text:
Ampleya
Genevieve Swifte
Photography Video Works on Paper
1. Self Portrait, 2019, carbon pencil on arches, 26 x 18 cm
2-5. Stillness-iv, 2019, carbon pencil on arches, dimensions variable
6-8. Things I Have Broken i-iii, 2019, carbon pencil on arches, dimensions variable
9-12. Thalassa i-iv, 2016, graphite drawings surrounding gelatin silver photographs on fiber based paper, 60 x 61cm
Each work accompanied by musical performance via high resolution audio recording,
composition and performance by Cheryl E. Leonard.
13-16. From the series She is Always Beautiful, graphite drawing surrounding pigment print photographs on hahnemuhle, 42 x 59 cm
17. Rainforest Drawing i, charcoal on paper, 42 x 59 cm, private collection
18. Rainforest Drawing ii, charcoal on paper, 32 x 59 cm
19.Untitled, 2017, charcoal on paper, 20 x 30 cm
20. Sun Drawing, 2018, charcoal on paper, 112 x 75 cm
24. Graze, 2010, reflected light, gold, platinum, steel, watercolour on paper 76 x 56 cm
25. Lightfall, 2010, reflected light, gold, platinum, steel, watercolour on paper 76 x 56 cm
26. From the series She is Always Beautiful, graphite drawing surrounding pigment print photographs on hahnemuhle, 42 x 59 cm
27-28. From the series Harmonia, 2007, gold, platinum, watercolour on paper, 10 x 14.5 cm
29. Dive, 2010, reflected light, gold, platinum, steel, watercolour on paper 76 x 56 cm
30. Drift, 2010, reflected light, gold, platinum, steel, watercolour on paper 76 x 56 cm
34. Resplend, 2010, reflected light, gold, platinum, steel, watercolour on paper 76 x 56 cm
35. Rosemary Dobson and Genevieve Swifte, the poem Spires, single page from Poems to Hold and Let Go, 2009,
unique artist book, letterpress, hand printed with whiteink on Gampi, Asian stab binding with horsehair, 24 x 62 cm
36. North East South West, 2009, artist book, letterpress, hand printed with whiteink on Gampi, Asian stab binding with horsehair,
collection of the State Library of Queensland
She is Always Beautiful
On the Arctic Landscapes of Genevieve Swifte
Helen Maxwel
The world is a compelling place – always a challenge to our imaginations. Genevieve Swifte was already immersed in the challenge when she was accepted for a residency by the Museum in the small island town of Upernavik in Northwest Greenland. The Upernavik Museum is the northernmost museum on the planet and by all standards remote. From Australia the journey takes several days in five planes of diminishing size. When she landed in Upernavik in October 2010, Swifte found herself in a community of about 1200 people and many sled dogs, bound by ice and sea.
She wrote of her first response to this extraordinary environment "Greenland took my breath away and rendered me speechless. Like an Arctic vipassana, once I was settled into my little red house next to the museum I fell absolutely silent".1
This 'silence' was about not having the language to decipher that which was so unfamiliar. She did not remain 'silent' as she began to explore the terrain, accrue information, enjoy the warmth and generosity of the people and interpret the icy world around her.
Greenland is the world's largest island, 80 per cent of the surface covered by a lens-shaped ice sheet which at its thickest in the centre, extends approximately 3.2 kilometres to the rock bed beneath. Towns of varying sizes inevitably hug the very edge of the coast from where people continue to hunt seals and fish for halibut and in some areas when the weather permits, pursue limited growing of vegetable crops. Greenland has been the subject of much research and speculation in relation to the effects of climate change. For some, the rising of temperatures and the melting of icebergs presents the opportunity for increasing self-sufficiency and independence as its rich resources below the sea can be extracted. Others fear that such developments will adversely affect the environment and the culture.
In such extreme environments the weather is always of vital concern. The Greenlandic (Kalaallisut) word for weather is sila.2 It is a potent concept because sila, also meaning "the air" and "intelligence/ consciousness", links the individual self and the environment through the breath. Sila is the basic principle underlying the natural world and exists in every person. Change in climatic conditions can affect the individual in a deeply personal manner and destabilise the way in which they understand their relationship to their world.3
Within this context, surrounded by a harsh yet beautiful physical environment which is always changing, but increasingly so because of global warming, and a complex traditional culture that is facing erosion, Swifte has responded by producing a series of very personal works, which record her wonder and respect.
The exhibition, She Is Always Beautiful, Drawing and Photography from Northwest Greenland, comprises a series of photographs and photographs with drawing, of the icy terrain around Upernavik and the larger town of Ilulissat. Implicit in the works is the sense that the landscape is changing. In black and white the images are starkly graphic. There is a stillness that belies the constant movement.
The photograph Allorneq, To Step 1, 2010 takes us along a winding wooden walkway that disappears in the distance between two folds of lichen covered rock formations. The walkway leads to the edge of the Ilulissat Ice Fjord, and at the line where the black ground meets the stark white of the ice cover beyond, there is a tiny structure that appears to be a bench on which one may sit to contemplate the vast and beautiful ice that stretches out below, further than the eye can see. Allorneq, To Step, 2, 2010 places us at the edge of a small inlet, the shiny black of the icy sea and the rocks sparsely covered with vegetation. An iceberg floats close to shore. These images incite desire and sensation. The landscape is remote and strange to us – even disquieting, but the experience is intimate and inviting.
The series titled Upernavik combine drawing with photographic images. The drawings are so delicate and detailed in the rendering that the photographic image appears to be a slightly tinted fine transparent film placed over the drawing. The effect is of ambiguity. It is hard to tell whether the photograph overlays the drawing or replaces the drawing. The edge of the photographic image also acts as an aperture through which we see a more distant, vaster landscape that softens and disappears into the expanse of the white paper, allowing our imagination to travel further.
In another series, Sila, that refers to the vitality of the relationship between the weather and the self, Swifte experiments with capturing the changing conditions of her immediate environment often through the window of her little red house next to the museum, from where in warmth and safety she was witness to the external force of nature. Included also in this series are images of icebergs that play with light and form and the slip between what we see and what we think we see. In Sila 08, the iceberg appears to be a massive bank of white marble, implicit in these images is the knowledge that nature is elusive, beautiful but dangerous and not to be taken for granted.
The works which Genevieve Swifte has produced as the result of her residency in Upernavik encapsulate a growing knowledge, both tentative and certain. The images are testaments to an inquisitive excitement and respect, and a measured consideration of the formal subject matter before her.
–Helen Maxwell, 2011
1 Genevieve Swifte, Hunting for Ice, Breath of the Soul, Antarctica and Music Conference, The Australian National University School of Music, 2011.
2 Mark Nuttall, Arctic Homeland, Kinship, Community and Development in Northwest Greenland, University of Toronto Press, 1992, p. 41.
3 Mark Nuttall, Arctic Climate Impact Assessment, Scientific Report, Cambridge University Press, 2005, p. 655.
Arising from residencies at the Upernavik Museum, Northwest Greenland and the Photomedia Workshop,The Australian National University School of Art, this project has been supported by the ACT Government, the Australian Government through the Australia Council, it's arts funding and advisory body and with generous donations made through ABAF's Australia Cultural Fund.
Copyright Genevieve Swifte 2018


