understands disability as a deficit to the economy. The model uses the lens of economic analysis to quantify the effect of disability on economic productivity, such as through the Disability-adjusted life year. The value of a disabled person is hence reduced to their ability to contribute to capitalism, and is criticized for being dehumanizing and disconnected from the broader sociological forces.

It is similar to the rehabilitation model for its focus on how disability prevents people from working. However, where the rehabilitation model focuses on qualitative, social functioning; the economic model focuses on quantitative, financial impact.

Although the economic model can be applied on an individual basis, the financial impact of disability is more often evaluated with respect to employers and nation-states. Indeed, this model is often invoked in policy-making in Western countries.

#### Bureaucratic and compliance models

The bureaucratic model of disability, also known as the compliance model, treats disability as a question of legal compliance for institutions. Disabled people are understood deserving of special exceptions to rules, but only if the disabled person has the exact requisite paperwork to prove their worthiness.

The end goal of this model is to shield institutions from legal liability. Disabled people are hence seen as a deficit in rule-following. This model is used by disability advocates to criticize how bureaucratic accommodations for disabled people are often one-size-fits-all, rigid, ineffective, and inaccessible to many who need them.

#### Eugenic model

The eugenic model argues that the human race should take an active role in selectively breeding for desirable physical and mental characteristics. In the eugenic model, people are categorized as fit or unfit. Its end goal is a population solely comprised of those who are "fit", and has been used as justification for mass-sterilization and mass-murder of those seen as unfit.

In the eugenic model, disability is not merely an individual deficit but a threat to the collective gene pool. Eugenic thought was built upon a misunderstanding of evolution: genetic variation is important for a species' evolution and resilience. In contrast, the evolutionary model understands disability as contributing positively to the gene pool.

Disability activists and scholars stress that eugenic thought remains alive and active in society. For example, the COVID-19 pandemic brought to light how common it is for abled people to see disabled lives as expendable, such as through the common refrain that "only the old and sick will die" and medical rationing policies that explicitly discriminate against disabled people.

Similar reports are found of disabled people treated as expendable with regard to climate change and disaster preparedness. Certain environmentalist discourses which focus on fixing " overpopulation " (rather than over-consumption) are criticized for often implying the "solution" is to rid the world of degenerate (disabled) people.

## Models in opposition to disability as deficit

### Structural models

#### Affirmation and identity models

The affirmation model, also known as the affirmative model and the identity model, centres the benefits of being disabled. It is a direct rejection of the tragedy model of disability. This model was developed by disabled people and positions disabled people as authorities on disability.

The concept of Deaf Gain refers to how losing one's hearing also gains one a place in the Deaf community. Many Deaf people take pride in Deaf culture and the unique features of signed languages.

Similarly, the Neurodiversity movement has advanced an affirmative model of disabilities such as Autism. Many autistic people view their autism positively and not in need of cure. Events such as Autistic Pride Day celebrate autism as a positive identity.

The end goal of the affirmation model is a world where disabled people have a collective identity which is a source of positive self-image and pride.

#### Social model

The social model views disablement as being caused by societal ableism. Disability is differentiated from impairment: impairment is the physical limits of one's bodymind, whereas disability is caused by society. For example, being born unable to hear is an impairment. But what is actually disabling is that society does not widely use any signed languages, and transcription/ captioning are often unavailable.

In a social environment where using a signed language is ubiquitous, deafness stops being disabling. Prior to colonization, many Native American cultures routinely used signed languages such as Plains Indian Sign Language, and did not have a conceptualization of disability which included deafness.

The social model is usually contrasted directly with the medical model of disability. Whereas the medical model views disability as a problem caused within the individual, the social model views disability as a problem with the society in which the individual lives. The social model, like the affirmation model, was created by disabled activists.

The end goal of the social model is a world where disabled people enjoy unrestricted social participation. All barriers for disabled participation have been removed through universal design in the built environment, widespread use of signed languages, Universal Design for Learning in teaching, universal access to support workers who are paid fair wages, and so on.

The social model has been criticized for being overly reductionist. Some disabilities, such as ME/CFS, involve physical pain or fatigue, and as such do not neatly fit in the conventional social model of disability.

