Early life and education.

Raised in a Jewish family, Rales is one of four sons of Ruth (née Abramson) and Norman Rales. His father was raised in an orphanage, the Hebrew Orphan Asylum in New York City, and became a businessman, who sold his building supply company in Washington, D.C. to his employees in what was the first employee stock ownership plan (ESOP) transaction in the U.S. His father was also a philanthropist, founding the Norman and Ruth Rales Foundation and the Ruth Rales Jewish Family Service. Steven has three brothers: Joshua, Mitchell, and Stewart.  Rales graduated in 1969 from Walt Whitman High School, in Bethesda, Maryland. In 1973, he graduated from DePauw University, where he was in the Beta Theta Pi fraternity. In 1978, he was awarded a J.D. from the American University.

Investments.

In 1979, he left his father's real estate firm to found Equity Group Holdings, with his brother Mitchell Rales. Using junk bonds, they bought a diversified line of businesses: first Mastershield, a vinyl siding manufacturer, then Mohawk Rubber Company, then Diversified Mortgage Group. They changed the name to Diversified Mortgage Investors, in 1978, and then Danaher, in 1984.  In 1985, they bought Easco Corporation, the then-largest independent aluminum extrusion manufacturer, and hand tool manufacturer which produced the Craftsman brand of sockets and wrenches for Sears.  In 1988, they made a hostile takeover bid for Interco, a conglomerate comprising manufacturers as diverse as Converse shoes and Ethan Allen furniture. When the company responded with a poison pill, they sued, and prevailed in court. They later ended the bid after five months with a profit of $60 million.  In the 1980s, the AM side of WGMS was sold off to Washington, D.C., venture capitalists Steven and Mitchell Rales, who converted the music station into the first frequency for WTEM, a sports-talk station, in 1992.  He has served as Chairman of the Board of Danaher since January, 1984.  In 1995 Steven and Mitchell Rales founded Colfax Corporation, a Richmond, Virginia industrial pumps manufacturer. In May 2008, Steven engineered the initial public offering of the company.

Indian Paintbrush.

Rales owns the production company Indian Paintbrush, which has funded "The Darjeeling Limited" (2007), and "Fantastic Mr. Fox" (2009).  The company was also involved in "Jeff, Who Lives at Home" (2011), "Moonrise Kingdom" (2012), "Seeking a Friend for the End of the World" (2012), "Labor Day" (2013), "The Grand Budapest Hotel" (2014), "Me and Earl and the Dying Girl" (2015), and "Isle of Dogs" (2018).  Indian Paintbrush has a long term deal with Fox Searchlight Pictures.

Philanthropy.

He has been a major supporter of the Washington Ballet. In 2002, he was a major donor in the dedication of the Peeler Art Center at DePauw University. He was a donor to GolfRocks.

Personal life.

In 1983, he married Christine Plank, a 1974 DePauw University alumna. They have three children, Alexander, Gregory, and Stephanie. They divorced in 2003. In 2012, he married Lalage Damerell.

Steven M. Rales (born March 31, 1951) is an American businessman, film producer and chairman of Danaher Corporation. In 2018 Forbes listed him as the 88th richest person in America, with a net worth of $6.2 billion.

Steven Rales (* 1951 in Pittsburgh) ist ein US-amerikanischer Unternehmer. Er ist Chairman of the Board der Danaher Corporation und laut Forbes Magazine mit einem Vermögen von 3,5 Milliarden US-Dollar die 149. reichste Person in den Vereinigten Staaten (Stand: 2016).


Folklore.

The hulder is one of several "rå" (keeper, warden), including the aquatic "sjörå" or "havsfru", later identified with a mermaid, and the "bergsrå" in caves and mines who made life tough for the poor miners.  More information can be found in the collected Norwegian folktales of Peter Christen Asbjørnsen and Jørgen Moe.

Relations with humans.

The hulders were held to be kind to charcoal burners, watching their charcoal kilns while they rested. Knowing that she would wake them if there were any problems, they were able to sleep, and in exchange they left provisions for her in a special place. A tale from Närke illustrates further how kind a hulder could be, especially if treated with respect (Hellström 1985:15).

Origins.

Associated with Christianity, a tale recounts how a woman had washed only half of her children when God came to her cottage; ashamed of the dirty ones, she hid them. God decreed that those she had hidden from him would be hidden from humanity; they became the hulders.  Possibly descendants of Lilith, the first archetype of the rebellious woman.

Toponyms.

A multitude of places in Scandinavia are named after the Hulders, often places by legend associated with the presence of the "hidden folk". Here are some examples showing the wide distribution of Hulder-related toponyms between the northern and southern reaches of Scandinavia, and the terms usage in different language groups' toponyms.

Parallels.

The hulder may be connected with the German "holda".

A hulder (or huldra) is a seductive forest creature found in Scandinavian folklore. Her name derives from a root meaning "covered" or "secret". In Norwegian folklore, she is known as huldra ("the [archetypal] hulder", though folklore presupposes that there is an entire Hulder race and not just a single individual). She is known as the skogsrå "forest spirit" or Tallemaja "pine tree Mary" in Swedish folklore, and ulda in Sámi folklore. Her name suggests that she is originally the same being as the völva divine figure Huld and the German Holda.

Die Huldra (auch Hulder) ist ein Naturgeist der skandinavischen Folklore. Meist eine wunderschöne Waldfee mit langen blonden Haaren, betört sie Männer mit ihrem Gesang und bringt sie vom Weg ab. Dabei versteckt sie ihren Schweif, der je nach Region dem einer Kuh oder eines Fuchses ähnelt.


History.

Sir Randolph Crewe, Civil War and the Restoration.

Crewe was the seat of the de Crewe (or de Criwa) family in the 12th and 13th centuries; they built a timber-framed manor house there in around 1170. The manor passed to the de Praers family of Barthomley in 1319 by the marriage of Johanna de Crewe to Richard de Praers. Later in the 14th century it passed to the Fouleshurst (or Foulehurst) family, who held the manor jointly with that of Barthomley until around 1575, when the estate was dispersed. Legal problems resulted in the lands being acquired by Sir Christopher Hatton, from whose heirs Sir Randolph Crewe (1559–1646) purchased an extensive estate including the manors of Crewe, Barthomley and Haslington in 1608 for over £6,000 (£ today).  Born in nearby Nantwich, reputedly the son of a tanner, Sir Randolph (or Ranulph) had risen through the legal profession to become a judge, member of parliament and the parliamentary Speaker. His fortune derived from his successful practice in chancery and other London courts. He briefly served as Lord Chief Justice in 1625–26, but was dismissed by Charles I for his refusal to endorse a forced loan without the consent of parliament. He divided his enforced retirement between his London house and the Crewe estate. In 1615, he commenced building a substantial hall at Crewe, either adjacent to the old house, which was by then in disrepair, or after demolishing it. He later wrote that "it hath pleased God of his abundant goodness to reduce the house and Mannor of the name to the name againe." A few years after the hall's completion in 1636, Civil War broke out. Like most of the legal families of Cheshire, the Crewe family was parliamentarian, and the hall was used as a garrison. In December 1643, royalist forces under the command of Lord Byron occupied the area as they surrounded Nantwich, a major parliamentarian stronghold early in the First Civil War which lay some to the south west. A contemporary diarist, Edward Burghall, vicar of nearby Acton, described the subsequent action: "The royalists laid siege to Crewe Hall, where they within the house slew sixty, and wounded many, on St. John's Day; but wanting victuals and ammunition, they were forced to yield it up the next day, and themselves, a hundred and thirty-six, became prisoners, stout and valiant soldiers, having quarter for life granted them." On 4 February 1644, shortly after the decisive parliamentarian victory at the Battle of Nantwich, the hall was retaken by Sir Thomas Fairfax's forces.  Sir Randolph Crewe died a couple of years later, before the end of the First Civil War. His male line died out in 1684, and the hall passed to the Offley family by the marriage of Sir Randolph's great-granddaughter, Anne Crewe, to John Offley of Madeley Old Manor, Staffordshire. Their eldest son, also John (1681–1749), took the name Crewe in 1708. The Offley–Crewe family was very wealthy at this time: John Offley Crewe's income at his death was estimated at £15,000 per year (£ today). Both John Offley Crewe and his son John Crewe (1709–1752) served as members of parliament for Cheshire.

Barons Crewe and Marquess of Crewe.

Anne Crewe's great-grandson, John Crewe (1742–1829), was created the first Baron Crewe in 1806. A prominent Whig politician, he was a lifelong friend and supporter of Charles James Fox; his wife Frances Crewe (née Greville; 1748–1818) was a famous beauty and political hostess who gave lavish entertainments at the hall. The Crewes' social circle included many of the major figures of the day, and visitors to the hall during this period included politicians Fox and George Canning, philosopher Edmund Burke, playwright Richard Brinsley Sheridan, poet William Spencer, musicologist Charles Burney, and artists Sir Joshua Reynolds and Sir Thomas Lawrence. John Crewe had the park landscaped and the hall extended, and also had the interior remodelled in the neo-Classical style then fashionable. Some forty years later, his grandson Hungerford Crewe (1812–94) went to considerable expense to have the interiors redecorated in a more sympathetic Jacobethan style.  The house was insured in 1857 for £10,000 (£ today); the contents at that time included books and wines (insured for £2,250), mathematical and musical instruments (£250), and pictures (£1,000). The art collection included several family portraits and other works by Sir Joshua Reynolds, which were saved from the fire that gutted the building early in January 1866. Extensive restoration work for Hungerford Crewe was completed in 1870. Hungerford Crewe never married and on his death in 1894, the barony became extinct. The hall was inherited by his nephew, Robert Milnes, Baron Houghton (1858–1945), the son of Annabella Hungerford Crewe; he adopted the name Crewe, to become Crewe-Milnes. The Crewe title was revived as an earldom for him in 1895, and he later became the Marquess of Crewe. A Liberal politician and poet, Crewe-Milnes held several key Cabinet positions between 1905 and 1916, and was a trusted aide to Asquith. He was also a friend of George V, and the King and Queen Mary stayed at the hall for three days in 1913, while touring the Staffordshire Potteries.  The Crewe-Milnes family left Crewe Hall in 1922, and the house stood empty until the Second World War. Crewe-Milnes offered the hall to Cheshire County Council as a gift in 1931, ostensibly because his heirs did not wish to live in the house. After the council's refusal, the majority of the estate was sold to the Duchy of Lancaster in 1936. His grandson, writer Quentin Crewe, described Crewe-Milnes as "both extravagant and poorly advised".