Set amongst towering pine trees, Pinewood offers an exciting way to stay at one of the UK's largest wild animal parks. Open 364 days a year, you can sleep opposite our lions whilst snuggled in your very own cosy camping pod, shepherd's hut or luxury tent! Stunning views and wild adventures are a whisker away!
There are 13 pods on site, each is heated, has two single beds with comfy mattresses and a double futon. There's plenty of handy storage and bedding is included, so you can travel light.
Perfectly designed to sleep four, the stylish shepherds hut comes with all the creature comforts you could wish for. Enjoy en suite facilities with complimentary Bamford products. With under floor heating, a wood burning stove, sofa and TV, this a home away from home.
Set at the top of the park, you can enjoy spectacular views from the Trojan steps over the Romney Marsh to the sea.
One of the perks of Pinewood is having access to the Reserve before the general public! See the animals at dawn and dusk at your leisure.
Enjoy our communal games room with pool table and board games, a snooze in the hammock or toast marshmallows on our open fire pit. There's also plenty of entertainment around Port Lympne with hundreds of animals to see and the Dinosaur Forest to explore!
Enjoy a tasty selection of home cooked meals at the Pinewood Cafe or bring your own food and disposable BBQ for an outdoor feast!
Or enjoy authentic Italian cuisine at the new Babydoll's Wood Fired Pizza, Set in a beautiful landscaped garden, at the heart of Port Lympne Reserve. The stylish and modern restaurant, was named after the late and much loved gorilla, Babydoll, who at the grand old age of 55, was the last surviving original Howletts gorilla. Open every day from 12pm to 10pm you can relax in the garden, or curl up on the comfy sofas and armchairs on the veranda with a glass of prosecco and a selection of antipasti, before tucking in to a freshly prepared wood fired pizza or pasta dish. We also offer gluten free pizza, alongside a selection of wines, beers and non alcoholic drinks.
Alternatively, book a table at the four star Port Lympne Hotel, just a short walk away down the famous Trojan Steps. Or relax and soak up the wonderful atmosphere of the unique Moroccan Courtyard at Port Lympne Hotel. Enjoy breakfast, lunch and Afternoon tea or a romantic candlelit dinner.
The Pinewood site has separate showers and W.C. facilities. You'll have the opportunity to BBQ if you wish to bring your own disposable BBQ and there's an area for washing up too. An accessible pod is available for overnight guests with accessibility requirements, please enquire at booking stage.
Port Lympne Reserve is home to amazing wildlife and incredible views. See over 700 animals and over 88 species at this award winning park. See the lions who live in close proximity to Pinewood, then explore the rest of the Reserve and see gorillas, bears, cheetah, giraffe and many more!
There are plenty of things to do at Port Lympne Reserve. Take a safari to the African and Asian experiences all included free in your short break, visit Dinosaur Forest, meander through the 15 acres of landscaped gardens or unwind at the 4* Port Lympne Hotel restaurant and bar.
In addition to your stay at Pinewood, make your visit extra special by booking one of our many special experiences.
Check in is at 3pm and check out is between 9 - 10am.
For more information or to enquire about gift vouchers for our short breaks, please call 01303 234112 Monday to Sunday between 9am to 5pm.
Make your stay even more memorable by creating an itinerary of once in a lifetime animal encounters and activities. Whether you prefer relaxing dining experiences with stunning views or getting up close to your favourite animals, there's something for everyone to enjoy! Start planning your stay now.
Below you'll find the most common questions people ask about staying at Pinewood.
Is it a separate entrance to Pinewood Pods from the Park?
No, for satnav the postcode for the Main Park is CT21 4LR. There is a separate compound for Pinewood guests to park at the end of the tarmacked area. The Main entrance is a short walk over the footbridge and then the camping pods are a further two minute walk from the entrance. For further information on access please call us on 01303 234112.
If you would like to make use of the park on the day of arrival please head straight to the Main entrance and show your booking confirmation for access. During your stay access to the park is via the Main entrance only.
Check in is 3pm -5pm but if you would like to arrive earlier and explore the Reserve from 9:30am, you are welcome to do so (please leave your luggage in your vehicle until check in). Guests are also welcome to access the park on the day of departure.
What dining options are available on site?
Pinewood Café is situated close to the pods, alternatively we have the Port Lympne Restaurant, Bear Lodge Clubhouse, or Babydoll's Wood Fired Pizza. Please download our restaurant guide or call us on 01303 234 112 for further details.
What food is offered in the Pinewood Café?
A variety of menu choices are served in Pinewood Café alongside a children's menu.
What are the café opening times?
Pinewood Café opens at 08:00am for breakfast until 09:30am. In the evening the kitchen is open from 6pm - 9pm and the café closes at 10pm. Closing times may vary but please check with your friendly check in host for details. Lunch is served daily at Pinewood Café.
Can we cook at the pods?
Guests wanting the true camping experience are welcome to bring their own disposable barbeque. Each pod also contains a kettle and cups and tea and coffee are provided.
Are there washing-up facilities on site?
Yes, there is a sink provided for washing up utensils - cloths, sponges and washing up liquid are also supplied.
Are towels and bedding supplied?
You'll enjoy FREE entry to Port Lympne Reserve throughout your stay with us. Plus, there are a number of optional activities available to book, including exciting safaris, animal feeds and segway tours. Please book with your host or ranger on Check in day.
Access to the communal games room with pool table and board games is included in your stay.
Are there pods for wheelchair access?
One of our camping pods is adapted for wheelchair access. Please call 01303 234 112 to check availability of this pod.
Yes, there are separate male and female toilets and showers supplied with toilet rolls, hand soap and hand towels. The Shepherds Hut has en suite facilities.
Can we play music in our pods on a portable radio/cd player etc?
Playing music is fine, but please remember that there will be other guests who may not share your taste, noise carries across the site so please don't be alarmed if we ask you to turn it down.
Is there a power supply in the pod/can we bring hairdryers, hair straighteners, phone/camera chargers, laptops?
There is limited power supply in the pods so we recommend that you check with the staff on arrival but this is 'Camping' after all!
Do we get admission to Howletts included in our stay?
No, for guests wishing to visit Howletts admission is payable at the Main Entrance to Howletts, please call 01227 721286 for prices and further details.
No, we ask that guests do not bring candles into the pods.
Yes, but please note that smoking is not allowed in the pods, recreation room or on the decking.
Yes, alcohol may be consumed in your pod and onsite, alternatively the Pinewood Café serves some beers and wines.
The pods are insulated however during adverse weather they may get a bit chilly, each pod contains a heater, we would advise that if you are staying either very early or late in the season to pack appropriate clothing. We also advise bringing a torch.


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Iljitscha () ist ein Weiler (chutor) in der Oblast Kursk in Russland. Er gehört zum Rajon Prjamizyno und zur Landgemeinde (selskoje posselenije) Filippowski selsowjet.

Geographie
Der Ort liegt gut 21 km Luftlinie nordwestlich des Oblastverwaltungszentrums Kursk im südwestlichen Teil der Mittelrussischen Platte, 18 km nordwestlich des Rajonverwaltungszentrums Prjamizyno, 3 km vom Sitz des Dorfsowjet – Aljabjewa, 82 km von der Grenze zwischen Russland und der Ukraine, am Fluss Suchaja Rogosna (linker Nebenfluss der Rogosna).

Klima
Das Klima im Ort ist wie im Rest des Rajons kalt und gemäßigt. Es gibt während des Jahres eine erhebliche Niederschlagsmenge. Dfb lautet die Klassifikation des Klimas nach Köppen und Geiger.

Bevölkerungsentwicklung

Anmerkung: Volkszählungsdaten

Verkehr
Iljitscha liegt 15 km von der Fernstraße föderaler Bedeutung M2 "Krim" (ein Teil der Europastraße E105), 18 km von der Straße regionaler Bedeutung 38K-017 (Kursk – Lgow – Rylsk – Grenze zur Ukraine), 1 km von der Straße interkommunaler Bedeutung 38N-073 (Djakonowo – Starkowo – Sokolowka) und 20 km von der nächsten Eisenbahnhaltestelle 433 km (Eisenbahnstrecke Lgow-Kijewskij – Kursk) entfernt.

Der Ort liegt 138 km vom internationalen Flughafen von Belgorod entfernt.

Einzelnachweise

Iljitscha

redpajama_set_name: RedPajamaWikipedia


A practical messenger bag in a simple zip fastening style. It features an adjustable canvas strap attached with retro dog clips that can be worn across the body or over the shoulder. External front pocket with a postman's lock closure, and a brushed leather interior. Wear this multi-faceted bag with almost everything. Comes with dustbag.


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Irish Launch of the European Year of Development
Minister Sherlock - 22/1/15
Aid Effectiveness, Speeches, Ireland, 2015
Address by Minister of State for Overseas Development, Trade Promotion and North South co-operation, Seán Sherlock
Irish Launch of European Year of Development
22nd January, Dublin Castle
I am delighted to join you in launching the European Year of Development in Ireland, and I would like to thank our hosts, Dochas, for bringing us all together today.
The European Year of Development is an important opportunity for us to reflect on our place in the world, and how we contribute to ensuring that the world is a fairer and more sustainable place for us all to live.
The Irish people have always taken a keen interest in global affairs, and particularly in helping those in poorer nations. The most recent Eurobarometer survey shows that 87% of Irish people believe helping people in developing countries is important, with 77% believing this contributes to a more peaceful and equal world. This is clearly not an abstract ideal either: 62% are personally involved in assisting developing countries, either through charitable donations, volunteering or political and social activism.
This level of engagement is testament to our strong values of compassion and social justice. It is also a reflection of the important role played by Irish civil society, who have been instrumental in both delivering this assistance and in promoting informed debate on global development issues.
I am especially pleased that these values are also strongly reflected in Ireland's foreign policy. Just last week, we published a review of our foreign policy: The Global Island: Ireland's Foreign Policy for a Changing World.
The Global Island places a strong emphasis on our values as a people, and our actions to build a fairer, more just, more secure and more sustainable world. It recognises the centrality of our international development policy, One World, One Future and our aid programme, Irish Aid, in achieving this.
I have had the privilege of witnessing the great difference made by our aid programme in several countries. In Sierra Leone, I have observed how Irish Aid has responded to the Ebola crisis by supporting ambulance services, psychosocial counselling and the provision of medical and nutrition supplies.
I have met Irish aid agencies providing emergency supplies to refugees fleeing from the conflict in South Sudan.
In Ethiopia, I have spoken to small farmers and producers that have boosted their harvests and incomes through better seeds and farming practices. I have visited school teachers, scientists and entrepreneurs, all determined to be part of a bright and progressive future for Africa.
All of these had benefited in some way from the Irish Aid programme. Witnessing the difference made in their lives made me proud to be Irish - proud that even in our difficult economic circumstances, we have not shirked our responsibility as global citizens.
The European Year of Development also draws our attention to how much the European Union project has assisted development. In our own case, the EU has been instrumental in helping us to develop our education, infrastructure and agriculture sectors.
We also work closely with our EU partners in delivering aid to the countries where the need is the greatest. The European Union and its Member States together give more than half of the world's official development assistance. For our part, we will provide €286 million to the European Development Fund from 2014 to 2020.
Of course, 2015 is not just a 'European' year of development, but a year that will be critical for the entire world. With agreement expected on the Sustainable Development Goals, and a new Climate agreement through the UN Framework Convention on Climate Change negotiations, 2015 may truly be a turning point in history.
Ireland is privileged to be serving as a co-facilitator with Kenya in the intergovernmental negotiations on the Sustainable Development Goals. We recognise this is a huge challenge – 193 countries must agree goals and targets in such diverse areas as agriculture, education, gender equality, health, justice, employment and environmental degradation. This has never been attempted before, and will be a huge achievement for humanity if successful. 2015 will also see new global agreements on how to finance these SDGs at the Financing for Development Conference in Addis Ababa in July.
Agreement on a legally-binding climate change agreement will be a critical achievement. The effects of climate change have already negatively affected the lives of millions of people in the world, from small farmers in Africa to those in the Small Island States of the Pacific. If we fail to act quickly and radically, we are on course to make our planet uninhabitable for vast numbers of people.
Our challenge in 2015, if we are to come up with a transformative agenda that will shape a world where no one is left behind, will be to ensure that all of these processes are coherent and mutually supportive.
While I do not underestimate the challenges facing us, I also feel confident that we can take the decisive action needed to build a fairer and more sustainable world. The evidence for this is clear when we consider the huge progress already made in tackling poverty and hunger since 1990.
It will require collective action. Individual citizens must engage in social and political debate; civil society must increasingly work together in a spirit of cooperation rather than competition towards our common goals; and governments and multilateral institutions like the EU and UN must listen and work in the best interests of their citizens.
By coming together today, and voicing our support for a better and fairer world, we signal our desire to be part of this movement.
I hope that we can continue to work together through this European Year of Development, and beyond.