#### Human rights model

The human rights model, also known as the rights model, views disabled people as inherently worthy of human rights and dignity. Disabled people should have the same rights as every one else in society, and should have legal protections from discrimination. It is contrasted with the charity model. With its focus on personal liberties, rights, and autonomy, this model is rooted in philosophical liberalism.

The human rights model has been criticized as it focuses on reforming the existing social system, rather than enacting fundamental social change. For example, the human rights model aims to prevent legal discrimination in disabled people owning private property, and does not question the legitimacy of land ownership in settler colonial nations.

The human rights model aims for disabled individuals to have complete autonomy over decisions affecting their lives. Unlike the social model, the human rights model recognizes that some disabled people experience chronic pain and/or fatigue that they wish to have treated or cured. The human rights model asserts all disabled people have a right to patient-centred medical treatment which respects their bodily autonomy, and respects that some disabled people may use this right to have their disability cured.

### Poststructural models

#### Cultural and social construction models

The cultural model of disability, also known as the social construction model and the critical disability studies (CDS) model, understands both disability and impairment as categories generated by academic knowledge, cultural media, and everyday discourse. This model focuses on the social forces which shape and reinforce the category of "disability". This model uses a post-structural sociocultural lens to examine how the boundaries of disability shift across cultures and times. Its end goal is to decode and deconstruct the unstated assumptions about disability.

Unlike the social model, the cultural model views both "impairment" and "disability" as social constructions—and troubles the idea that these concepts may be easily separated.

#### Radical model

In the radical model, disability as a category is socially constructed, and was created for the purposes of capitalism and white supremacy. The radical model acknowledges that disabled people do not, in practice, control the definition of disability, and so "disability" is anyone who has been identified by the relevant political powers as disabled.

The radical model, like the cultural model, pays attention to the social forces that shape the category of disability. It also views "impairment" and "disability" to be equally socially constructed. The radical model focuses on the intersectional aspects of how disability is socially constructed. For example, how the modern concept of intelligence was created by race science to position Black people as inherently feeble-minded and hence disabled. Which in turn is important for understanding how special education in the United States was expanded after Brown v Board as a means to maintain racial school segregation.

The radical model posits that disability cannot be neatly separated from other categories of oppression such as class, race, ethnicity, sexual orientation, and gender. It shifts the focus from disability rights to disability justice.

The radical model posits there is nothing inherently wrong with disabled people: Deaf people are a linguistic minority, neurodivergent people think differently, people with mobility disabilities move differently, et cetera.

The end goal of the radical model is a world without kyriarchy. The radical model is explicitly anti-capitalist, anti-racist, anti-colonial, feminist, and queer liberationist. Politically it is often associated with socialism and anarchism.

## Other models

Not all models of disability can be easily categorized as deficit or anti-deficit models. For example, postcolonial critiques of disability studies reject a tidy division between deficit thinking (ableist) and anti-deficit thinking (anti-ableist). In Global South countries where disability is often a result of violence, war, and environmental racism, disability advocacy needs to be understood through different frameworks.

### Disability as caused by violence

#### Debility model

The debility model of disability creates a distinction between disability and debility. Debility refers to a process of slowly being worn out, whereas disability is characterized by a clear before-and-after. The concept of debility is used to foreground how colonial powers will subjugate their colonized populations through a chronic state of minority stress.

For example, the colonization of Canada involved the debilitation of the Indigenous population through the Canadian Indian residential school system, the epidemic of Missing and Murdered Indigenous Women, the chronic under-funding of health care for Indigenous populations, the lack of safe drinking water on many reservations, chronic food insecurity, and environmental racism.

Whereas models like the social model and affirmation model push against the idea that disability is a misfortune and should be prevented, debility creates space to talk about how disability caused by war and similar violence in the Global South is devastating and ought to be prevented.

Like the radical model, the debility model is rooted in intersectional theory. The debility model provides a strong contrast to the rehabilitation and economic models: nation-states, rather than being concerned with minimizing disability, will instead maximize disability as a means of social control.

#### Eco-social model

The eco-social model of disability views disablement as a result of social-environmental factors which occur prior to birth. For example, disablement due to prenatal exposure to environmental toxins such as lead. While these pollutants come from the physical environment, it is understood that social forces are ultimately why the environmental toxins were present/exposed.