Calmic, Wellcome and hotel.

Early in the Second World War, Crewe Hall was used as a military training camp, repatriation camp for Dunkirk troops and a US army camp, becoming the gun operations headquarters for the north-west region in 1942. It housed a prisoner-of-war camp for German officers from 1943. The hall was leased as offices in 1946, becoming the headquarters of Calmic Limited, who eventually employed nearly 800 people at Crewe Hall. Calmic produced hygiene and medical products on the site including tablets, creams, analgesics and antibiotic aerosols; they constructed industrial facilities adjacent to the hall including a drying and filtration plant and pharmaceutical packaging unit. After Wellcome's acquisition of Calmic in 1965, the hall served as the UK and Ireland headquarters of the Wellcome Foundation until the merger with Glaxo in 1995. Wellcome produced liquids, tablets, creams and antibiotic aerosols at the site; the hall itself was used for administration, but the stables block was rebuilt internally for use as laboratories and the industrial facilities were expanded.  In 1994, the Duchy of Lancaster sold the Crewe Hall buildings and the adjacent industrial site, which became Crewe Hall Enterprise Park. The Crewe Hall buildings remained empty after Wellcome moved out and were sold to a hotel developer in 1998; the hall became a 26-bedroom hotel the following year. Several additional buildings in a modern style were constructed in the 21st century to extend the accommodation.

Architectural history.

The Jacobean hall was built for Sir Randolph Crewe between 1615 and 1636. The architect of the original building is unknown, although some historians have concluded that its design was based on drawings by Inigo Jones. Although of a relatively conservative design, similar to that of Longleat from half a century earlier, the hall seems to have been considered progressive in provincial Cheshire. The historian Thomas Fuller wrote in 1662:  Hearth-tax assessments of 1674 show the original hall to have been one of the largest houses in Cheshire, its 42 hearths being surpassed only by Cholmondeley House and Rocksavage, neither of which have survived. As depicted in a painting of around 1710, the original building was square with sides of around, and featured gabled projecting bays and groups of octagonal chimney stacks. Built around a central open courtyard, the interior had a great hall and long gallery; the main entrance led to a screens passage and the main staircase was in a small east hall. Externally, there was a walled forecourt and formal walled gardens; a range of separate service buildings was located to the west.

Georgian and Jacobethan alterations.

The house remained unaltered for much of the 18th century, in contrast to most of the other principal seats in the county. It was described in 1769 as "a square of very old date... more to be admired now for its antiquity than elegance or conveniency." Work was carried out during the 1780s and '90s for John Crewe (later the first Baron Crewe). A service wing to the west in a Jacobean revival style was added to the hall in 1780. The principal interiors of the old building were redecorated in neo-Classical style at this time, although the original layout with great hall, long gallery and drawing room was retained. Improvements were made to the wine cellars and bedrooms in 1783, and J. Cheney was employed to build a new attic staircase and seven bedrooms in 1796. Edmund Burke wrote in 1788, "I am vastly pleased with this place. We build no such houses in our time." The second Lord Palmerston, visiting in the same year, wrote: The house was altered again in 1837–42 by Edward Blore for Hungerford Crewe. Blore replaced a local architect, George Latham, who had been commissioned in 1836. Many of Blore's working drawings survive in the Royal Institute of British Architects archive. He carried out decorative work to the interior in the Jacobethan style and made major changes to the plan of the ground floor, which included replacing the screens passage with an entrance hall and covering the central courtyard to create a single-storey central hall. He also fitted plate glass windows throughout and installed a warm-air heating system. The total cost, including his work on estate buildings, was £30,000 (£ today).

E. M. Barry restoration.

Most of Blore's work to the main hall was destroyed in the fire of 1866. Hungerford Crewe is said to have asked Blore, then retired, to restore the building, but he declined. The restoration work was instead carried out by E. M. Barry, son of Sir Charles Barry, the architect of the Palace of Westminster, and the contractors Cubitt & Co.; it was completed in 1870, at a cost of £150,000 (£ today). In a lecture to the Royal Academy, Barry later outlined his strategy for the restoration:  Nikolaus Pevsner describes Barry's reconstruction as "an extremely sumptuous job." Peter de Figueiredo and Julian Treuherz consider it his finest work, attributing his success to being "directed by the powerful character of the existing building." Barry's work is considered to be, in general, more elaborate and more regular than the original. For the restoration of the interior, he employed several of the leading artists and craftsmen of the time, who had previously worked on the Palace of Westminster. Barry's principal innovation was the addition of a tower to the west wing, which was required for water storage. Intended to unite the east and west wings of the hall, the effect is limited by the tower's Victorian design. He also reorganised the plan of the building, opening up Blore's central hall to create a two-storey atrium, as well as providing more ground-floor service rooms and generating twenty extra servants' bedrooms in an attic by modifying the roof.  Local architect Thomas Bower performed some alterations to the house for Robert Crewe-Milnes in 1896, including extending the service wing. Few changes to the hall itself occurred during Calmic's tenancy. The company installed central heating in around 1948, and later constructed an office extension on the north side of the house, which was demolished a few years after the building's conversion into an hotel. Calmic had undertaken only cosmetic maintenance work, and by the 1970s the fabric of the building was in poor repair. A major stonework fall from the north gable during high winds in 1974 led Wellcome to carry out an extensive restoration programme to both the interior and the exterior, which was completed in 1979 at a cost of £500,000 (£ today).

Main hall.

Crewe Hall is a grade-I-listed mansion located at in the civil parish of Crewe Green, 1⁄2 mile (1 km) from the edge of Crewe. The architecture historian Nikolaus Pevsner considered the main hall to be one of the two finest Jacobean houses in Cheshire, the other being Dorfold Hall at Acton. Constructed in red brick with stone dressings and a lead and slate roof, the hall has two storeys with attics and basements. The eastern half of the present building largely represents the original Jacobean hall. The exterior survived the fire of 1866 and the majority of the diapered brickwork is original, although some of the stonework of the porch and the tops of the gables was renewed by E. M. Barry.  The south (front) face of the eastern wing has seven bays, with a balustraded parapet at eaves level. The central bay is set forward to form a stone centrepiece around the arched main entrance, which is flanked by fluted Ionic columns. Immediately above the entrance are doubled tapering pilasters flanking a three-light window, all surmounted by a large cartouche decorated with strapwork. On the first floor of the central bay is a triple-mullion window, and above the parapet is a coat of arms. Flanking the centrepiece are two bays with diapered brickwork and single-mullion windows. The two ends of the south face are also set forward; they have canted, triple-mullion bay windows and are surmounted above the parapet by shaped gables with attic windows. All the main windows of this face are double transomed. The east face of the eastern wing has four bays with canted bay windows, shaped end gables and a central cartouche. In the centre of the northern (garden) face is a large bow window, originally Jacobean, which illuminates the chapel; it has stone panels decorated with cartouches below arched stained glass lights. This face otherwise reverses the main façade, with the addition of mezzanine windows.  The western half of the building is stepped forward (southwards) by two bays from the original building. Originally the service wing, it is plainer than the eastern building and dates from the Georgian era. Though using Georgian proportions, it was built in an early Jacobean revival style which has been heightened by subsequent alterations, particularly the addition of a central gable. The main part of the south (front) face has seven bays, with a balustraded parapet running along the entire façade at eaves level. In the centre of the five east bays is a canted bay window beneath a shaped gable; the flanking bays have single-mullion, double-transomed windows. The two west bays are set backwards and have a central oriel window on the first floor with two single-mullion, double-transomed windows on the ground floor.  The western wing is dominated by a square tower of stone-dressed brick which rises two storeys above the roof and is capped by an ogee spirelet surrounded by four corner chimneys. Designed by Barry in the High Victorian style, it was added after the fire. A slender bell tower also rises from the west wing. At the rear is a loggia with a vaulted ceiling supported by Tuscan columns. The western end of this wing is a single-storey extension by Thomas Bower dating from 1896.

Interior.