redpajama_set_name: RedPajamaCommonCrawl


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Wikipedia: Star Wars
Filed under: — admin @ 12:55 am
This article is about the Star Wars media franchise. For the original 1977 film, see Star Wars Episode IV: A New Hope. For the U.S. military program popularly referred to as "Star Wars", see Strategic Defense Initiative. For other uses, see Star Wars (disambiguation).
The Star Wars logo as seen in all films
Star Wars Portal
Star Wars is an epic space opera franchise initially conceived by George Lucas during the 1970s and significantly expanded since that time. The first film in the franchise was simply titled Star Wars, but later had the subtitle A New Hope added to distinguish it from its sequels and prequels. Star Wars was released on May 25, 1977 by 20th Century Fox, and became a worldwide pop culture phenomenon, initially spawning two sequels. Twenty-two years after Star Wars was released, Lucas began the release of a second trilogy as a prequel to the original trilogy.
The franchise has spawned other media including novels, television series, video games, and comic books. These supplements to the film trilogies comprise the Star Wars Expanded Universe, and have resulted in significant development of the series' fictional universe. As of 2008, the overall box office revenue generated by the six Star Wars films has totalled approximately $4.3 billion, making it the 3rd highest grossing film series.[1]
1.1 Original trilogy
1.1.1 Box office performance
1.2 Prequel trilogy
3 Feature films
3.1 Plot overview
3.2 Themes
3.4 Future releases
4 Expanded Universe
4.1 Literature
4.3 Fan works
George Lucas is the creator of Star Wars.
In 1971, Universal Studios agreed to make American Graffiti and Star Wars in a two-picture contract, although Star Wars was later rejected in its early concept stages. American Graffiti completed in 1973, and a few months later, Lucas wrote a short summary called "The Journal of the Whills", which told the tale of the training of apprentice C.J. Thorpe as a "Jedi-Bendu" space commando by the legendary Mace Windy.[2] Frustrated that his story was too hard to understand, Lucas then wrote a 13-page treatment called The Star Wars, which was a loose remake of Akira Kurosawa's The Hidden Fortress.[3] By 1974, he had expanded the treatment into a rough draft screenplay, which added elements such as the Sith, the Death Star, and a young boy as the protagonist, named Annikin Starkiller. For the second draft, Lucas made heavy simplifications, and also introduced the young hero on a farm as Luke. Annikin became Luke's father, a wise Jedi knight. The "Force" was also introduced as a supernatural power. The next draft removed the father character and replaced him with a substitute named Ben Kenobi, and in 1976 a fourth draft had been prepared for principal photography. The film was titled "Adventures of Luke Starkiller, as taken from the Journal of the Whills, Saga I: The Star Wars." During production, Lucas changed Luke's name to Skywalker and altered the title to just "The Star Wars" and finally "Star Wars".[4]
At this point, Lucas was thinking of the film as the only entry that would be made — the fourth draft underwent subtle changes that made it more satisfying as a self-contained film that ended with the destruction of the Empire itself, as the Death Star was said to achieve; possibly this was a result of the frustrating difficulties Lucas had encountered in pre-production during that period. However, in previous times Lucas had conceived of the film as the first in a series of adventures. The second draft contained a teaser for a never-made sequel about "The Princess of Ondos", and by the time of the third draft some months later Lucas had negotiated a contract that gave him rights to make two sequels. Not long after, Lucas met with author Alan Dean Foster, and hired him to write these two sequels — as novels.[5] The intention was that if Star Wars was successful — and if Lucas felt like it — the novels could be adapted into screenplays.[6] He had also by this point developed a fairly elaborate backstory — though this was not designed or intended for filming; it was merely backstory.[7]
When Star Wars was successful, Lucas decided to use the film as a springboard for an elaborate serial, although he considered walking away from the series altogether.[8] However, Lucas wanted to create an independent filmmaking center — what would become Skywalker Ranch — and saw an opportunity to use the series as a financing agent for him.[9] Alan Dean Foster had already begun writing the sequel as a novel, but Lucas decided to disregard that for filming and create more elaborate film sequels; the book was released as Splinter of the Mind's Eye the next year. At first Lucas envisioned an unlimited number of sequels, much like the James Bond series, and in an interview with Rolling Stone in August of 1977 said that he wanted his friends to take a try directing them and giving unique interpretations on the series. He also said that the backstory where Darth Vader turns to the dark side, kills Luke's father and fights Ben Kenobi on a volcano as the Galactic Republic falls would make an excellent sequel. Later that year, Lucas hired sci-fi author Leigh Brackett to write "Star Wars II" with him. They held story conferences together and in late November 1977 Lucas had produced a handwritten treatment called "The Empire Strikes Back." The story is very similar to the final film except Darth Vader does not reveal he is Luke's father. In the first draft that Leigh Brackett would write from this, Luke's father appears as a ghost to instruct Luke.[10]
Darth Vader had a lasting impact on the series and on popular culture.
Brackett finished her first draft of Empire Strikes Back in early 1978; Lucas has said he was disappointed with it, but before he could discuss it with her she had died from cancer.[11] With no writer available, Lucas had to write his second draft himself. Here Lucas finally made use of the "Episode" listing in the film — Empire Strikes Back was Episode II.[12] As Michael Kaminski argues in The Secret History of Star Wars, the disappointment with the first draft probably made Lucas consider different directions to take the story in.[13] Here he made use of a new plot twist: Darth Vader says he is Luke's father. According to Lucas, he found this draft enjoyable to write, as opposed to the year-long struggles of the first film, and quickly wrote two more drafts in the same month[14] — April 1978 — which both retained the new Vader-as-father plot.[15] He also took this darker ending farther by imprisoning Han Solo in carbonite and leaving him in limbo.[16]
This new storyline where Darth Vader was Luke's father had drastic effects on the series. Michael Kaminski argues in his book that it is unlikely that this was a plot point that had ever seriously been considered before 1978, or even thought of before then, and that the first film was clearly operating under an alternate storyline where Vader was separate from Luke's father;[17] there is not a single reference to the Vader-as-father plot point before 1978. After the second and third drafts of Empire Strikes Back where Lucas first introduced this point, he reviewed the new backstory he had now created: Annikin Skywalker is Ben Kenobi's brilliant student, has a child (Luke) but is swayed to the dark side by Emperor Palpatine (who was now a Sith and not just a politician), battles Ben Kenobi on the site of a volcano and is wounded but resurrected as Darth Vader; meanwhile Kenobi hides Luke on Tatooine while the Republic becomes the Empire and Vader has hunted down the Jedi knights.[18] With this new backstory, Lucas decided to film this as a trilogy — moving Empire Strikes Back from Episode II to Episode V in the next draft.[19] Lawrence Kasdan, who had just completed writing Raiders of the Lost Ark, was then hired to write the next drafts, and was helped by additional input from director Irvin Kershner. Kasdan, Kershner, and producer Gary Kurtz saw the film as a more serious and adult film, which was helped by the new, darker storyline, and brought the series far away from the light adventure roots it had existed as only a year earlier.[20]
By the time of writing Episode VI — Revenge of the Jedi, as it was then known — in 1981, much had changed. Making Empire Strikes Back was a stressful and costly work, and Lucas' personal life was disintegrating. Burnt-out and not wanting to make anymore Star Wars films, he vowed to be done with the series in a May 1983 interview with Time magazine. Lucas' 1981 rough drafts of Revenge of the Jedi had Darth Vader competing with the Emperor for possession of Luke — and in the second script, the "revised rough draft", Vader was turned into a sympathetic character. Lawrence Kasdan was hired to take over once again, and in these final drafts Vader was explicitly redeemed, and finally unmasked. This change in character would provide a springboard for the "Tragedy of Darth Vader" storyline in the prequels.[21]
Box office performance
Film Release date Box office revenue Box office ranking Reference
United States Foreign Worldwide All time domestic All time worldwide
Star Wars Episode IV: A New Hope May 25, 1977 $460,935,665 $337,000,000 $797,900,000 #2 #19 [22]
Star Wars Episode V: The Empire Strikes Back May 21, 1980 $290,158,751 $243,700,000 $533,800,000 #30 #48 [23]
Star Wars Episode VI: Return of the Jedi May 25, 1983 $309,125,409 $263,700,000 $572,700,000 #24 #42 [24]
Star Wars film series $1,060,219,825 $844,400,000 $1,904,400,000
Darth Maul is the main antagonist of Star Wars: Episode I
After losing much of his fortune as a divorce settlement in 1983, Lucas had no desire to return to Star Wars, and had unofficially cancelled his Sequel Trilogy by the time of Return of the Jedi.[25] However, the prequels, which were quite developed, remained fascinating to him. After Star Wars became popular once again, following in the wake of Dark Horse's comic line and Timothy Zahn's trio of novels, Lucas saw that there was still a large audience. His children had begun to grow older, and with the explosion of CG technology he was now considering returning to directing.[26] By 1993 it was announced, in Variety among other sources, that he would be making the prequels. He began outlining the story, now offering that Anakin Skywalker would be the protagonist rather than Ben Kenobi and that the series would be a tragic one examining his transformation to evil. He also began to change how the prequels would exist relative to the originals — at first they were supposed to be a "filling-in" of history, backstory, existing parallel or tangential to the originals, but now he began to see that they could form the beginning of one long story: beginning with Anakin's childhood and ending with Anakin's death. This was the final step towards turning the franchise into a "Saga".[27]
In 1994, Lucas began writing the first screenplay, titled Episode I: The Beginning. At first it was planned to write and then film the three prequels at once, but this was changed, possibly because the writing process took much longer than first thought. Although Lucas initially planned on having others write and direct, he kept writing on his own, and eventually decided to direct the film as well. In 1999, Lucas announced he would be directing the next two films as well, and began working on Episode II at that time.[28] The first draft of this was completed just weeks before principal photography, and Lucas hired Jonathan Hales, a writer from the Young Indiana Jones Chronicles, to polish up his draft.[29] Unsure of a title, Lucas had jokingly called the film "Jar Jar's Big Adventure." By now the backstory had undergone large changes — Ben Kenobi had discovered Anakin as an adult in Episode I's first draft, but he was changed to be a young student, and Anakin a child, and in Episode II the Clone Wars were decided to be a personal manipulation of Palpatine's.[30] At the time of the original trilogy, Lucas came up with ideas for this war: in Empire Strikes Back it was decided that Lando was a clone and came from a planet of clones that caused a war,[31] but later a different version was decided wherein "Shocktroopers", including Boba Fett waged war against the Republic from a distant galaxy but were then repelled by the Jedi knights.[32]