The eco-social model is contrasted with the social model, which understands disabling social forces as those which impact living, grown disabled individuals. Unlike the social model, the eco-social model advocates for the precautionary principle in environmental stewardship.

Similar to the debility model, the eco-social model is used to advocate for reducing preventable disabilities in the Global South, such as from war, and unregulated toxic industries. Unlike debility, eco-social disabilities can be acquired in life-altering events, such as through preventable motor-vehicle collisions that occur as a result of unsafe transport systems.

#### Minority and political models

The political model, also known as the (oppressed) minority model, and the sociopolitical model, conceives disabled people as a minority group which experience systemic oppression (ableism). Disabled people are hence understood as a rights-seeking group similar to LGBT people and immigrants. This model is often combined with other non-deficit models such as the affirmation model and the social model.

The minority model focuses on combating discrimination. The minority model calls for targeted policies that protect and/or benefit people who are classified as disabled. As such, it is considered in direct opposition to the universal model. Its end goal, similar to the human rights model, includes sociolegal protections and benefits for disabled people. But unlike the human rights model, it also concerns social psychological aspects, such as social stigma.

Although the minority model emerged as an extension of the social model, the minority model takes no stance on whether disability is a deficit or not. For example, one can understand chronically ill people through the medical model while also seeing them as a political minority which experiences discrimination. As such, it has been criticized by disability advocates for supporting the stereotype that disabled people are victims in need of external support.

The minority model allows for the causes of disability to be multifactorial and includes environmental, societal, and legal dimensions. Rather than focusing on why or how people are disabled, this model focuses on ending the discrimination faced by disabled people.

##### Eco-crip model

The environmental justice model of disability, also known as eco-crip theory, and Climate Darwinism, understand disabled people as uniquely vulnerable to climate change and other changes to the physical environment. For example, exposure to poor air quality due to frequent forest fires will disproportionately affect those with respiratory conditions; emergency evacuation plans often fail to ensure people with mobility disabilities are able to evacuate.

This model was developed in direct opposition to eco-ableist ideas that disability is unnatural and destructive - and hence that disabled are in opposition to environmentalism. Instead, eco-crip theory positions disabled people as beneficial to the environmental movement: increased sensitivity to changing environmental conditions means that disabled people act as "canaries in the coal mine".

### Models attempting to naturalize disability

#### Universal and continuum models

The universal model rejects the dichotomy between disabled and nondisabled. The continuum model, posits there is instead a continuum from disabled to non-disabled. Disability is positioned as an inevitable part of ageing. And the entire population is at risk of disability: everyone is one unexpected injury or illness away from becoming disabled. As a result, everyone should be concerned with disability discrimination.

As a corollary to the continuum model comes the idea that "everyone is a little disabled". This is advanced as a means for abled people to develop empathy and solidarity with disabled people, as well as to demystify and destigmatize disability. However, it is criticized by disabled advocates for ignoring the role which discrimination and bigotry play in disabled lives: a disability is not merely an abled person's physical limit being exaggerated.

Disability advocates liken "everyone is a little disabled" to "I don't see race": a means by which a privileged group (abled people) can ignore systemic oppression while seeming progressive.

The universal model, similar to the social and technological models, advocates for universal design. However, there is an emphasis on the curb cut effect, where designing for disability also benefits nondisabled populations (e.g. adding a ramp to a building for wheelchair users also benefits parents with strollers).

A related framing, the limits model, treats disability as an embodied form of "limitness". All humans experience some level of limitation in their lives, and this should be seen as mundane rather than a deficit. The limits model aims to reconceptualize limitation as an important part of the human experience.

#### Customer/Empowering model

The customer/empowering model, also known as the independent living model, advocates for disabled people to be in charge of their own care and life decisions. It exists in direct opposition to the expert/professional model: instead of experts dictating the lives of disabled people, they should instead act as professional advisors and providers of resources.

Its end goal is for disabled people and their families to decide for themselves whether they want treatment and what services they wish to benefit from. It advocates for a shift in how professionals interact with disabled people.

Like the minority model, it does not take a stance on whether disability is a deficit. Historically, this model has often been combined with the social model, but can be combined with other models such as the medical model.