The interior of Crewe Hall contains a mixture of original Jacobean work, faithful reproductions of the original Jacobean designs (which in some cases had been recorded), and work in the High Victorian style designed by Barry. The entrance hall in the east wing was remodelled by both Edward Blore and Barry. It is panelled in oak and contains a marble chimneypiece with Tuscan columns featuring the Crewe arms. It opens via a columned screen into the central hall, which was an open courtyard in the Jacobean house. Roofed by Blore at the first-floor level, Barry converted the space into an atrium featuring cloisters around the walls, with a wooden gallery over them at the mezzanine level and a tunnel-vaulted first-floor gallery above. The floor is paved with a pattern of coloured marbles and the first-floor gallery corridors have stained glass panels. The atrium has a hammerbeam roof supported by columns at the gallery level. To the east of the central hall is an accurate reconstruction by Barry of the original staircase, which Nikolaus Pevsner described as "one of the most ingeniously planned and ornately executed in the whole of Jacobean England." Heavily carved, the newels feature heraldic animals, which were originally gilded and painted.  To the east of the entrance lies the dining room, which was formerly the Jacobean great hall. The room least damaged by the fire, it was restored by Barry to its 17th-century appearance, with facsimiles of the original ceiling and carved wooden screen. It contains an overmantel featuring a relief of Plenty, considered to be original, and a large stone chimneypiece, which is believed to be the only surviving work by Blore on the interior. The oak parlour, in the south west, contains a large wooden Jacobean overmantel, featuring Green Men carving. The Jacobean carving here and in the dining room is noticeably cruder than the Victorian work. The carved parlour is another reproduction by Barry of the original. Panelled in oak, it has a plaster frieze of the Elements, Graces and Virtues. The alabaster chimneypiece depicts the winged figure of Time rewarding Industry and punishing Sloth, symbolised by two boys, which is surmounted by a carved portrait of Sir Randolph Crewe.  A small chapel lies to the north of the central hall. Originally rather austere, it was lavishly decorated by Barry in the High Victorian style. There is much elaborate wood carving, with the altar rail featuring angels and the benches poppyheads. The marble apse has alabaster carved heads of the prophets and evangelists by J. Birnie Philip, and the wall panelling features bronze medallions depicting biblical characters by the same artist. The ornate choir gallery, reached from the central hall's mezzanine gallery, contains the family pew. The stained glass and wall murals are by Clayton and Bell, and the painting and stencilling are by J. G. Crace. The suite of state rooms on the first floor of the east wing contains the long gallery, library, drawing room (great chamber), small drawing room and two bedrooms. All date originally from the Jacobean mansion, but are likely to have been significantly altered by John Crewe and then extensively reworked by Blore in neo-Jacobean style. They were restored to Barry's designs, usually with little attempt to reproduce the Jacobean appearance, probably because records of most of the original designs were lacking. Crace performed much of the decoration work in these rooms. All the state rooms contain elaborate plasterwork and stone chimneypieces, often flanked with Corinthian columns or pilasters. The long gallery, along the north side, has a chimneypiece in coloured marbles with busts by Henry Weekes depicting Sir Randolph Crewe and Nathaniel Crew, 3rd Baron Crew, Bishop of Durham. The library, above the carved parlour, contains statuettes of book lovers by Philip and a frieze of scenes from literature by J. Mabey. The drawing room has a facsimile of the Jacobean ceiling, which had been recorded by architect William Burn. Identical in pattern to one at the Reindeer Inn in Banbury, of which the Victoria and Albert Museum has a plaster cast, it was presumably originally the work of the same craftsman. One of the state bedrooms has another survivor of the fire, a Jacobean stone fireplace with a plaster overmantel relief depicting Cain and Abel.

Stables, outbuildings and gate lodges.

The former stables, in red brick with a tiled roof, were completed around 1636 and are contemporary with the Jacobean mansion; they are listed at grade II*. They form a quadrangle immediately to the west of the hall, enclosing a rectangular courtyard. The main east face of the quadrangle stands at right angles to the front of the house; it has nine bays of two storeys and an attic. Its centrepiece, added by Edward Blore in around 1837, consists of an arched stone entrance flanked by pilasters, above which a clock tower rises from the first-floor level. The tower features twinned arrow-slit windows and clock faces with stone surrounds, and is topped by a bell chamber and ogee cupola with finials. In addition to the centrepiece, the east face has four bays which are set forward and have shaped gables topped with finials. The north and south ends of this east building also have shaped gables. The north and south sides of the quadrangle have large arched carriage openings beneath shaped gables; the keystones are carved with horse's heads. The walls within the carriageway opening are decorated with bands of blue brick. The east, north and south faces are all finished with an openwork brick parapet with a stone coping. The west building has twelve arched openings accessed from the courtyard. The main storeys of the quadrangle mainly have three-light, stone-dressed mullion windows, with two-light windows at the attic level. All the roofs have tall octagonal chimneys and feature decorative ridge tiles. The interior of the stables block was rebuilt during the building's conversion to its present use of laboratories and offices.  The Apple House, a small red-brick building to the west of the stables quadrangle, also dates from around 1636, and can be seen in a painting of Crewe Hall from around 1710. Originally a dovecote, it is used as a storehouse. Built on an octagonal plan with two storeys, it has two oval windows with stone surrounds. The lower entrance has a stone semicircular arch; a second doorway is located at first-floor height. The pyramidal tiled roof is topped by a glazed lantern with a lead cap. The building is listed at grade II. The park has two gate lodges; both are listed at grade II. The northern lodge at Slaughter Hill is by Blore and dates from 1847. In red brick with darker-brick diapering, stone dressings and a slate roof, it has a T-shaped plan with a single storey, and is Jacobean in style. It features two shaped gables, each decorated with a panel carved with Crewe Estate emblems, and a hexagonal central bay with a pyramidal roof which forms a porch. The Elizabethan-style Weston or Golden Gates Lodge to the south of the house dates from before 1865 and is attributed to William Eden Nesfield, although it is not typical of his style. In red brick with blue-brick zig–zag diapering, ashlar dressings and a slate roof, the lodge has two storeys, with a projecting canted bay to the road face. The driveway face has an ashlar panel with a shield bearing the Crewe family coat of arms.

Gardens and park.

The National Register of Historic Parks and Gardens lists of the gardens and surrounding parkland at grade II. An early engraving shows a walled forecourt to the south of the original hall, with a large stone gateway carved with Sir Randolph Crewe's arms and motto. The forecourt had terraces, balustrades and a path decorated with diamond patterns. As depicted in a painting of around 1710, the grounds were laid out in extensive formal walled pleasure gardens with parterres.  During the 18th century, the park was landscaped in a more naturalistic style for John Crewe (later the first Baron Crewe) by Lancelot Brown (before 1768), William Emes (1768–71), and Humphry Repton and John Webb (1791). Repton's design included an ornamental lake of immediately north of the house, created by damming Engelsea Brook, which still runs through the park. He also created new approaches to the house. The lake drained away in 1941 when a dam burst, and the area is now planted with poplars. A stone statue of Neptune with a reclining female, originally located on the banks of the lake, now stands in woodland; it dates from the early 19th century. A boathouse, originally at the head of the lake, was in need of restoration in 2007. A Temple of Peace formerly stood on the north shore of the lake, but was demolished some time after 1892. Much of the parkland is now covered with mixed woodland, including Rookery Wood and Temple of Peace Wood. Formal gardens were laid out around the house by W. A. Nesfield in around 1840–50 for Hungerford Crewe. Nesfield's design included statuary, gravelled walks and elaborate parterres realised using low box hedges and coloured minerals. Balustraded terraces were also constructed on the north and south sides of the hall, probably designed by E. M. Barry, and incorporating statues of lions, griffins and other heraldic beasts, echoing the interior staircase. Military usage during the Second World War, however, destroyed parts of the gardens; army buildings were erected near the house, and the area in front of the hall served as a parade ground and later was ploughed up to grow potatoes. The grounds were further neglected while the house was used as offices, and little has survived except the terraces, gates and statues. In 2009, English Heritage placed the hall on the "Heritage at Risk Register" as highly vulnerable, considering that the historic character of the gardens and park is compromised by recent developments to the hotel complex, in particular the conference centre, spa and associated parking area. The entrance gates and wall separating the gardens from the park and farmland date from 1878 and are listed at grade II. The wrought-iron gates are by Cubitt & Co., and were exhibited at the Paris Exhibition of 1878. Two outer single gates and a double inner gate are supported by four sandstone piers. The outer pair of gate piers are capped by a bud-shaped device supported on scrolls; the inner pair are surmounted by a griffin and a lion, mirroring the statuary of the hall's terraces. The lower gate sections of lyre-like panels with leaf and spearhead motifs are topped with Jacobean-style arched panels. The ornate gate overthrows include shields and emblems capped with crowns, sheaves and sickles. The inner gates bear the inscription "Quid retribuam domino" ("What can I render to the Lord?"), while the outer gates bear the date. The wall, of brick with stone dressings, features arcading and has piers surmounted with ogee caps carved to match the tiles of the main hall tower. A further feature of the gardens to survive is a grade-II-listed sundial dating from the early 19th century, which stands to the rear of the house.

Crewe estate.

History.

The original estate purchased by Sir Randolph Crewe in 1608 included the manors of Crewe, Barthomley and Haslington and cost over £6,000. Lands from the Offley estate in Staffordshire and the Done estate in Cheshire were acquired by marriage and inheritance in the late 17th and early 18th centuries, and in common with the other great Cheshire estates, the estate flourished during the 18th century. The estate of 1804 included land or property in Barthomley, Burwardsley, Crewe, Crowton, Elton, Hale, Northrode, Rushton, Sandbach, Spurstow, Tattenhall, Warmingham and Weston in Cheshire, as well as Madeley in Staffordshire and Muxton in Shropshire. The predominant land use was dairy farming, but the estate also included some arable land; tenancies ranged from crofts of 1 or 2 acres (less than a hectare) to large farms of over. The gardens, park and home farm occupied. Hungerford Crewe was the fifth greatest landowner in the county in 1871, with a total of. The majority of the Crewe estate was sold by Robert Crewe-Milnes to the Duchy of Lancaster in 1936.