Lucas began working on Episode III even before Attack of the Clones was released, offering concept artists that the film would open with a montage of seven Clone War battles.[33] As he reviewed the storyline that summer, however, he says he radically re-organized the plot.[34] Michael Kaminski, in The Secret History of Star Wars, offers evidence that issues in Anakin's fall to the dark side prompted Lucas to make massive story changes, first revising the opening sequence to have Palpatine kidnapped and Dooku killed by Anakin as a first act towards the dark side.[35] Lucas' first draft was written in 2003, and is largely similar to the film, though much simplified. After principal photography was complete in 2003, Lucas made even more massive changes in Anakin's character, re-writing his entire turn to the dark side — he would now turn out of a quest to save Padme from dying, rather than the previous version where that was one of the reasons and genuinely believed that the Jedi were evil and plotting to take over the Republic. This fundamental re-write was accomplished through editing and new and revised scenes filmed in additional pick-ups in 2004.[36]
Lucas often exaggerated the amount of material he wrote for the series; much of it stemmed during the post–1978 period when the series grew into a phenomenon. Michael Kaminski explained that these exaggerations were both a publicity and security measure. He rationalized that since the series' story radically changed throughout the years, it was always Lucas' intention to change the original story retroactively because audiences would only view the material from his perspective.[37][38]
Star Wars Episode I: The Phantom Menace May 19, 1999 $431,065,444 $491,314,983 $922,379,000 #5 #7 [39]
Star Wars Episode II: Attack of the Clones May 16, 2002 $310,675,583 $337,600,000 $648,200,000 #22 #32 [40]
Star Wars Episode III: Revenge of the Sith May 19, 2005 $380,262,555 $468,200,000 $848,462,555 #8 #16 [41]
Star Wars film series 1,122,003,582 1,298,114,983 2,419,041,555
R2-D2 is a robotic droid in the Star Wars universe.
The events of Star Wars take place in a fictional galaxy. Many of the main characters in the film are essentially identical to humans, though alien creatures are commonplace, as are robotic droids built generally to serve their owners. Space travel is common, with many planets in the galaxy members of a Galactic Republic, later the Galactic Empire. One of the prominent elements of the Star Wars series is the "Force" — an omnipresent form of energy which can be harnessed by those with unique abilities. It is described in the first film as, "an energy field created by all living things [that] surrounds us, penetrates us, and binds the galaxy together."[42] Those who can use the Force can perform feats of telekinesis, clairvoyance, precognition, and mind control, as well as amplifying certain physical traits, such as reflexes. While the Force can be used for good, it has a dark side, which, when pursued, imbues users with hatred, aggression, and malevolence. The six films feature the Jedi Knights, who use the Force for good, and the Sith Lords, who use the dark side for evil in an attempt to take over the galaxy.[43][30][38][42][16][44]
Main articles: Star Wars original trilogy and Star Wars prequel trilogy
The Star Wars franchise began as a film series. The initial trilogy comprised three films: Star Wars Episode IV: A New Hope, released on May 25, 1977, Star Wars Episode V: The Empire Strikes Back, released on May 21, 1980, and Star Wars Episode VI: Return of the Jedi, released on May 25, 1983. The opening crawl of the sequels disclosed that they were numbered as "Episode V" and "Episode VI" respectively, though the films were generally advertised solely under their subtitles. Once Star Wars became a success and sequels were realized, Lucas numbered the initial film as the fourth episode in his series, and gave it the subtitle A New Hope when the film was re-released in 1981.[42][16][44]
In 1997, to correspond with the twentieth anniversary of the release of Star Wars, Lucas released "Special Editions" of the three films to theaters. The re-releases featured alterations to the original films, primarily motivated by the improvement of CGI and other special effects technologies, which allowed visuals that were not possible to achieve at the time of the original filmmaking. Lucas continued to make changes to the original trilogy for subsequent releases, such as the first ever DVD release of the trilogy on September 21, 2004.[45]
On May 19, 1999, Lucas released the first of the long-awaited prequel trilogy, Star Wars Episode I: The Phantom Menace. This was followed Star Wars Episode II: Attack of the Clones on May 16, 2002, and Star Wars Episode III: Revenge of the Sith on May 19, 2005.[46] On February 12, 2008, the official Star Wars website announced that a new film will be released in theaters on August 15, 2008. The CGI animated film will be about the clone wars.[47]
The prequel trilogy follows the upbringing of Anakin Skywalker, a child of parthenogenesis who is discovered by Jedi Knight Qui-Gon Jinn. He is believed to be the "Chosen One" foretold by Jedi prophecy to bring balance to the Force. The Jedi Council, led by Yoda, sense that his future is clouded with fear, but reluctantly allow Jinn's apprentice Obi-Wan Kenobi to train Skywalker after Jinn is killed. At the same time, the planet Naboo is under attack, and its queen, Padmé Amidala, seeks the assistance of the Jedi to repel the attack. Sith Lord Darth Sidious secretly planned the attack to give his alias, Naboo Senator Palpatine, a pretense to overthrow the Supreme Chancellor of the Galactic Senate. The remainder of the prequel trilogy chronicles Skywalker's fall to the dark side, as Sidious attempts to create an army to defeat the Jedi and lure Skywalker to be his apprentice. Amidala and Skywalker fall in love and eventually she becomes pregnant with twins. Skywalker soon succumbs to his anger, culminating in a lightsaber battle between him and Kenobi. Kenobi leaves Skywalker for dead, but Sidious arrives shortly after to save him and put him in to a suit of black armor that keeps him alive.[38]
Tatooine's sunset has two suns, the result of a binary star system. This shot from A New Hope is alluded to in Attack of the Clones and Return of the Jedi, and recreated as the final shot of Revenge of the Sith.
The original trilogy begins nearly 20 years later as Anakin Skywalker, now Darth Vader, nears completion of the massive Death Star space station which will allow him to crush the rebellion which has formed against his evil empire. He captures Princess Leia Organa who has stolen the plans to the Death Star and hidden them in droid R2-D2. R2-D2, along with his counterpart C-3PO, escape to the planet Tatooine. There, the droids are purchased by Luke Skywalker, son of Anakin, and his step-uncle and aunt. While Luke is cleaning R2-D2, he accidentally triggers a message put into the robot by Princess Leia, who asks for assistance from Obi-Wan Kenobi. Luke knows of a Ben Kenobi and asks his uncle if there is any relationship between the two. His uncle dismisses the idea, but leads Skywalker to Ben Kenobi who confirms that he is Obi-Wan. Kenobi tells Luke of his father's greatness, but says that he was killed by Vader.[48] Kenobi and Skywalker hire pilot Han Solo and his co-pilot Chewbacca to take them to the rebels. Kenobi begins to teach Skywalker about the Force, but is killed in a showdown with Vader during the rescue of Princess Leia. His sacrifice allows the group to escape with the plans that allow the rebels to destroy the Death Star.[42]
Vader continues to hunt down the rebels, and begins building a second Death Star. Skywalker travels to find Jedi master Yoda to become trained as a Jedi, but is interrupted when Vader lures him into a trap by capturing Solo and the others. Vader reveals that he is Skywalker's father and attempts to turn him to the dark side. He escapes, and returns to his training with Yoda. He learns that he must face his father before he can become a Jedi, and that Leia is his twin sister. As the rebels attack the new Death Star, Skywalker confronts Vader under the watch of Emperor Palpatine. Instead of convincing Skywalker to join the dark side, Skywalker defeats Vader and is able to convince him that there is still some good in him. Vader kills Palpatine before succumbing to his own injuries, and the second Death Star is destroyed.[44]
See also: Philosophy and religion in Star Wars and The Force (Star Wars)
Star Wars features elements such as (Jedi) knights, witches, and princesses that are related to archetypes of the fantasy genre.[49] The Star Wars world, unlike science-fiction and fantasy films that featured sleek and futuristic settings, was portrayed as dirty and grimy. Lucas' vision of a "used universe" was further popularized in the science fiction-horror films Alien,[50] which was set on a dirty space freighter; Mad Max 2, which is set in a post-apocalyptic desert; and Blade Runner, which is set in a crumbling, dirty city of the future. Lucas made a conscious effort to parallel scenes and dialogue between films, and especially to parallel the journeys of Luke Skywalker with that of his father Anakin when making the prequels.[43]
All six films of the Star Wars series were shot in an aspect ratio of 2.35:1. The original trilogy was shot with anamorphic lenses. Episodes IV and V were shot in Panavision, while Episode VI was shot in Joe Dunton Camera (JDC) scope. Episode I was shot with Hawk anamorphic lenses on Arriflex cameras, and Episodes II and III were shot with Sony's CineAlta high-definition digital cameras.[51] Lucas hired Ben Burtt to oversee the sound effects on A New Hope. The enormity of Burtt's accomplishment was such that the Academy of Motion Picture Arts and Sciences gave him a Special Achievement Award because they had no award for what he had done.[52] Lucasfilm developed the THX sound reproduction standard for Return of the Jedi.[53] The scores for the six Star Wars films were composed by John Williams. Lucas' design for Star Wars involved a grand musical sound, with leitmotifs for different characters and important concepts. Williams' 'Star Wars' theme has become one of the most famous and well-known musical compositions in modern music history.[54]
At a ShoWest convention in 2005, Lucas demonstrated new technology and stated that he planned to release the six films in a new 3-D film format, beginning with A New Hope in 2007.[55] However, by January 2007, Lucasfilm stated on StarWars.com that "there are no definitive plans or dates for releasing the Star Wars saga in 3-D." At Celebration Europe in July 2007, Rick McCallum confirmed that Lucasfilm is "planning to take all six films and turn them into 3-D," but they are "waiting for the companies out there that are developing this technology to bring it down to a cost level that makes it worthwhile for everybody".[56]