#### Evolutionary models

The evolutionary model, also known as the rainbow model, values disability as it contributes to genetic diversity. Evolution by natural selection depends on genetic variation; greater genetic diversity increases collective resilience in response to disease and changing climactic conditions. This model is in direct opposition to the eugenic model.

In the evolutionary model, hereditary disabilities which are more common than the basal mutation rate of one in a million persist evolutionarily because they provide enough benefit to offset their downsides. For example, ostensibly harmful diseases may persist due to balancing selection; a well-studied example is how sickle cell disease confers a genetic resistance to malaria. The Hunter versus farmer hypothesis is a proposed explanation for the common prevalence of attention deficit hyperactivity disorder.

Some disability-associated traits may have specialized benefits. For example, Delayed sleep phase disorder, a condition where a person's circadian rhythm is substantially shifted from societal norms, may be an evolutionary advantage to ensure that there is always someone awake to keep guard during the night.

The evolutionary model views disability as a natural part of humanity. Like the affirmation model, it recognizes that disability can be beneficial. However, unlike the affirmation model it assess benefit on a population-level: sickle-cell disease is harmful to those with the disease, but beneficial to their heterozygous relatives.


Vitto Brown

# Vitto Brown

## Abstract

Vittorio Joseph Brown (born July 13, 1995) is an American professional basketball player for AS Monaco of the French LNB Pro A and the EuroLeague. He played college basketball for Wisconsin.

## Early life

Brown is the son of Sheila and Angelo Brown and grew up in Bowling Green, Ohio. At an early age he developed a passion for singing and performed at weddings and church services. He attended Bowling Green High School where he turned into a highly recruited player despite rarely shooting as a freshman and sophomore.

## College career

In his first two seasons at Wisconsin, Brown seldom played. According to coach Greg Gard, he generally entered a game to allow Frank Kaminsky time to grab some water. Early in his junior year, he began displaying flashes of his scoring ability, contributing 16 points in a win against Siena. Brown increased his scoring average to 9.7 points per game as a junior while averaging 5.1 rebounds per game and shooting 40.5% from three-point range. As a senior, Brown averaged 6.8 points and 3.9 rebounds per game for Wisconsin’s 2017 Sweet 16 team. He was the school's Outstanding Sportsmanship Award winner and was a two-time Academic All-Big Ten honoree. Over the course of his Wisconsin career, Brown helped the team to 115 wins, equaling the highest four-year win total in school history. He was a nominee for the Allstate Good Works Team in honor of his volunteerism and civic involvement.

## Professional career

### Wisconsin Herd (2017)

In November 2017, Brown signed with the Wisconsin Herd of the NBA G League. Explaining why he joined the G-League, he said, “We could have went to Europe or to Canada but they wouldn’t have gotten as good of competition.” He appeared in five games for the Herd and averaged 7.6 points and 5.2 rebounds in 17.6 minutes per game.

### Agua Caliente Clippers (2017–2018)

On November 29, he signed with the Agua Caliente Clippers.

### Maine Red Claws (2018–2019)

In January 2018 he was acquired by the Maine Red Claws in a trade for Cameron Ayers and JayVaughn Pinkston.

### Rethymno Cretan Kings (2019)

On August 7, 2019, Brown signed his first contract overseas with the Rethymno Cretan Kings of the Greek Basket League, replacing the injured Brandon Taylor. However, he later got injured and was replaced by Ramon Harris on August 19, 2019. He did not feature in a single game for the club.

### Erie BayHawks (2019–2020)

On October 28, Brown was traded to the Erie BayHawks for Codi Miller-McIntyre. On January 10, 2020, Brown had 31 points, nine rebounds and three assists in a win against the Greensboro Swarm. On March 3, Brown posted 24 points, eight rebounds, three steals, two blocks and one assist in a loss to the Long Island Nets. He averaged 15.2 points and 6.5 rebounds per game.

### Le Mans (2020–2021)

On May 25, 2020, Brown signed with Le Mans of the LNB Pro A. On June 12, 2021, Brown scored 27 points, 5 rebounds, and 2 steals in a victory against Nanterre 92. Brown appeared in 32 games for Le Mans and averaged 9.9 points, 3.5 rebounds, and 0.9 assists in 20.8 minutes.