Estate buildings.

Crewe Hall Farmhouse, the estate's home farm, stands on the edge of the grounds, 1⁄4 mile to the south east of the hall; it dates from around 1702 and is listed at grade II. In brown brick with a slate roof, it has two storeys and five bays to the front. Two of the adjacent farm buildings, dating from 1883–84, are also listed. As of 2009, the Duchy of Lancaster is developing outbuildings at Crewe Hall Farm, including the two listed buildings, into leasehold offices totalling.  Several estate cottages near Weston Lodge were designed by W. E. Nesfield between 1860 and 1866, and are among his earliest works. They include Stowford and Magnolia Cottages (1864–65), which Nikolaus Pevsner describes as "cheerful and just a little Kate Greenaway", Smithy Cottage (around 1865) and Fir Tree Cottage (1865), all listed at grade II, as well as a half-timbered farmhouse on Weston Road. Rather than either the Jacobean mansion or its High Victorian interiors, their style derives from buildings of the Home Counties, with tile hanging, incised pargetting, half-hipped gables and high chimneys. Pevsner credits Nesfield with introducing these features to Cheshire.

Modern hotel and Crewe estate.

As of 2019, Crewe Hall is a hotel in the QHotels group, set in of parkland, with a restaurant, brasserie, conference facilities, tennis courts and health club, including a gym, spa and swimming pool. There are 117 bedrooms, of which 25 are located in the old building. The hotel has four AA stars; the restaurant and brasserie each have two AA Rosettes. The hall is licensed for civil wedding ceremonies. The hall and park are not otherwise open to the public. The Duchy of Lancaster retains ownership of a large area of the estate, which is mainly managed as dairy farms and woodland, with some commercial development near Crewe and at Crewe Hall Farm.

Crewe Hall is a Jacobean mansion located near Crewe Green, east of Crewe, in Cheshire, England. Described by Nikolaus Pevsner as one of the two finest Jacobean houses in Cheshire, it is listed at grade I. Built in 1615–36 for Sir Randolph Crewe, it was one of the county's largest houses in the 17th century, and was said to have "brought London into Cheshire".

Crewe Hall ist ein Herrenhaus im jakobinischen Stil in der Nähe des Dorfes "Crewe Green" östlich von Crewe im englischen Cheshire. Nikolaus Pevsner beschreibt es als eines der zwei edelsten Beispiele dieses Baustils in Cheshire. English Heritage listete es als historisches Gebäude I. Grades. Es wurde in den Jahren 1615–1636 für "Sir Randolph Crewe" gebaut und war im 17. Jahrhundert eines der größten Häuser im County. Man sagte, es „brachte London nach Cheshire“.


Early life.

Charles Coffin Jewett graduated from Salem Latin School in 1831. He enrolled at Dartmouth College in Rhode Island, but then shortly thereafter he transferred to Brown University where he studied a classical course load of Greek, Latin, logic mathematics, and moral philosophy; however, Jewett showed the greatest interest in languages.  Jewett had a tremendous love for books but he was lacking personal fortune so this made him an avid library user. Unfortunately for him, Jewett found the library at Brown rather lacking with its collection of only 6000 volumes. A popular thing at the time was for special societies on campus to curate their own libraries that held books on that societies special interests. In fact, the first library experience Jewett gained was at the Hope College in the library that was curated by the Miskosmian Society. Along with classmate William Lawton Brown, Jewett cataloged the collection of this library beginning what would be a long career of library cataloging.

Career.

His first cataloging experience took place as a Brown student while helping to catalog the library of the Philermenian Literary Society. In 1837, he entered Andover Theological Seminary, where he helped catalog the Andover Theological Seminary Library. In 1841, he became the librarian of Brown University. He extensively rearranged that library, and created a catalog in two parts; an alphabetical descriptive catalog of the items in the library, and an alphabetical Index of Subjects. After its completion in 1843, he embarked on a two-year campaign of book purchasing and study in Europe.  He became Librarian and Assistant Secretary of the Smithsonian Institution in 1848, and began the task of building the Smithsonian's library by soliciting catalogs from prominent libraries and publishing a survey of U.S. libraries. He also started mechanical duplication of individual catalog entries for the re-publication of book catalogs using the technique of stereotyping. He was elected a member of the American Antiquarian Society in 1851.  Jewett was unanimously elected president at the first Librarian's Convention in 1853. Jewett left the Smithsonian after being relieved of his position due to conflicts with his supervisor and the Board of Regents over how the Institution's funds were being allocated. He went on to become Superintendent of the Boston Public Library in 1858, where he remained until his death.

National library.

Jewett had a vision for a national library, which would hold a union catalog of all the public libraries in the United States. This catalog would give scholars access to important books, point out differences in intellectual fields, and generally act as an aid to the evolution of knowledge while making the Smithsonian Institution the pre-eminent center for research. He spent the greater part of his life developing guidelines toward this end.

Views on cataloging.

Jewett was a strong advocate for alphabetical catalogs, both because of their convenience to catalogers and their user-friendliness. He believed that catalogs should be more than lists of titles, and should contain bibliographical and biographical information. Individual printed cards kept the costs of printing the catalog down. His idea of the union catalog included the use of “stereotyped plates,” which was a set of mass-produced titles that were created according to a set of strict rules. Jewett was hugely concerned with uniformity, and believed stringent rules the only way to avoid confusion, no matter how difficult it made things for users.

Death.

Charles Jewett died after suffering an attack of apoplexy while working at his desk in the Boston Public Library.  Jewett's brother was Boston book publisher John P. Jewett.

Charles Coffin Jewett (August 12, 1816 – January 9, 1868) was an American librarian, in 1848 becoming the Librarian and Assistant Secretary of the Smithsonian Institution before being appointed Superintendent of the Boston Public Library in 1858. He was born in Lebanon, Maine.

Charles Coffin Jewett (* 12. August 1816 in Lebanon; † 9. Januar 1868 in Boston) war ein US-amerikanischer Bibliothekar. Ab 1848 war er Bibliothekar der Smithsonian Institution und ab 1858 Superintendent der Boston Public Library. Jewett engagierte sich besonders für die US-amerikanischen öffentlichen Bibliotheken. Im Jahr 1852 führte er als erster das Prinzip der korporativen Verfasserschaft in die alphabetische Katalogisierung ein.


History.

In May 2009, Amazon launched AmazonEncore, the inaugural flagship general imprint. It publishes titles that have gone out-of-print or self-published books with sales potential. The first book published under this imprint was Cayla Kluver's "Legacy" in August 2009. Other early books published by AmazonEncore include "Mercury Falls" by Robert Kroese, "Shaken" by J.A. Konrath, "The Grove" by John Rector and "A Scattered Life" by Karen McQuestion.  AmazonCrossing was announced in May 2010, for translated works into English. The first translated books were the French-language novel "The King of Kahel" and the German-language novel "The Hangman's Daughter" which were released in November and December 2010, respectively.  In May 2011, Amazon launched two genre-focused imprints, Montlake Romance, and Thomas & Mercer. Montlake Romance is an imprint for the romance genre; "Romance is one of our biggest and fastest growing categories, particularly among Kindle customers," said Jeff Belle, vice president of Amazon Publishing. Thomas & Mercer is for mystery titles.  Powered by Amazon is a self-publishing platform that allows the publication of a series of books under any imprint name. For example, in May 2011, Seth Godin launched The Domino Project, an imprint created to publish a series of manifestos. It was the inaugural Powered by Amazon imprint project. Godin decided to end the imprint in November 2011, the 12 previously published titles would still be sold at Amazon, but no new books would be published. Also in May, it was announced Amazon had hired Larry Kirshbaum, former CEO of Time Warner Book Group, to head a new general-interest imprint. In October, Amazon launched a science-fiction/fantasy/horror imprint called 47 North. In December, Amazon Publishing acquired over 450 titles of Marshall Cavendish's US Children's trade books business, Marshall Cavendish Children's Books (MCCB).  In January 2012, it was revealed that Amazon Publishing's New York publishing arm, called "Amazon Publishing's East Coast Group" (run by Larry Kirshbaum), made a deal with Houghton Mifflin Harcourt to sell books under a pseudonym imprint called "New Harvest". New Harvest only included books from Amazon Publishing, and the books had a New Harvest imprint on the spine. This allowed Amazon to sell books at retailers like Barnes & Noble, which otherwise had disallowed Amazon imprints in its stores. Barnes & Noble however later announced it would not stock any Amazon imprints, including New Harvest, a move mirrored by other book stores which have also banned Amazon imprints from their stores. One of the inaugural titles published by New Harvest was "Jeff, One Lonely Guy", by Jeff Ragsdale, released on March 20, 2012.  In June 2012, Amazon purchased Avalon Books, a small 62-year-old publisher that specializes in romance and mysteries with a back-list of around 3,000 titles. The books will be published under Amazon's imprints based in Seattle. In November, it was announced that Laurence Kirshbaum's position would expand to include "editorial leadership for the Seattle and New York adult imprints, as well as Amazon Children's Publishing." In addition it was announced that Amazon would be opening a new European publishing division, which will focus on "expanding the English-language audience through its English-language bookstores in the U.K., Germany, France, Italy, and Spain." Vicky Griffith, formerly publisher of the Seattle imprints, will be the new EU publisher. In December 2012, Brilliance Audio, a division of Amazon, announced the creation of a publishing imprint called "Grand Harbor Press" which will focus on original self-help and inspirational hardcover, paperback and e-books.  In January 2013, Amazon announced two children's and young adult imprints. The first imprint is called "Two Lions", featuring picture books, chapter books, and middle-grade fiction. The second imprint is called "Skyscape", publishing fiction for young adults. In March, Amazon announced a New York-based literary fiction imprint that will publish novels, short stories and memoir. Called "Little A", it was initially overseen by senior editor Ed Park. Amazing Publishing launched its comic book and graphic novel imprint, Jet City Comics, on July 9. Jet City Comics will be adapting existing books into comics for Kindle e-reader and print.  In October 2013, Amazon Publishing announced a new weekly digital literary magazine called "Day One". The magazine focused on short fiction and poetry, including works from new authors and foreign authors in English translation. Each issue looked at one fiction writer and one poet each week, including a short story and poem with each issue. The issues were accessed through Kindle devices. Issues contained an introductory essay about a writer, author interviews, illustrations and playlists. The phrase "Day One" has often been used by Bezos in annual reports to shareholders as a way to experiment and fight complacency: "This is still Day 1."  In March, 2014, Amazon Publishing opened a German-language department based in Munich under the direction of publisher Sarah Tomashek. According to Amazon, the "European Amazon Publishing team will acquire German-language fiction for publication in Kindle and print editions available on Amazon websites."  In November, 2017, Amazon Publishing announced a new imprint Amazon Original Stories for works of fiction and non-fiction that can be read in a single sitting ranging from 5,000 to 20,000 words.  In February 2018, Amazon Publishing announced a new imprint TOPPLE Books focused on revolutionary feminist voices with Jill Soloway as the Editor-at-Large.