Lucas has hinted in the past that he will release future, more definitive editions of the six Star Wars films on a next-generation home-video format.[57][58] There have been discussions that he will take this opportunity to make any final adjustments, changes, additions, and/or subtractions to his films for this final release. An altered clip from The Phantom Menace included in a featurette on the DVD release of Revenge of the Sith (in which a computer generated Yoda replaces the original puppet) appears to be a sign that the "archival" editions are indeed in the works.[59] Lucasfilm Vice President of Marketing Jim Ward confirmed that Lucasfilm is likely to do even more work on the films (possibly digital contemporization of the original trilogy), stating "As the technology evolves and we get into a high-definition platform that is easily consumable by our customers, the situation is much better, but there will always be work to be done."[60]
Main article: Star Wars Expanded Universe
The term Expanded Universe (EU) is an umbrella term for officially licensed Star Wars material outside of the six feature films. The material expands the stories told in the films, taking place anywhere from 25,000 years before The Phantom Menace to 140 years after Return of the Jedi. The first Expanded Universe story appeared in Marvel Comics' Star Wars #7 in January 1978 (the first six issues of the series having been an adaptation of the film), followed quickly by Alan Dean Foster's novel Splinter of the Mind's Eye the following month.[61]
Lucas retains artistic control over the Star Wars universe. For example, the death of central characters and similar changes in the status quo must first pass his screening before authors are given the go-ahead. In addition, Lucasfilm Licensing devotes efforts to ensure continuity between the works of various authors across companies.[62] Elements of the Expanded Universe have been adopted by Lucas for use in the films, such as the name of capital planet Coruscant, which first appeared in Timothy Zahn's novel Heir to the Empire before being used in The Phantom Menace. A character introduced in Dark Horse Comics' Star Wars series, a blue Twi'lek Jedi Knight named Aayla Secura, was liked enough by Lucas to be included as a character in Attack of the Clones.[63]
To date, four films and three animated series have been produced for television, with a live-action series and a 3D CGI animated series in pre-production. Lucas has played a large role in the production of the television projects, usually serving as storywriter or executive producer.[64] Star Wars has had numerous radio adaptations. A radio adaptation of A New Hope was first broadcast on National Public Radio in 1981. The adaptation was written by science fiction author Brian Daley and directed by John Madden. It was followed by adaptations of The Empire Strikes Back in 1983 and Return of the Jedi in 1996. The adaptations included background material created by Lucas but not used in the films. Mark Hamill, Anthony Daniels, and Billy Dee Williams reprised their roles as Luke Skywalker, C-3PO, and Lando Calrissian, respectively. The series also used John Williams' original score from the films and Ben Burtt's original sound designs.[65]
Main articles: List of Star Wars books and List of Star Wars comic books
Star Wars-based fiction predates the release of the first film, with the 1976 novelization of Star Wars (ghost-written by Alan Dean Foster and credited to Lucas). Foster's 1978 novel, Splinter of the Mind's Eye, was the first Expanded Universe work to be released. In addition to filling in the time between the films, this additional content greatly expanded the Star Wars timeline before and after the film series. Star Wars fiction flourished during the time of the original series (1977–1983) but slowed to a trickle afterwards. In 1991, however, Timothy Zahn's Thrawn Trilogy debuted, sparking a new interest in the Star Wars universe. Since then, several hundred tie-in novels have been published by Bantam and Del Rey. A similar resurgence in the Expanded Universe occurred in 1996 with the Steve Perry novel Shadows of the Empire, set between Episodes V and VI, and accompanying video game and comic book series.[66]
LucasBooks radically changed the face of the Star Wars universe with the introduction of the New Jedi Order series, which takes place some 20 years after Return of the Jedi and stars a host of new characters alongside series originals. However, several significant events which occur during the course of this series (such as the death of Chewbacca) have sparked fan criticism.[citation needed] For younger audiences, three series have been introduced. The Jedi Apprentice series follows the adventures of Qui-Gon Jinn and his apprentice Obi-Wan Kenobi before Episode I. The Jedi Quest series follows the adventures of Obi-Wan Kenobi and his apprentice Anakin Skywalker after Episode I and before Episode II. The third and currently on-going series is The Last Of the Jedi series which follows the adventure of Obi-Wan Kenobi and the adventures of a surviving Jedi almost immediately after Episode III.
Marvel Comics published Star Wars comic book series and adaptations from 1977 to 1986. A wide variety of creators worked on this series, including Roy Thomas, Archie Goodwin, Howard Chaykin, Al Williamson, Carmine Infantino, Gene Day, Walt Simonson, Michael Golden, Chris Claremont, Whilce Portacio, Jo Duffy, and Ron Frenz. They also published a Star Wars newspaper strip by Russ Manning, Steve Gerber, and Archie Goodwin, the latter under a pseudonym. In the late 1980s, Marvel announced it would publish a new Star Wars comic by Tom Veitch and Cam Kennedy. However, in December 1991, Dark Horse Comics acquired the Star Wars license and used it to launch a number of ambitious sequels to the original trilogy instead, including the very popular Dark Empire stories.[67] They have since gone on to publish a large number of original adventures set in the Star Wars universe. There have also been parody comics, including Tag and Bink.[68]
Main articles: Star Wars computer and video games, List of Star Wars video games, and Star Wars Trading Cards
Since 1982, dozens of video games have been published bearing the Star Wars name, beginning with Star Wars: The Empire Strikes Back published for the Atari 2600 by Parker Brothers. Since then, Star Wars has opened the way to a myriad of space-flight simulation games, first-person shooter games, roleplaying games, RTS games, and others. Two different official tabletop role-playing games have been developed for the Star Wars universe: a version by West End Games in the 1980s and 1990s, and one by Wizards of the Coast in the 2000s. The best-selling games so far are the Lego Star Wars and the Battlefront series, with 12 million and 10 million units respectively. [69][70]
The latest released game was Lego Star Wars: The Complete Saga. LucasArts is also currently developing a next-gen Star Wars game, Star Wars: The Force Unleashed, for the PS3, PS2, Xbox 360 and Wii. The game,of the same name of the multimedia project which it is a part of, takes place in the largely unexplored time period between Star Wars Episode III: Revenge of the Sith and Star Wars Episode IV: A New Hope and casts players as Darth Vader's "secret apprentice" hunting down the remaining Jedi. The game features a new game engine, and will be released in September 2008.[71][72]
Star Wars trading cards have been published since the first 'blue' series, by Topps, in 1977.[73] Dozens of series have been produced, with Topps being the licensed creator in the United States. Some of the card series are of film stills, while others are original art. Many of the cards have become highly collectible with some very rare 'promos', such as the 1993 Galaxy Series II 'floating Yoda' P3 card often commanding US$1000 or more. While most 'base' or 'common card' sets are plentiful, many 'insert' or 'chase cards' are very rare.[74]
Main article: Star Wars fan films
The Star Wars saga has inspired many fans to create their own apocrypha set in the Star Wars galaxy. In recent years, this has ranged from writing fan-fiction to creating fan films. In 2002, Lucasfilm sponsored the first annual Official Star Wars Fan Film Awards, officially recognizing filmmakers and the genre. Because of concerns over potential copyright and trademark issues, however, the contest was initially open only to parodies, mockumentaries, and documentaries. Fan-fiction films set in the Star Wars universe were originally ineligible, but in 2007 Lucasfilm changed the submission standards to allow in-universe fiction entries.[75]
While many of the serious fan films have used elements from the licensed Expanded Universe to tell their story, they are not considered an official part of the Star Wars canon. Lucasfilm, for the most part, has allowed but not endorsed the creation of these derivative fan-fiction works, so long as no such work attempts to make a profit from or tarnish the Star Wars franchise in any way.[76] Lucasfilm's open support and sanction of fan creations is a marked contrast to the attitudes of many other copyright holders. Some owners, such as Paramount Pictures with the Star Trek properties, have been known to actively discourage the creation of such works by fans.[77]
Main article: Cultural impact of Star Wars
The Star Wars saga has had a significant impact on modern global pop culture. Both the films and characters have been parodied in numerous films and television. Notable film parodies of Star Wars include Hardware Wars, a 13 minute 1977 spoof which Lucas has called his favorite Star Wars parody, and Spaceballs, a feature film by Mel Brooks which featured effects done by Lucas' Industrial Light & Magic.[78][79] Lucasfilm itself made two mockumentaries, Return of the Ewok (1982), about Wicket W. Warrick's actor Warwick Davis, and R2-D2: Beneath the Dome (2002), which depicts R2-D2 "life story".[80][81] There have also been many songs based on, and in, the Star Wars universe. "Weird Al" Yankovic recorded two parodies: "Yoda" and "The Saga Begins".[82]
When Ronald Reagan proposed the Strategic Defense Initiative (SDI), a system of lasers and missiles meant to intercept incoming ICBMs, the plan was quickly labeled "Star Wars," implying that it was science fiction and linking it to Ronald Reagan's acting career. According to Frances Fitzgerald, Ronald Reagan was annoyed by this, but Assistant Secretary of Defense Richard Perle told colleagues that he "thought the name was not so bad."; "'Why not?' he said. 'It's a good movie. Besides, the good guys won.'"[83] This gained further resonance when Reagan described the Soviet Union as an Evil Empire, which was taken from the opening crawl to A New Hope, while the term he used for the Contras, "freedom fighters", was taken verbatim from the opening crawl to The Empire Strikes Back.[84]
Star Wars on Wikimedia Commons
Star Wars on Wikiquote
Cast of Star Wars
Empire of Dreams: The Story of the Star Wars Trilogy
Physics and Star Wars
Star Wars locations
Star Wars creatures
Star Wars vehicles
Star Wars conflicts
Star Wars items
Dates in Star Wars
Star Wars, religion, and philosophy
Bortolin, Matthew (2005-04-25). The Dharma of Star Wars. Wisdom Publications. ISBN 0861714970.
Decker, Kevin S. (2005-03-10). Star Wars and Philosophy. Open Court. ISBN 0812695836.
Porter, John M. (2003-01-31). The Tao of Star Wars. Humanics Trade Group. ISBN 0893343854.
Snodgrass, Jon (2004-09-13). Peace Knights of the Soul. InnerCircle Publishing. ISBN 0975521470.
Staub, Dick (2005-03-25). Christian Wisdom of the Jedi Masters. Jossey-Bass. ISBN 0787978949.
Joseph Campbell's influence on Star Wars
Campbell, Joseph (1991-06-01). The Power of Myth. Anchor. ISBN 0385418868.
Henderson, Mary (1997-11-03). Star Wars: The Magic of Myth. Bantam. ISBN 0553102060.
Larsen, Stephen (2002-04-01). Joseph Campbell: A Fire in the Mind. Inner Traditions. ISBN 0892818735.
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Dudley Coulson (22 March 1929 – 1 August 1999) was a British-Kenyan field hockey player. He competed in the men's tournament at the 1956 Summer Olympics.