### Real Betis (2021–2022)

On August 21, 2021, Brown signed with Real Betis of the Liga ACB. On November 7, 2021, Brown scored 23 points, 9 rebounds, 3 assists, and 1 steal in a loss to Casademont Zaragoza.

### Pınar Karşıyaka (2022–2024)

On August 11, 2022, he has signed with Pınar Karşıyaka of the Basketbol Süper Ligi (BSL) and Basketball Champions League.

### AS Monaco (2024–present)

On June 27, 2024, Brown signed with AS Monaco of the LNB Pro A and the EuroLeague.

## The Basketball Tournament

Brown joined Big X, a team composed primarily of former Big Ten players in The Basketball Tournament 2020. He had three rebounds in a 79–74 win over alternate D2 in the first round.

## Career statistics


The Grind (2012 film)

# The Grind (2012 film)

## Abstract

The Grind is a 2012 crime drama film written and directed by Rishi Opel, and starring Jamie Foreman, Freddie Connor, Gordon Alexander, Zoe Tapper, Danny John-Jules and Kellie Shirley.

The film tells the story of Vince, a nightclub manager of The Grind in Hackney, East London. Vince, having fought his way to a decent living and respectable lifestyle, is determined to settle down and take life easier. Bobby, Vince's best friend from school, is released from prison and their friendship soon falls apart. Bobby's addiction to cocaine and gambling spirals out of control and he now owes a huge amount of money to Vince's boss, Dave, owner of The Grind and an East End loan shark. Vince's life takes a dramatic turn for the worse.

The Grind features a cast including Jamie Foreman (Layer Cake, Nil By Mouth, Oliver Twist, Doctor Who, Eastenders), Danny John-Jules (Death in Paradise, Red Dwarf, Lock, Stock and Two Smoking Barrels), Zoe Tapper (Survivors, Desperate Romantics) and Kellie Shirley (Eastenders, The Office). Also appearing in cameo roles are Dynamo (street magician known for ‘'Dynamo: Magician Impossible'’ on Watch) and Sway (MOBO award-winning British grime artist).

## Cast

- Jamie Foreman as Dave Foreman

- Danny John-Jules as Phil

- Zoe Tapper as Nancy

- Gordon Alexander as Bobby Alexander

- Freddie Connor as Vince

- Kellie Shirley as Jo

- Joseph Morgan as Paul

- Jonathan Hansler as Comedian

- Ashley McGuire as Linda

- Barber Ali as Big Guy

- Duncan Clyde as Tony Dixy

- Sway DaSafo as Dave's Enforcer

- Sheraiah Larcher as Bassy

- Steve Frayne (Dynamo) as Street Hustler

- Momo Yeung as Dancer


Libra Tour

# Libra Tour

## Abstract

The Libra Tour was the second concert tour by American pop-R&B singer Toni Braxton. The tour, which was in support of her RIAA gold-selling album Libra, kicked off in Atlantic City, New Jersey, on March 10 and continued through mid-summer. Braxton played to sold-out shows across the US, performing in venues such as theaters, instead of arenas.

The tour included a selection of songs from the new album, and featured hit songs from Toni Braxton, Secrets, The Heat and More Than a Woman. Toni's sisters, Tamar Braxton and Trina Braxton, joined the tour as background singers.

## Opening act

- James Stephens III (select dates)

## Set list

- "Overture" (Instrumental)

- " Please "

- " Spanish Guitar "

- " He Wasn't Man Enough "

- "Take This Ring"

- "How Many Ways"

- " You're Makin' Me High "

- " Suddenly "

- "Shadowless"

- " Just Be a Man About It "

- "I Don't Want To"

- " Love Shoulda Brought You Home "

- " Seven Whole Days "

- " Another Sad Love Song "

- " You Mean the World to Me "

- "How Could an Angel Break My Heart"

- " Let It Flow "

- " Trippin' (That's the Way Love Works) "

- "I Wanna Be (Your Baby)"

- " Breathe Again "

- " Un-Break My Heart "

performed only at selected dates

## Additional notes

- On select dates, as Toni performed one of her signature ballads; she would choose a lucky gentleman to bring on stage, as she sat on his lap and sang. One of the many highlights throughout the show, and a rousing ovation from the crowd.

## Shows