Weathervane.

During the 1999 Christmas season, Amazon leased the rights to a defunct imprint called Weathervane. This was Amazon's first attempt at publishing. The titles included Christmas recipe books and others without much market appeal, they were the "creatures from the black lagoon of the remainder table" according to a former employee James Marcus. The imprint soon disappeared, and according to "representatives at [Amazon] today claim never to have heard of [Weathervane]."

Publishers.

Larry Kirshbaum was the first publisher when Amazon Publishing was founded in 2009. He was based in New York City. In January 2014, Laurence Kirshbaum left the company. According to "Publishers Weekly", "Under his direction, Amazon Publishing has had a difficult time gaining traction in the marketplace and failed to deliver any major bestsellers. In addition to the lackluster performance of the group, Kirshbaum drew unwanted attention in the summer of 2013 when a lawsuit was filed against him for sexual assault."  Kirshbaum was replaced by Daphne Durham who has spent her entire career at Amazon and is based in Seattle. Durham left the company a year later to "seek time off". Mikyla Bruder became the publisher on January 16, 2015 and was responsible for most of the imprints; she is based in Seattle. In addition David Blum was named publisher and editor in chief of the Little A and Two Lions imprints; he is based in New York City.

Criticism.

In a 2014 article in "The New Yorker", George Packer writes that nearly all of Amazon Publishing's books have under-performed. For example, it purchased two high-profile books at auction including Timothy Ferriss' "The 4-Hour Chef" for 1 million dollars, which did worse than his previous titles; and "My Mother Was Nuts", a memoir by Penny Marshall, for eight-hundred thousand dollars, which only sold seventeen thousand copies. "Actors Anonymous", a novel by James Franco, has sold fewer than five thousand copies. Packer says "In the past year [2012-2013], Amazon Publishing has barely been a presence at auctions, and several editors have departed; last month [January 2014], Kirshbaum left the company, having failed at the task Amazon gave him." Reasons given for the poor performance include: bookstores which refuse to carry Amazon titles since Amazon is a direct competitor; incompetence as a publisher (as one New York publisher said about Amazon, "There are certain things it takes to be a publisher. You have to have luck, but you also have to have judgment, discernment."); and Amazon's culture of machines, algorithms and mass products which don't fit well with the publishing world's emphasis on human networking and reputation.

Amazon Publishing (simply APub) is Amazon's book publishing unit launched in 2009. It is composed of 15 imprints including AmazonEncore, AmazonCrossing, Montlake Romance, Thomas & Mercer, 47North, and TOPPLE Books.

Amazon Publishing ist ein Verlag in Seattle, der zu Amazon.com gehört und 2009 gegründet wurde. Zu "Amazon Publishing" gehören u. a. die Imprints AmazonEncore, AmazonCrossing, Montlake Romance, Thomas & Mercer, 47 North und Powered by Amazon.


History.

Homemade selfie sticks could date back as early as 1925. A photo from that year shows a man taking a photograph of himself and his wife, with the aid of a long pole which is pointed towards the camera and out of frame. Amateur box cameras of the period would not have been able to capture a self-portrait in focus when held at arm's length, requiring photographers to use remote shutter devices such as cables or sticks.  A device which has been likened to the selfie stick appears in the 1969 Czechoslovak sci-fi film "I Killed Einstein, Gentlemen". One character holds a silver stick in front of herself and another character, smiles at the end of the stick as it produces a camera flash, and immediately unfurls a printed photograph of the pair from the stick's handle.  The 1983 Minolta Disc-7 camera had a convex mirror on its front to allow the composition of self-portraits, and its packaging showed the camera mounted on a stick while used for such a purpose. A "telescopic extender" for compact handheld cameras was patented by Ueda Hiroshi and Mima Yujiro in 1983, and a Japanese selfie stick was featured in a 1995 book of "101 Un-Useless Japanese Inventions". While dismissed as a "useless invention" at the time, the selfie stick later gained global popularity in the 21st century.  Canadian inventor Wayne Fromm patented his "Quik Pod" in 2005 and becoming commercially available in the United States the following year. In 2012, Yeong-Ming Wang filed a patent for a "multi-axis omni-directional shooting extender" capable of holding a smartphone, which won a silver medal at the 2013 Concours Lepine. The term "selfie stick" did not become widely used until 2014. Extended forms of selfie sticks can hold laptop computers to take selfies from a webcam. By the fall of 2015 technology news noted that there was a large variety of selfie sticks available on the market; Molly McCugh of "Wired" magazine wrote in October 2015, "Some are very, very long; some aren't so long; some are bedazzled. Some look like hands. Some are spoons. But they are all, at the end of the day, one thing: A stick that takes selfies."  The selfie stick was listed in "Time" magazine's 25 best inventions of 2014, while the "New York Post" named the selfie stick the most controversial gift of 2014. At the end of December 2014, Bloomberg News noted that selfie sticks had ruled the 2014 holiday season as the “must-have” gift of the year. The selfie stick has been criticized for its association with the perceived narcissism and self-absorption of contemporary society, with commentators in 2015 dubbing the tool the "Narcisstick" or "Wand of Narcissus". Despite various bans, selfie sticks proved so popular that a selfie stick store was opened in Times Square during the summer of 2015. In 2016 it was reported that Coca-Cola had created a "selfie bottle" with an attached camera that takes pictures when it is tipped for drinking.

Usage.

One is able to attach their device to the end of the selfie stick and then extend it beyond the normal reach of the arm. Different models of stick are triggered in various ways, such as pressing a button on the stick handle which is connected to the device (usually using the jack plug), pressing a button on a wireless remote (often via Bluetooth), using the camera's built-in timer, or making a sound the device can detect to start recording a video or taking a picture.  The smartphone's physical means of triggering the camera, such as the sound volume controls or the touchscreen camera button of the device, are replicated on headphones with on-cord controls. When selfie sticks are plugged into the jack plug, they are seen by the device as headphones.  The selfie stick gives more practical use in situations that require assistance for taking photos/videos at difficult angles that need to be taken from an extended, elevated distance beyond the arm’s reach. It allows the user to take photos and videos in otherwise dangerous or impossible situations, such as recording footage inside a very deep hole, over a cliff, or simply at an angle that is too far away from the user.

Bans and restrictions.

Despite the selfie stick being one of the most popular items among tourists and families, bans and restrictions on its use have been imposed across a range of public venues generally on the grounds of safety and inconvenience to others.  Concert venues and some music festivals in the United States, Australia and the United Kingdom have banned the use of selfie sticks. Organisers have cited their role in the "illegal recording" of bands' sets, and the inconvenience and safety issues to fellow audience members.  Museums, galleries and historical sites such as the Palace of Versailles have banned the sticks because of concerns about possible damage to priceless artworks and other objects.  Theme parks, including Disneyland Resort, Walt Disney World Resort, Tokyo Disney Resort, Disneyland Paris, Hong Kong Disneyland, Shanghai Disneyland, Six Flags, Universal Orlando, and Universal Studios Hollywood have banned selfie sticks. The sticks have always been banned on rides at Disney World for safety reasons, but after a number of instances where rides had to be stopped because of a guest pulling out a selfie stick in mid-ride, such as incidents on California Screamin' and Big Thunder Mountain Railroad, Disney issued a park-wide ban on the accessories.  Sporting events have banned selfie sticks both for their "nuisance value" and for interfering with other spectators' enjoyment or view. The Australia Tour Down Under banned the devices citing "harm to cyclists, officials and yourself".  In 2014, South Korea's radio management agency issued regulations banning sale of unregistered selfie sticks that use Bluetooth technology to trigger the camera, as any such device sold in South Korea is considered a "telecommunications device" and must be tested by and registered with the agency. In 2015, Apple banned selfie sticks from a WWDC Developers Conference, though didn't explicitly state why.