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The PIMCO Corporate Action Team manages life cycle of all voluntary events including but not limited to tenders, exchanges, Dutch auctions, consent solicitations, disclosures, conversions, optional puts, and dividend reinvestments. The role is an integral link between Portfolio Management, Legal & Compliance, Account Management, and Back Office Operations. The team also actively contributes to process improvement and process reengineering projects relating to enhancing communication related to corporate actions between various departments though the use of technology.


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Home » News » Movies » Game of Thrones Season 5 Recap: Arya Stark Joins the Faceless Men, Jon Snow Stabbed to Death
Game of Thrones Season 5 Recap: Arya Stark Joins the Faceless Men, Jon Snow Stabbed to Death
While the season 5 of Game of Thrones avenged some deaths, it ends with a gruesome murder that gave GoT fans some sleepless nights.
Last Updated:March 24, 2019, 17:03 IST
Vaishali Jain
Season 4 of Game of Thrones was a sigh of relief for all the fans who have been sitting in angst after the red wedding. Avenging the death of the Starks, the Purple Wedding was a surprise many fans wanted from Geroge RR Martin. But the wedding divided the Lannisters internally, turning them against Tyrion. Also in season 4, the Mountain and the Viper have a deadly and eye-popping trial by combat. On the other hand, Daenerys is expanding her army by bringing order to Slaver's Bay and pronounces herself as the queen in Meereen.
While the fight for the Iron Throne takes a backseat, the major characters realise that there are internal wars to be dealt before they prepare themselves for the greater wars to come. The audience is also introduced to a religious group called Sparrows and a new known as the Sons of Harpy. While the season will avenge some deaths, it ends with a gruesome murder that gave GoT fans some sleepless nights.
With just a few weeks remaining for the next and final season of Game of Thrones, season 8, take a quick guide on what has happened in the show so far one season at a time. Here's the recap of Game of Thrones Season 5.
Ep1- The Wars to Come
The episode takes us back to Cersei's teenage days when she learns a prophecy about herself saying, that someone younger and more beautiful than her will one day take away all her accomplishments. the first episode also introduces Sparrows, a devoted religious extremist group. Far away from King's Landing, Tyrion agrees to go with Varys and support Daenerys for claiming the Iron Throne. At the Wall, Stannis wants to the Wildlings in his war against Roose while Jon Snow is unable to convince Ryder to accept Stannis's authority.
Ep 2-The House of Black and White
Arya Stark arrives in Braavos and is accepted into the "House of Black and White" by H'ghar, who is widely known as "no one". Podrick and Brienne meet Baelish and Sansa in a tavern and keeping her promise to Catelyn, Brienne offers Sansa her protection. But Sansa refuses it. Stannis tries to strike a deal with Jon promising him the lordship of Winterfell if he leaves the Night's Watch to help him, but like Sansa, he also declines the offer. By the casting vote of Aemon, Tarly is elected as the Lord Commander of Night's Watch. On the other hand, Daenerys comes across a riot subsequent to her decision to execute a former slave who assassinated a member of the Sons of the Harpy.
Ep 3-High Sparrow
Margaery manipulates Tommen to send Cersei to Casterly Rock while Baelish takes Sansa to Winterfell to make an alliance with Roose by getting her married to Ramsay. In Braavos, Arya is asked to discard all her belongings to adapt in the House of Black and White. At Castle Black, Snow names Thorne First Ranger, but Slynt refuses to follow Snow's orders who is executed by Snow. Lancel who has just joined the Sparrows finds the High Septon in a compromising situation in a brothel and the latter is forced to take the walk of shame. Tyrion and Varys arrive in Volantis and the former is kidnapped by Mormont, who intends to take him to Daenerys.
Ep 4- Sons of the Harpy
With the help of Cersei, the Sparrows arrest Margery brother Loras. At the Wall Melisandre tries to seduce Snow trying to convince him to go to Winterfell with Stannis. Bronn and Jaime secretly land in Dorne for his daughter Myrcella. Ellaria sways in the Sand Snakes to avenge the death of Oberyn by abducting Myrcella before Jaime comes for her. Mormont plans to trade in himself to Daenerys by giving Tyrion as a prisoner. In Meereen, Loraq makes another appeal to her to reopen the fighting pits and the Sons of the Harpy carry out a surprise attack on an Unsullied patrol inside the citadel.
Ep 5- Kill the Boy
Brienne and Podrick reach Winterfell and send Sansa a message stating that they will help her if need be. At the Wall, Tormund accepts Night's Watch alliance with the Wildlings to settle south of the Wall. Jon Snow agrees to accompany him to meet the Wildlings in Hardhome. In Meereen, Grey Worm builds up his strength and is falling for Missandei. Daenerys executes a Meereenese nobleman by feeding him to her dragons Viserion and Rhaegal and imprisons the others. She also decides to reopen the fighting pits and agrees to marry Loraq as a peace treaty. At sea, Tyrion and Mormont sail through Valyria, and are attacked by a group of stone men on their way. The three of them manage to escape, however, Mormont is infected with greyscale.
Ep 6- Unbowed, Unbent, Unbroken
In Braavos H'ghar escorts Arya to a chamber with the faces of all the people who lost their lives in the House of Black and White. Jaime and Bronn reach the Water Gardens and see Myrcella being attacked by the Sand Snakes. Baelish double crosses Sansa and informs Cersei of Roose's plan to marry the Stark daughter to Ramsay, and manages to convince her to allow him to lead the Knights of the Vale to Winterfell to defeat the winning party of the conflict between Roose and Stannis, being named Warden of the North in return. Olenna arrives in King's Landing and warns Cersei that the captivity of Loras has put their alliance in a threat. At Loras' enquiry, Loras and Margaery both deny his homosexuality but a male prostitute contradicts their testimony, and Margaery is arrested for lying to the gods. In Winterfell, Sansa is wedded to Ramsay, who rapes her in front of a horror-struck Theon.
Ep 7- The Gift
Sansa asks Theon to help her escape Winterfell, instead, he informs Ramsay. At Stannis' army's camp, Melisandre proposes to sacrifice Shireen. Mormont and Tyrion are sold to slaver Qaggaz and the two are brought to a local fighting pit that Daenerys and her consort happen to visit. Defeating other slaves, Mormont reveals his identity to Daenerys and brings Tyrion as a "gift" for her. Olenna's request to release Loras and Margaery is declined by the High Sparrow and the High Sparrow arrests Cersei under the charges of an incestuous relationship with Lancel.
Ep 8- Hardhome
Cersei is tortured by the Sparrows to confess her incestuous relationship, but she refuses. is given a task by H'ghar to study a man who sells marine insurance, but has defrauded beneficiaries and poison him. In Winterfell, Theon confesses to Sansa that he faked the deaths of Brandon and Rickon while in Meereen, Daenerys accepts Tyrion into her council who convinces her to spare Mormont's life. At Hardhome, Snow and Tormund are attacked by an army of wights. Jon kills a White Walker with his Valyrian-steel sword. Jon accompanied by other Wildlings see the Night King resurrecting the dead wildlings as white walkers.
Ep 9- The Dance of Dragons
After Stannis' army inflicts heavy losses at the hands of Ramsay's army, he reluctantly allows Melisandre to sacrifice Shireen by burning her alive at the stake. In Dorne, Doran allows Jaime and Bronn to go back to King's Landing with Myrcella, given that Trystane will accompany them and he will serve on the small council in Oberyn's stead. In Meereen, during a fight pit, Daenerys and her party are surrounded by the Sons of the Harpy. But to everybody's surprise, Drogon arrives and in a dramatic move, the queen flies away from the pit.
Ep - 10 Mother's Mercy
Shireen's sacrifice leads to Selyse's suicide and half of Stannis' forces leaves him. Melisandre also flees to Castle Black, and Stannis has to accept defeat at the hand of the Boltons. He is later killed by Brienne. In order to escape from the Sparrows, Cersei admits her former relationship with Lancel and is forced to face atonement by walking the streets fully naked. As she reaches the Red Keep, Qyburn brings in a new member of the Kingsguard to her. Jaime, Myrcella, Bronn and Trystane set their sail from Dorne but Myrcella dies of poison soon after they board the ship. Disobey the rules of the Faceless Men, Arya breaks into a brothel to kill Trant and a result she is blinded as a punishment. In Meereen, Daenerys is found by a large group of the Dothraki while at the Wall Snow is betrayed by his men and is stabbed several times leading to his death.
(Image courtesy: HBO/Game of Thrones)
Cersei Lannister walk of shame
Faceless Men
Game of Thrones 5
Game of Thrones recap
Game of Thrones season 5 recap
GoT recap
Jon Snow death
first published:March 24, 2019, 17:02 IST


Using weapons while intoxicated is a misdemeanor offense in Ohio that many alleged offenders are charged with in addition to other alleged criminal offenses. Even when this is an isolated charge, a conviction or guilty plea can still result in a lengthy jail sentence and a significant fine.
Oftentimes, people are charged with using weapons while intoxicated after having a blood alcohol concentration (BAC) above the legal limit of 0.08 during arrests for operating a vehicle under the influence of alcohol (OVI, but commonly referred to as driving under the influence or DUI, or driving while intoxicated or DWI in other jurisdictions). A person may be charged with using weapons while intoxicated even if he or she has a BAC under 0.08.
If you were recently arrested for allegedly using a weapon while intoxicated anywhere in Montgomery County, it will be in your best interest to immediately seek legal representation. Joslyn Law Firm defends clients accused of all kinds of gun, weapon, and firearm offenses in Greene County, Clark County, Miami County, and Montgomery County.
Brian Joslyn is an experienced criminal defense attorney in Dayton who can fight to help you achieve the most favorable outcome to your case that results in the fewest possible penalties. He can review your case and answer all of your legal questions when you call (937) 356-3969 to schedule a free initial consultation.
What punishments can people receive if convicted of using weapons while intoxicated?
Where can I find more information about possession of a firearm while intoxicated in Dayton?
Under Ohio Revised Code § 2923.15, a person commits the crime of using weapons while intoxicated if he or she, while under the influence of alcohol or any drug of abuse, carries or uses any firearm or dangerous ordnance.
Ohio Revised Code § 2923.11(B)(1) defines a firearm as "any deadly weapon capable of expelling or propelling one or more projectiles by the action of an explosive or combustible propellant." The term includes an unloaded firearm as well as any firearm that is inoperable but that can readily be rendered operable.
Dangerous ordnance that is inoperable or inert and cannot readily be rendered operable or activated, and that is kept as a trophy, souvenir, curio, or museum piece.
Using weapons while intoxicated is a first-degree misdemeanor. A conviction is punishable by up to 180 days in jail and/or a fine of up to $1,000.
Many alleged offenders face additional criminal charges, often as the result of routine traffic stops. In addition to the possible consequences listed above, a person could also face related penalties for the aforementioned OVI charges or maybe even another alleged weapon offense, such as carrying a concealed weapon without a permit, having a weapon under disability, or improper handling of a firearm in a motor vehicle.
National Rifle Association Institute for Legislative Action (NRA-ILA) | Ohio Gun Laws — The ILA is the lobbying arm of the NRA, committed to preserving the right of all law-abiding individuals to purchase, possess, and use firearms for legitimate purposes. On this website, you can find an overview of gun laws in Ohio and view a concealed carry reciprocity map of the United States that show which states recognize Ohio permits and which state's permits Ohio recognizes. You can also read about recent news and laws on purchase, possession, and carrying of firearms in Ohio.
Clearly, in exchange for Tite's no contest plea, the state agreed to dismiss all charges against Tite except the carrying a concealed weapon and using weapons while intoxicated charges. The state failed to discuss any additional requirement that Tite was to forgo his right to appeal. Further, the fact that the plea agreement would be revoked if Tite exercised his right to appeal was never mentioned.
Consequently, we find no support for the state's argument that Tite breached the plea agreement when he appealed his initial sentence. On the contrary, Tite fulfilled his obligations under the plea agreement by pleading no contest to the carrying a concealed weapon charge and the using weapons while intoxicated charge. Since Tite's appellate rights were not a subject of the plea agreement, his appeal of the convictions had no affect on the state's promise to dismiss the remaining charges. See State v. Legree, 61 Ohio App.3d 568, 573 N.E.2d 687 (6th Dist.1988) (holding that a plea agreement is not breached when a party fails to fulfill an alleged promise that is not part of the record). When the state re-filed those charges, it violated the terms of the plea agreement. Since the state breached the plea agreement, the trial court abused its discretion when it denied Tite's motion to dismiss.
Were you arrested in the Miami Valley area for allegedly using a weapon while intoxicated? Do not say anything to authorities without legal counsel. Contact Joslyn Law Firm as soon as possible.
Dayton criminal defense lawyer Brian Joslyn represents individuals all over the greater Montgomery County area, including Beavercreek, Dayton, Fairborn, Huber Heights, Kettering, Piqua, Springfield, Troy, and several other nearby communities. Call (937) 356-3969 or submit an online contact form to have our attorney provide a complete evaluation of your case during a free, confidential consultation.