A selfie stick is used to take photographs or video by positioning a digital camera device, typically a smartphone, beyond the normal range of the arm. This allows for shots to be taken at angles and distances that would not have been possible with the human arm by itself. The sticks are typically extensible, with a handle on one end and an adjustable clamp on the other end to hold the device in place. They are most commonly used for taking selfies with camera phones.

Ein Selfie-Stick (auch Selfie-Stange oder Selfie-Stab) ist eine zumeist teleskopierbare Stange, die als Armverlängerung für den Fotografen dient. Wesentlicher Verwendungszweck ist das Sich-selbst-Fotografieren, also das Erstellen eines sogenannten Selfies, mit einer Kamera, insbesondere einem Smartphone, das richtungsjustierbar an dem dem Handgriff gegenüberliegenden Ende montiert ist. Die Stange ermöglicht dabei mittels einer etwas entfernteren Perspektive beispielsweise Aufnahmen des Fotografen vor einem bestimmten Hintergrund oder mehrerer Personen gemeinsam.


History.

The first strategic bombing attack on Nagoya was on April 18, 1942, as part of the Doolittle Raid. A B-25 bomber targeted the Mitsubishi Aircraft Works, the Matsuhigecho oil warehouse, the Nagoya Castle military barracks, and the Nagoya war industries plant.  The second phase began with precision bombing on December 13, 1944, targeting a Mitsubishi military factory. Four bombers were badly damaged during the mission and had to be abandoned. On December 18, another bombing raid took place, although there was such heavy cloud that the bombers needed to bomb by radar. Japanese fighter aircraft intercepted the attacking bombers and shot down one. On January 3, 1945, there was a general firebombing of the city. On January 14, 1945, Mitsubishi plants were attacked again. On March 11 or 12 (sources vary) and March 19, 1945, there were large air raids and widespread firebombing. On April 7, 1945, another precision bombing attack hit and destroyed most of the Mitsubishi Aircraft Engine Works. On May 14 and 16, 1945, there were large air raids and widespread firebombing that targeted the Mitsubishi factories and other war industries, the arsenal, railroad freight yards, and the seaport. Nagoya Castle, a national treasure which was being used as a military command post, was also hit during the May 14 raid and burned down.  Also during the winter of 1944 and spring of 1945 there were random single-bomber attacks that were used as psychological warfare to disrupt the city and damage the morale of the citizens. It is estimated that 113,460 buildings were destroyed during the raids, with 3,866 people killed and 471,701 driven from their homes. On July 26, 1945 the "Enola Gay" also dropped a conventional "pumpkin bomb" in the Yagoto area of Nagoya as part of a bombing raid to train for the upcoming nuclear bombing mission to Hiroshima.  Nagoya was targeted for incendiary bombing because it was the center of the Japanese aircraft industry at the time. The city produced between forty and fifty percent of Japan's combat aircraft and engines, including the Mitsubishi A6M Zero. Nagoya housed a port capable of holding 38 ships of up to 10,000 tons and produced equipment for the war effort including railway equipment, ball bearings and processed food.

The Bombing of Nagoya in World War II by the United States Army Air Forces took place as part of the air raids on Japan during the closing months of the war.

Die Luftangriffe auf Nagoya in den letzten neun Monaten des Zweiten Weltkrieges zerstörten die japanische Stadt Nagoya zu großen Teilen. In der Zeit von Dezember 1944 bis Juli 1945 war Nagoya über 20-mal das Ziel von Bombereinheiten der "United States Army Air Forces" (USAAF). Auf keine weitere japanische Stadt, außer Tokio erfolgten mehr Luftangriffe.


History.

Development and domestic contracts.

BAT (formerly known as HBAT) was developed from equine (horse) plasma at the U.S. Army Medical Research Institute of Infectious Diseases (USAMRIID). The main funding stream was the Biomedical Advanced Research and Development Authority (within the US Department of Health and Human Services' Office of the Assistant Secretary for Preparedness and Response). It was then available for many years on an IND (investigational) basis from the US Centers for Disease Control and Prevention (CDC).  On June 1, 2006, the DHHS awarded a $363 million contract to Emergent BioSolutions, (then Cangene Corporation) for 200,000 doses of BAT over five years for delivery into the US Strategic National Stockpile (SNS). The CDC began supplying doses to the SNS in 2007 under a now $427 million contract with the DHHS, according to a Cangene press release. In 2010, the CDC replaced the licensed bivalent botulinum antitoxin AB ("BAT-AB") and the investigational monovalent botulinum antitoxin E ("BAT-E") with "BAT" when the former two products indications expired. This action left BAT as the only botulinum antitoxin available in the US for naturally occurring non-infant botulism.  On March 22, 2013, the US Food and Drug Administration (FDA) approved BAT as the first product to treat all serotypes of botulism. This was considered a significant step in the US armamentarium for emergency use against a bioterrorist attack. The CDC continues to distribute the stockpiled antitoxin.  The FDA approved BAT for marketing based on its efficacy as established in animal studies (efficacy trials in humans not being considered feasible or ethical). The safety of the antitoxin, however, was established in a study of 40 healthy volunteers as well as in the experimental treatment of 228 patients in a CDC program.  After the February 2014 acquisition of Cangene Corporation by Emergent BioSolutions, Emergent took control of Cangene's products and contracts, including BAT. In March 2017, Emergent extended its contract with the Biomedical Advanced Research and Development Authority (BARDA), adding $53 million in value throughout 2022 for the production and bulk storage of BAT. Under the conditions of the extension, future transport of BAT to the SNS was approved. BAT remains the only recognized, licensed, and distributed botulism antitoxin within the Food and Drug Administration and the Centers for Disease Control and Prevention.

Other Licensed Jurisdictions and Contracts.

In 2012, Emergent signed a 10-year contract to provide BAT to the Canadian Department of National Defense and the Public Health Agency of Canada, as well as individual provincial health officials. In December 2016, Health Canada approved Emergent's New Drug Submission for BAT under the Extraordinary Use New Drug Regulations, which provide guidelines for consideration of drugs that do not have clinical information about impacts on humans due to the nature of the conditions that the drugs are used to treat. Pleased with Canada’s decision to prepare for botulinum toxin events, one of the "more likely biological threat agents", Adam Havey, executive vice president and president of the biodefense division at Emergent BioSolutions, said, "Emergent is committed to helping allied governments fulfill their preparedness needs. We expect to expand upon our longstanding relationship with the Canadian government and develop similar relations outside of North America..."  BAT was approved by the Health Sciences Authority in Singapore in July 2019.

Description.

Neutralizing efficacy.

BAT is derived from "despeciated" equine IgG antibodies, which have had the Fc portion cleaved off, leaving the F(ab') portions. This process renders it less efficacious at neutralizing toxin than the other product trivalent botulinum antitoxin (TBAT) available from local health departments (via the CDC) for treatment of wound and foodborne botulism. TBAT (effective against types A, B, and E) is derived from equine sources utilizing whole antibodies (Fab & Fc portions). But only BAT is considered effective against all known strains of botulism (A, B, C, D, E, F, and G). These antitoxins neutralize only circulating toxin in patients with symptoms of botulism that are continuing to progress; they have no effect on toxin already bound to the nerve terminals. (This is not, however, considered a reason to withhold the product from any patient, even if treatment has been delayed.)

Side effects.

In CDC studies of BAT, headache, fever, chills, rash, itching, and nausea were the most observed adverse events. It can trigger allergic reactions and delayed hypersensitivity reactions in people sensitive to horse proteins.

"HE-BAT".

A related product "Botulism AntiToxin, Heptavalent, Equine, Types A, B, C, D, E, F and G" ("HE-BAT") is also available to the U.S. military under IND (experimental) protocols. This "equine" antitoxin requires skin testing with escalating dose challenges before full dose administration to obviate serious sensitivity to horse serum.

FDA clinical trials.

BAT has undergone extensive testing for effectiveness and safety. Emergent BioSolutions, in a 2017 document published to describe prescription information for BAT, said that the effectiveness of the antitoxin is based on efficacy studies that demonstrably prove increased chances of survival. In two clinical studies cited by the company, the safety profile of BAT was proven acceptable when one or two vials of the antitoxin were intravenously delivered to healthy subjects.  Another clinical trial, the BT-011 study, known also as Pharmacokinetics of Botulism Antitoxin Heptavalent in Pediatric Patients, was initiated to test the success of BAT in children who had contracted botulism (or had been suspected of contracting botulism). In the study, a serum sample was collected from pediatric patients to analyze the pharmacokinetics of BAT to better adjust pediatric dosing recommendations. The details of the study from ClinicalTrials.gov, are as follows:

Use.

Indications.

BAT is the only product available for treating botulism in adults, and for botulism in infants caused by botulinum toxins other than types A and B. BAT has been used to treat a case of type F infant botulism and, on a case-by-case basis, may be used for future cases of non-type A and non-type B infant botulism.

Administration.

Early administration of BAT is considered critical as the antitoxin can neutralize only circulating toxin, not toxin that has become bound to nerve terminals.  One vial (20 mL) of BAT is administered to a patient as an intravenous infusion. It must be diluted with 0.9% sodium chloride in a 1:10 ratio before use. A volumetric infusion pump is used for slow administration (0.5 mL/min for the initial 30 minutes) to minimize the possibility of allergic reactions. If no reactions are noted, the rate is increased to 1 mL/min for another 30 minutes, and then if still no reaction is evident, to 2 mL/min for the remainder of the procedure.

The Botulism Antitoxin Heptavalent (A, B, C, D, E, F, G) - (Equine) (BAT®) – BAT®, made by Emergent BioSolutions Canada Inc. (formerly Cangene Corporation), – is a licensed, commercially available botulism anti-toxin that effectively neutralizes all seven known botulinum nerve toxin serotypes (types A, B, C, D, E, F and G). It is indicated for sporadic cases of life-threatening botulism and is also stockpiled for the eventuality of botulinum nerve toxins being used in a future bioterrorist attack.

Das Heptavalent Botulism Antitoxin ("H-BAT", Eigenschreibweise des Herstellers Cangene: "Heptavalent Botulism AntiToxin") ist eine Mischung von sieben verschiedenen Antikörpern, die zur Behandlung von Botulismus verwendet werden.


Biography.

Debeaumarché was born on 15 December 1906 in Dijon, and first wanted to become a pilot, but his eyesight was too weak and he joined the French postal service, "PTT". He was mobilized in September 1939 as a sergeant in the French Air Force and after June 1940 joined the French Resistance.  Debeaumarché was in charge of the transportation of mail, a position he used to smuggle mail for the resistance. From the summer of 1943 on, he was on the staff of the "Action-PTT", a clandestine organisation within the French postal service, and worked with Ernest Pruvost, its national leader, and directly under Simone Michel-Lévy, establishing postal communications with London. When Michel-Levy was arrested in November 1943, Debeaumarché took over as head of the "Action-PTT". Traveling throughout France he created networks of resistance, and organized the sabotage of the enemy's telecommunications (the plans "Potard" and "Violet"—the latter involved cutting telephone cables before D-Day). In addition, he managed to procure the codebooks of the three secret codes used by Joseph Darnand and the Milice and used them to decipher copies of telegrams obtained from the central telegraph office in Paris. The deciphered texts were then passed on to Allied intelligence.  He was arrested on 3 August 1944 at the Gare Montparnasse, and questioned harshly by the Gestapo at the Rue des Saussaies. He lost consciousness under the beatings but did not divulge any names; he was subsequently held at Fresnes Prison. Debeaumarché was one of the so-called "77,000" (named for the prisoners' numbers, between 76,000 and 78,000), Fresnes prisoners who were transported by train from Pantin to Buchenwald on 15 August 1944. He was moved to the underground factory of Mittelbau-Dora which produced V-1 flying bombs and V-2 rockets, and posing as an electrical engineer was put to work in the manufacture of the V-1. Maurice Naegelé, a Kapo in the tunnel assembly section, gained the trust of Debeaumarché by relating details of the resistance movement in France. In fact Naegelé had been an agent of the Gestapo, before his deportation. Naegelé denounced Debeaumarché to SS-Oberscharführer Sander, head of surveillance at Mittelbau-Dora. Debeaumarché was arrested with others (including Naegelé) on the night of 3–4 November 1944. They were taken to the Niedersachswerfen SD headquarters, where Naegelé attempted to beat confessions out of the other prisoners. Debeaumarché was sentenced to death on 11 November 1944, but the sentence was not carried out. Instead Debeaumarché was held in solitary confinement, accused of anti-Nazi plotting. In April 1945 he was moved to Bergen-Belsen, where he was liberated during the advance of Allied troops on 15 April 1945 and repatriated to France. On 1 May 1945 he marched down the Champs-Élysées alongside fellow Buchenwald-captive Pierre Dejussieu-Pontcarral.  After the war, he was a member of the "" and had a number of high administrative functions with the "PTT". He served as president of the "Union Nationale des Associations de Déportés, Internés et Familles de disparus". He died on 28 March 1959 in Suresnes, and was honored with a service in Les Invalides; his remains were buried in Dijon.

Edmond Debeaumarché (15 December 1906 – 28 March 1959) was a French postal worker who joined the French Resistance during World War II. For his service Debeaumarché was highly decorated. In 1960 Debeaumarché received the posthumous distinction of being depicted on a postage stamp in the series Heroes of the Resistance.

Edmond Debeaumarché (* 15. Dezember 1906 in Dijon; † 28. März 1959 in Suresnes) war ein französischer Widerstandskämpfer und führendes Mitglied der Résistance.


First version.

Leonardo began making studies in 1504 for a painting, apparently never executed, of Leda seated on the ground with her children. Three sketches of Leda by Leonardo exist:  It has been proposed that Leonardo's Chatsworth sketch for "Leda and the Swan" (pictured) may have been inspired by the "Laocoön Group", the famous Vatican sculpture discovered in 1506: there is a similar twist to the subject's body; the curve of the swan's neck recalls the snake's lithe body in Laocoön's hand; the rape by Zeus evokes the forceful attack of the serpents; and the child next to Leda's knee resembles Laocoön's son on the right, who also has a sheer break at the wrist. A completed copy of "Kneeling Leda with her Children" by Giampietrino is kept at the Museumslandschaft Hessen Kassel, Gemäldegalerie Alte Meister, Kassel (c.1515/20, oil on wood, 128 x 106 cm).

Completed version.

In 1508 Leonardo painted a different composition of the subject. The picture known as "Leda and the Swan" depicted a nude standing Leda cuddling the swan, with the two sets of infant twins, and their huge broken egg-shells. The original of this is lost, probably deliberately destroyed, and was last recorded in the French royal Château de Fontainebleau in 1625 by Cassiano dal Pozzo:  "A standing figure of Leda almost entirely naked, with the swan at her and two eggs, from whose broken shells come forth four babies, This work, although somewhat dry in style, is exquisitely finished, especially in the woman's breast; and for the rest of the landscape and the plant life are rendered with the greatest diligence. Unfortunately the picture is in a bad state because it is done on three long panels which have split apart and broken off a certain amount of paint."  However the picture is known from many copies, of which the earliest are probably the "Spiridon Leda", perhaps by a studio assistant and now in the Uffizi, and the one at Wilton House in England. Other copies by Leonardeschi include:

References.

Footnotes Citations

The story of Leda and the Swan was the subject of two compositions by Leonardo da Vinci from perhaps 1503–10. Neither survive as paintings by Leonardo, but there are a number of drawings for both by him, and copies in oils, especially of the second composition, where Leda stands.

Leda mit dem Schwan war ein Gemälde des Leonardo da Vinci, das die mythologische Königstochter Leda mit einem Schwan zeigte. Das Gemälde, von dem möglicherweise auch mehrere von Leonardo geschaffene Versionen existiert haben, ist nicht erhalten.


Life and career.

Bahah received his BCom and MCom (1992) from Pune University in India.  In 2011, Bahah actively backed the revolution in Yemen beginning in March, demanding that President Ali Abdullah Saleh resign and avoid further bloodshed. He quit the ruling party on account of the Saleh administration's violence against its own citizens. He continued to serve as Yemeni Ambassador to Canada.  President Abdrabbuh Mansur Hadi named Bahah, then serving as Permanent Representative to the United Nations, as Prime Minister-designate on 13 October 2014, with the assent of Houthis who seized the capital the previous month. He took office as Prime Minister on 9 November 2014. However, on 22 January 2015, after heavy fighting around the presidential compound, President Hadi and Prime Minister Bahah submitted their resignations and the cabinet dissolved, leaving Yemen without a government.  Bahah was ordered to return to work by the Houthis after the House of Representatives was reinstated and Hadi escaped to Aden in late February 2015, but he and his former ministers reportedly refused. In March 2015, Bahah was released from house arrest and he immediately left Sana'a.  While in exile in Saudi Arabia during the civil war between his supporters and the Houthis, Hadi named Bahah as Vice President on 12 April 2015. An aide to Hadi expressed hope that Bahah's appointment would help bring about a "political solution" to the conflict. "Le Monde" described Bahah as "a man of consensus" and suggested he could step in as an acceptable successor to Hadi if the Saudi-led intervention in Yemen was successful in restoring the exiled government to power.  Bahah returned to Aden with several other ministers "to stay permanently" on 16 September 2015, according to a government spokesman, amid loyalist and coalition gains in the south.

Khaled Mahfoudh Bahah () (born 1 January 1965) is a Yemeni politician and diplomat who served as Prime Minister of Yemen between 2014 and 2016, as well as Vice President of Yemen from 2015 until he was sacked on April 3, 2016 by President of Yemen Abdrabbuh Mansur Hadi.

Chalid Mahfuz Bahah (; auch "Khaled Bahah"; * 1965) ist ein jemenitischer Diplomat und Politiker. Vom 9. November 2014 bis zum 3. April 2016 war er Ministerpräsident des Landes. Vom 13. April 2015 bis zum 3. April 2016 war er zusätzlich Vizepräsident.


Biography.