option, do exactly that which you describe?
> building the viewer like a player, and document swf is loaded afterwords.
> to load them and I load the wrapper?
> Alternatively, can pdf2swf output the document one swf per page?
>> > let you, while downloading?
>> Would a thumbnail (low resolution bitmap of a page) help?


text:
Last vanity
By Christopher P. Winner| 2019-01-07T12:13:42+02:00	December 30th, 2018|Area 51|
In pre-war Warsaw and Rome of 1940 (above and below), the author's mother ensured she was camera-friendly.
never liked vanity, let alone its fairgrounds. Self-effacement governed my mood. Imagining an exuberantly selfish president like Donald Trump, let alone the prospect of his daily five-alarm ego, would have undone my once-Calvinist mind. Vanity's pomp might make high mass seem higher or litter catwalks with glitter, but the lime in that light vexed me no end.
My perspective changed in 1988, the year a fairly dull former vice president named George Bush took over the White House, and my mother, not far away, lay dying in a tidy bed of a tidy ward in a well-established Washington, D.C. hospital.
She'd been stricken suddenly in Rome, and 11 months later ran out of time. Her own decay amazed her and the misery seemed to her so entirely unfair.
The afternoon of her death began with a sudden downturn that kindled medical commotion around her otherwise quiet single room. Vanity's first move, in fairness, belonged to her attention-hungry illness.
Her doctor was summoned urgently, nurses exchanging coded omens in the interim.
My mother heard none of this. She instead woke later from a cold stupor and commanded me to come to her side. I told her that her doctor was on the way.
"No!" she cried. I took this first as a pre-death effort to bar the messenger. But it was nothing so heroic.
"Get me my brush," she ordered. "I will not let that man into my room in this condition. My hair is a mess. I need time to fix it."
This was not the captain of the "Titanic" denying the existence of icebergs.
No, it was vanity and decorum conspiring to keep up appearances at any cost, including lost ones.
If my mother had to capitulate, she was intent on looking her best, since she'd soon be in the presence of the doctor who early on had told her she stood little chance. Ideally, her combed hair would at the very least hush him.
The scene was both mad and absurd, a small event, one death, pitched against the backdrop of so much intense if fleeting emotion. For her, staging the architecture of her own end was part of a hopeful drama intended to make death think twice. Her rssolve was such that perhaps it did, at least for an instant. Hers was the stubborn scheming of the Christmas Day baby she was, forever dreading the idea of being overlooked in favor of an imortally holy baby. This instead was her moment, and no one could or did outperform her.
I spent 15 minutes combing her hair and buttoning various buttons and attaching several pins. Following meticulous instructions, I re-assembled a semi-comatose woman for her last performance. Twice, she had me prop her up so she could see herself in the room's tall mirror (wheeled in at her request).
This wasn't Trump-like preening, which can exude infinite vulgarity, but a wholesale tidying up tantamount, say, to making sure every last green at your country club golf greens is resplendent before the coming flood.
When the doctor, his surname was Havel, arrived, she was firmly sitting up and in charge of what was said. She demanded explanations about this and that. She issued a near-surly lament that then dissolved into a plea that he please stop the disease at once.
Dressed in a navy-blue blazer and tie, he said as little as he could. And soon he left.
No happy ending here. She died hours later, slumped and soon stone cold in my arms. The nursing staff let that scene sit for nearly an hour.
I like vanity no more now than then (Calvin still tugs at me). But I understand it better, as well as those who depend on it to fortify their identities, imagining walls — in vogue these days — against any and all challenges.
The vain see themselves as larger than life, which they may well be in some circles. Until some Dr. Havel comes knocking and even the best showing off proves meaningless.
About the Author: Christopher P. Winner
Christopher . Winner is a veteran American journalist and essayist who was born in Paris and has lived in Europe for more than 30 years.


text:
Q: Can't create indexed view against table with masked columns I am trying to create an index on a view that references a table with a masked column (SQL Server 2016). The masked column is not the only one in that table, and it's not used in the view.
create unique clustered index [IX_Name]
on dbo.vw_ViewName(SomeUniqueId)

I get this error:

The index on view 'dbo.vw_ViewName' cannot be created
  because the view is referencing table 'dbo.TableName' with masked
  columns.

In another environment, where masking is not enabled, the index is created successfully.
I looked through about four pages of Google results and haven't found any sensible description of the error. I would appreciate any knowledge transfer on the error and why it is not possible to create such index.
Here is some SQL to reproduce the issue:
drop view if exists dbo.vw_Aggregate
drop table if exists dbo.MainTable, dbo.SecondaryTable
go

create table dbo.MainTable
(
    MainTableId uniqueidentifier primary key,
    SomeExternalId uniqueidentifier,
    SecondaryTableId uniqueidentifier
)
go

create table dbo.SecondaryTable
(
    SecondaryTableId uniqueidentifier primary key,
    CreatedOn datetime,
    Amount decimal(19, 8),
    -- the below column produces error,
    -- if commented out - there is no error
    [Description] nvarchar(max) masked with (function = 'default()'),
    Dummy int
)
go

create view dbo.vw_Aggregate with schemabinding
as
    select AggregateId = m.MainTableId,
           m.SomeExternalId,
           s.CreatedOn,
           s.Amount
    from dbo.MainTable m
    inner join dbo.SecondaryTable s on s.SecondaryTableId = m.SecondaryTableId
go

create unique clustered index [IX_dbo.vw_Aggregate(AggregateId)]
on dbo.vw_Aggregate(AggregateId)
go

A: As far as I know, this is not supported, and you can only use tables in this case.
As found in following article which is using Row level security which is not the same as Dynamic Data masking, but it might be linked to each other.
https://www.mssqltips.com/sqlservertip/4005/sql-server-2016-row-level-security-limitations-performance-and-troubleshooting/ by Aaron Bertrand:
Indexed Views
Row-Level Security is not compatible with tables that have indexed views. If you try to create an indexed view against a table with a security policy, you will get the following error:

Msg 33266, Level 16 The index on the view 'view' cannot be created
  because the view is  referencing table 'table' that is referenced by a
  security policy.

And no, you can't chicken-and-egg this to work around it; if a table is referenced by an indexed view, a security policy cannot be applied:

Msg 33265, Level 16 The security policy 'policy' cannot have a
  predicate on table 'table' because this table is referenced by the
  indexed view 'view'.

Note: You may come across the same types of problems if trying to apply a security policy to a table that is reference by a partitioned view.
As Dynamic Data Masking & Row Level Security were released in the same release maybe the limitations are linked to each other.
The Error
The error also clearly says that it is not allowed to have an index on a view linked to a table with a masked column. In the documentation however nothing can be found about it.
So my guess is that it is just not supported.

A: While the docs are light on this, I suspect Stijn is right, that the limitations on Dynamic Data Masking are the same as Row-Level Security (and probably Always Encrypted, too). Sounds like they were applied like a blanket, and I'd have to think more on why certain combinations of features are not supported.
In the meantime, a couple of potential workarounds:

*

*Force read access by <whoever can't read the unmasked data> of the table (or at least that column) through a view, separate from the indexed view. The view can handle the masking, but you'll have to implement this instead of relying on the built-in feature.

*Create a computed column that handles the masking (again, you'll have to implement this part), and deny read access to the source column, again by <whoever can't read the unmasked data>.
I haven't tried these, but on the surface, they sound simpler than making copies of your data (just to mask them) and then maintaining those...

redpajama_set_name: RedPajamaStackExchange


text:
Q: Phrase to state that every process has its advantages and disadvantages I am trying to explain how everything has its own advantages and disadvantages whilst not being insensitive as I am referring to the advantages and disadvantages of recruiting foreigners within a company.
I was thinking of using "every rose has its thorn" but I'm afraid that it may come off the wrong way.
Please note that this phrase will be a subtitle, introducing a section which goes into much more detail about the merits and drawbacks of recruiting foreigners. Therefore I am not looking to be overly specific in this subtitle.

A: You do not need to use a proverb in this situation.  It would be far better to speak clearly and directly:

There are advantages and disadvantages to hiring overseas workers.

Using proverbs only hides what you want to say. It makes it harder for people to understand you.  If you must you a proverb then you need to put it into context:

While here are many advantages to sourcing our workforce overseas, 'every rose has its thorn' and we should not be blind to the disadvantages...

You have mentioned in a comment that "this shall be a subtitle".  As a subtitle can't give sufficient context, don't use a proverb.

A: I would definitely not recommend using "Every rose has it's thorn", especially if you're talking about people. This phrase is usually used to say

Even happy moments in life can be bittersweet.

A similar phrase (although a bit more optimistic) is

Every cloud has a silver lining.

Instead, I would say something like:

Each person has their pros and cons.

Or maybe instead of person say candidate, depending on what your considering these people for. "Pros and Cons" is almost the exact same thing as "Advantages and Disadvantages", but it sounds a bit more idiomatic.

A: Everyone has their pros and cons.


text:
November 14, 2016 by roxymusicsongs	Leave a comment
When Roxy Music recorded their first album during 14th -29th March 1972, London and much of the world's radio-listening public was in the grip of a Rock n' Roll revival. The Beatles and pop/rock had kicked be-bop and jazz off the world's charts during the mid-sixties, and as beards grew longer and more unruly there was a contrarian interest in dressing up and looking smart (a trend that Roxy/Bowie/Glam capitalized on). Nowhere was the signifier of fashion more clearly felt than in the drapes n' duds of what was to become known as the Teddy Boy style, a play on the "Edwardian" style enjoyed years before by the wealthy young men of the Brit establishment. The younger generations of the 50s adopted the Edwardian long jackets, but added the striking tapered trousers and fancy waist coats. By the early 70s a Rock n' Roll revival was in full swing and the Teds kept upping the ante by wearing more outlandish versions of the old idea, culminating perhaps with the addition of the most extreme shoes anyone could ever be expected to wear outside of a fancy dress ball.
A month or so after Roxy released their first album in June 1972, The London Rock and Roll Show was held at Wembley Stadium on August 5. Bo Diddley, Jerry Lee Lewis, Little Richard, Bill Haley and His Comets, Chuck Berry, and others were flown in to perform an exelerating show in front of the Greasers, Teds and future punks of Londo n. (Malcolm McLaren is shown in the concert film selling t-shirts and 'Let it Rock' gear five years before his own fifteen minutes of fame). Excellent performances are given, particularly by Jerry Lee and Chuck Berry, with Jerry hammering his piano keys with drop kicks and heel jabs. Watching the film gives the viewer a keen sense of London's grit and style in the early 70's, and reminds us of the impact Glam must have had on the collective psyche: stealing the best moves from its Rock n' Roll masters, Glam (just rock n' roll with lipstick! said John Lennon) was colourful, exciting, danceable and great back-drop for drinking, fighting and sex. (One supposes).
For Roxy, recording the rock n' roll pastiche Would You Believe? and including it on the first album was just another one of their "12 different possibilities" of musical adventure. Unfortunately, doo-wop as a form is slight and repetitive and can be bit tedious after a few listens, and this track is no exception. Bryan Ferry himself did not find the rock n' roll or vaudville styles the band were offering had much sticking power beyond the flash modernism of the first album: "What we'll probably do is start making the changes fewer, because some people in the audience can't really take sudden changes every 30 seconds or so. I quite like confusing people, but there are limits I suppose."(Sounds, July 1, 1972).
Shackled by the form, the lyrics in Would You Believe? were intentionally written tongue-in-cheek, the rhyming scheme the poetic outcome of twelve year old girls in love:
Would you believe in what I do
When the things that I make are all for you?
Oh honey say you do
And in a while I'll come to you
Showing showing why
What I think will all come true
And so on. Ferry is on the joke, of course, but it is clear why he and his listeners opted for the lyrical and musical possibilities of the more interesting album cuts (Ladytron/If There is Something/Chance Meeting) to go on their journey further into the seventies. Would You Believe? was scrapped as a live staple, not performed by the band after early 1973.
Pics: Little Richard at Wembley Stadium, The London Rock and Roll Show, August 1972; a Teddy Boy creeper shoe, courtesy EBay; film poster London and Rock and Roll Show; Andy Mackay, geezer style, cover of Best magazine, issue #65.
Live Peace in Toronto, Plastic Ono Band. A few years before the London Rock and Roll Show, a hastily assembled Plastic Ono band (John Lennon, Eric Clapton, Klaus Voorman, Yoko Ono, and Alan White) played at the Toronto Rock and Roll Revival in September 1969. 50s standards were played (nervous, drug-fuelled and scrappy), and the subsequent live album sold well, ensuring the street cred of the rock n' roll revival into the early 70s.
Never Mind the Bollocks: Malcolm McLaren poses outside his shop on the King's Road early 70s; by chance, London and Rock and Roll Show film still captures Malcolm and Vivienne Westwood selling Let it Rock gear at the Wembley Show August 1972; five years later Mr. J Rotten (John Lydon) proves that good duds never go out of style.
Categories: Roxy Music | Permalink.
For Your Pleasure (16)
Roxy Music (11)
These Foolish Things (5)
Singles (stand-alone) (6)
Pyjamarama (1)
Virginia Plain (5)
Baby I Don't Care
Piece of My Heart
Don't Ever Change
River of Salt
A Hard Rain's a-Gonna Fall


Hi, Silvia! When you arrive at your hotel, you can head right to the check in desk and check in. If your room is available, they will happily give you the keys to your room, even if it is not officially check in time.
In the event that your room is not ready, there are public restrooms available where you can get freshened up and changed. You can just ask to be directed to them when you arrive.


text:
Rouse: Symphony No. 5, Supplica & Concerto for Orchestra
Nashville Symphony, Giancarlo Guerrero
One of Rouse's first musical loves was Beethoven, and he turns to the German's iconic Fifth Symphony in a homage that radiates joy in invention…Not just Beethoven, but Nielsen and Copland are... — BBC Music Magazine, September 2020, 5 out of 5 stars (Performance) / 5 out of 5 stars (Recording) More…
Release Date: 24th Jul 2020
Critics' Choice 2020
63rd Awards (2021)
Nominee - Best Classical Composition
Winner - Best Contemporary Classical Composition
Shortlisted - Contemporary
This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.
FLAC(CD quality, 44.1 kHz, 16 bit)$8.50
Rouse, C: Symphony No. 5
Work length30:06
Album only
Nashville Symphony
Giancarlo Guerrero
Rouse, C: Supplica
Rouse, C: Concerto for Orchestra
Few contemporary artists have been as significant as Pulitzer Prize and GRAMMY Award winner Christopher Rouse, whose imaginative approach made him one of the most frequently performed composers during his lifetime. The Concerto for Orchestra is a 'hyper-concerto' that gives each player a chance to shine, while the mournful intimacy and passion of Supplica unfolds somewhat like the slow movement of a Bruckner or Mahler symphony. Rouse's Fifth Symphony fondly recalls Beethoven's mighty Fifth but blurs the lines between tradition and modernity, transporting the listener from turbulence to serenity. It was described as "brilliant, exciting and at times hauntingly beautiful" in The Dallas Morning News.
One of Rouse's first musical loves was Beethoven, and he turns to the German's iconic Fifth Symphony in a homage that radiates joy in invention…Not just Beethoven, but Nielsen and Copland are discernible among other forebears whose presence underpins Rouse's ability to straddle tonality and dissonance with heartfelt expressiveness yet showman flair. It's a distinctive mix – and renders his neglect in the UK a mystery.
5 out of 5 stars (Performance) / 5 out of 5 stars (Recording)
[The Fifth is] a finely proportioned and readily communicative work, such as makes an ideal point of entry into Rouse's symphonies, and one which is appropriately complemented by the Concerto for Orchestra..the Nashville Symphony rises admirably to these pieces' not inconsiderable challenges. Sound has no lack of clarity or definition.
Rouse, Christopher (1949–2019)


text:
Q: Proving by contrapositive: x and y are integers, and xy is even, then x is even or y is even I need to prove the following by contrapositive:
"$x$ and $y$ are integers, and $xy$ is even, then $x$ is even or $y$ is even"
I'm sure this question isn't very hard to solve, however my understanding of contraposition is very weak. I have only learned it recently and I do not feel like I am totally grasping the concept.
From my understanding I am almost trying to prove this by saying the opposite statement. But I feel like this is oversimplifying it.
I know that based on previous proofs an even number is in a form like $z = 2a$ an odd is the same as the even except plus 1: $x = 2a + 1$. Based on knowing this I assume I am able to use contraposition. But where do I start to use this?

A: What your are starting with is
Let $x, y$ be integers.
($xy$ is even) $\implies (x$ is even or y is even)
The contrapositive is then $\lnot(x$ is even or $y$ is even)$\implies \lnot(xy$ is even).
This means we want to prove that if $x$ is odd AND $y$ is odd, then $xy$ is odd.
Start in the standard way: Let $x = 2a +1$ and let $y = 2b +1$ where $a, b \in \mathbb Z$.
Then calculate $xy$, and represent the product as an odd integer.

A: To prove this, you must rewrite the statement as:
If $x$ is odd AND $y$ is odd, then xy is odd.
You can do this by letting $x = 2a + 1$ and $y = 2b + 1$, for all integers, $a,b$.
Then, try multiplying them and see what you can say about $xy$

A: There is a very important different between the converse of a statement and the contrapositive of a statement. If you have a statement $S$ that says "if $A$, then $B$" the converse/opposite of $S$ would be "if not $A$, then not $B$". As a general rule, $S$ and the converse of $S$ are not logically equivalent. The exception is that $A$ and $B$ are logically equivalent. You'll encounter this periodically in math and proofs of this nature are commonly called "if and only if" proofs. Anyway, what is equivalent to $S$ is the contrapositive of $S$. The contrapositive of $S$ is "if not $B$, then not $A$". Using logic notation, the following two statements are identical.

$$(A \implies B) \equiv (\neg B \implies \neg A)$$

In the context of what you need to prove, it might help to rephrase the sentence slightly. We can say "Let $x,y$ be integers. If $xy$ is even, then $x$ is even or $y$ is even". Pattern matching that to what is above, then $A \equiv $ "$xy$ is even" and $B \equiv $ " $x$ is even or $y$ is even." Hence the contrapositive would be:

If $\neg(x$ is even or $y$ is even$)$ then $\neg (xy$ is even$)$
$\equiv$ If $x$ is not even and $y$ is not even, then $xy$ is not even.
$\equiv$ If $x$ is odd and $y$ is odd then $xy$ is odd.

At this point you can proceed as you correctly guessed, letting $x = 2a+1$ and $y = 2b+1$ for some $a,b \in \Bbb{Z}$. You'll find that $xy = 2c+1$ for some $c \in \Bbb{Z}$.