John Harris began painting aged 14 and entered Luton College of Art at the age of 16. After completing a foundation course, he entered Exeter University in 1967 to study painting. Graduating in 1970 he travelled and studied transcendental meditation, an increasing influence on his works. On his return to England in 1976, John Harris began exploring the theme of monumental scale and space, producing a series of science fiction art. In the late 1970s he joined Young Artists, the premier agency for the emerging movement of science fiction art in the UK.  Harris continued to specialise in large-scale commissions for companies such as Philips Electronics and Shell. His illustrations during this period have now become collectors' items, including Jack McDevitt's Nebula Award-winning "Seeker". His painting "MASS: The Building of FTL1" was used by Psygnosis for the cover of their 1990 video game "Awesome".  During the early 1980s Harris was commissioned by Sinclair Research to produce cover-art for the user manuals of the ZX81, and ZX Spectrum home computers.  In 1984 Harris was commissioned to create a painting of the Endeavour space shuttle launch at NASA's Kennedy Space Centre. He was captivated by the intense tangerine glow created by the craft's vapor exhaust and made a painting of the shuttle's gantry tower, bathed in light. That work is now part of the Smithsonian Museum Collection.  In 1998 The Royal Caribbean commissioned him to paint a number of large canvases to be displayed as permanent fixtures in their new range of ocean cruise ships, resulting in over 70 marine paintings. The majority of this collection being of the J-class trinity - Endeavour, Shamrock and Velsheda.  In 2000 Paper Tiger Books published a collection of Harris's work, "Mass".  Rainmaker Entertainment based in Vancouver, hired Harris in 2007, to work on The Weinstein Company's movie, "Escape from Planet Earth".  In 2010 Harris became associated with the Symposium of Imaginative Realism (Illuxcon), a relationship which remains a key feature of his career. He is now a regular contributor to their exhibitions.  In 2014, Titan Books published a new collection of his works, entitled "Beyond the Horizon; The Art of John Harris".  Harris currently lives in Devon, England. He is married to Sarah Harris and has two children, Sophie and Ben.  In 2015 Harris received the Chesley Award for Life Time Achievement.

Awards.

In 2014, John Harris was nominated for the Hugo Award, Professional Artist.  In 2015 he won the Chesley Award for Life Time Achievement.

John Harris (born 29 July 1948 in London, England) is a British artist and illustrator, known for working in the science fiction genre. His paintings have been used on book covers for many authors, including Orson Scott Card, Arthur C. Clarke, Isaac Asimov, Frederik Pohl, Ben Bova, Wilbur Smith, Jack Vance, Ann Leckie, and John Scalzi. His work has covered many genres and although he made his name in the science-fiction genres, he is now exploring a new realm, the imaginative realism of aerial landscapes.

John Harris (* 29. Juli 1948 in London, England) ist ein englischer Maler und Illustrator, der vor allem für seine Science-Fiction-Illustrationen bekannt ist. Seine Bilder wurden als Buchcover der Ausgaben vieler Science-Fiction-Autoren genutzt, darunter Isaac Asimov, Frederik Pohl, Ben Bova, Orson Scott Card, John Scalzi und Jack Vance.


Overview.

"Peaky Blinders" is a Gypsy-origin gangster family epic set in Birmingham, England, in 1919, several months after the end of the First World War in November 1918. The story centres on the Peaky Blinders gang and their ambitious and highly cunning boss Tommy Shelby (Cillian Murphy). The gang comes to the attention of Major Chester Campbell (Sam Neill), a Detective Chief Inspector in the Royal Irish Constabulary (R.I.C.) sent over by Winston Churchill from Belfast, where he had been sent to clean up the city of the Irish Republican Army (I.R.A.), Communists, gangs and common criminals. Winston Churchill (played by Andy Nyman in Series 1 and Richard McCabe in Series 2) charged him with suppressing disorder and uprising in Birmingham and recovering a stolen cache of arms meant to be shipped to Libya. The first series concludes on 3 December 1919 – "Black Star Day", the event where the Peaky Blinders plan to take over Billy Kimber's betting pitches at the Worcester Races.  The second series sees the Shelby family expand their criminal organisation in the "South and North while maintaining a stronghold in their Birmingham heartland." It begins in 1921 and ends with a climax at Epsom racecourse on 31 May 1922 – Derby Day.  The third series starts and ends in 1924 as it follows Tommy and his family entering an even more dangerous world as they once again expand, this time internationally. The third series also features Father John Hughes (Paddy Considine), who is involved in an anti-communist organisation; Ruben Oliver (Alexander Siddig), a painter whom Polly enlists to paint her portrait; Russian Duchess Tatiana Petrovna (Gaite Jansen); and Linda Shelby (Kate Phillips), new wife of Arthur.  The fourth series begins on Christmas Eve 1925 and ends following the general strike of May 1926 with Tommy being elected as a Member of Parliament in 1927. The fifth series begins two years later on 29 October 1929 (Black Tuesday) and ends on 7 December 1929, the morning after a rally led by fascist leader Oswald Mosley.

Production.

Series 1.

"Peaky Blinders" was created by Steven Knight, directed by Otto Bathurst, and produced by Katie Swinden. The writers are listed as Steven Knight, Stephen Russell and Toby Finlay.  Screen Yorkshire provided funding for the production through the Yorkshire Content Fund, ensuring that the majority of the show was filmed in Yorkshire as part of the deal. The series was filmed in Birmingham, Bradford, Dudley, Leeds, Liverpool, and Port Sunlight. Railway sequences were filmed between Keighley and Damems, using carriages from the Ingrow Museum of Rail Travel (owned by Vintage Carriages Trust), and carriages owned by the Lancashire and Yorkshire Railway Trust. Many of the scenes for the show were shot at the Black Country Living Museum.  Ulster-born, New Zealand-raised Sam Neill enlisted the help of Northern Irish actors James Nesbitt and Liam Neeson to help him recover his lost Northern Irish accent for the role of C.I. Campbell. In the end, he had to tone down the accent since the series is being marketed in the United States.  Controversially, the production did not hire linguists to assist in the show, leading to the Gypsies' frequently speaking broken Romanian (as opposed to Romani).

Series 2.

A second series was commissioned shortly after the broadcast of the first and aired in October and November 2014. On 11 January 2014, auditions were held in Digbeth area of Birmingham (near where parts of the series are set) for white and mixed race teenage male extras, resulting in lengthy queues.

Series 3.

Shortly after the final episode of the second series, the show announced via its Twitter account that it had been renewed for a third series. On 5 October 2015, the official "Peaky Blinders" Twitter account announced that filming had begun for series 3. Filming wrapped on 22 January 2016, after 78 days of shooting.

Series 4 and 5.

During the initial broadcast of series 3, the BBC renewed "Peaky Blinders" for series 4 and 5, each of which comprises six episodes. Filming for series 4 started in March 2017 and premiered on 15 November 2017 on BBC Two. The fourth series did not include The Weinstein Company or its logo in its credits and will continue to no longer be included, even though the company was formerly involved in the US distribution of the series.  On 22 August 2018, the BBC confirmed that series 5 would be broadcast on BBC One. Having already premiered to a select audience at Birmingham Town Hall on 18 July 2019, the series began airing on BBC One on 25 August 2019.

Future.

On 5 May 2018, Steven Knight told "Birmingham Press Club" that "we are definitely doing [series] six and we will probably do seven". Knight has indicated that once the series is complete, a film or spin-off could follow.

Reception.

"Peaky Blinders" has received praise for its writing, acting, visuals, and stylish cinematography. David Renshaw of "The Guardian" summarised the series as a "riveting, fast-paced tale of post-first world war Birmingham gangsters", praising Murphy as the "ever-so-cool Tommy Shelby" and the rest of the cast for their "powerful performances." Sarah Compton of "The Daily Telegraph" gave the series a 4/5 rating, praising the show for its originality and "taking all of our expectations and confounding them." Alex Fletcher from Digital Spy believes that ""Peaky Blinders" has started as sharp as a dart," while Den of Geek called the series "the most intelligent, stylish and engrossing BBC drama in ages." Cult TV Times critic Hugh David said the show "warrants the billing" by "managing to tick several ratings boxes – period drama, gangster epic, film star leads – yet go against the grain of those in the most interesting of ways."  The show has been particularly celebrated for its stylish cinematography and charismatic performances, as well as for casting an eye over a part of England and English history rarely explored on television. Historians have been divided over whether bringing characters and events from other decades into a 1920s story undermines claims to historical accuracy, or whether working-class life in the period is nevertheless depicted in a truthful and resonant way. Reviews for the second series have remained positive, with Ellen E. Jones of "The Independent" commenting that ""Peaky Blinders" can now boast several more big-name actors to supplement the sterling work of Cillian Murphy, Helen McCrory and Sam Neill", referring to second series additions Tom Hardy and Noah Taylor.  Several critics have favourably compared the show to the American series "Boardwalk Empire", which shares the same themes and historical context. Show writer Steven Knight stated in an early interview: "Do you know – and I'm not just saying this – but I've never watched them. I've never seen "The Wire", I've never seen "Boardwalk Empire", I've never seen any of them." When asked if he deliberately avoided watching these dramas, he responded: "It's sort of deliberate in that I don't really want to be looking at other people's work because it does affect what you do inevitably." On 2 March 2016, Knight told the "Crime Scene Quarterly" "I've had unsolicited communication from Michael Mann, the film director, from Dennis Lehane, Snoop Dogg – he's such a fan. And the late David Bowie was a huge fan – more of that to come" (strongly hinting Bowie's involvement on Series 3). It was later confirmed that David Bowie's music would be featured, and Leonard Cohen had also written a new song for series 3.

Broadcast and release.

On 24 September 2014, it was announced that Netflix had acquired exclusive US distribution rights from the Weinstein Company and Endemol. The entirety of series 1 became available for streaming on 30 September 2014; series 2 launched in November 2014. Series 3 was made available 31 May 2016. Due to licensing restrictions, however, most of the show's original soundtrack is not available on the Netflix-distributed version of the series. In 2018, it was announced "Peaky Blinders" would be moved from its original broadcast channel, BBC Two, to BBC One.

Bibliography.

Long, Paul (2017) "Class, Place and History in the Imaginative Landscapes of Peaky Blinders" in Forrest, D. & Johnson, B. (eds.), "Social Class and Television Drama in Contemporary Britain", Palgrave

Peaky Blinders is a British period crime drama television series created by Steven Knight. Set in Birmingham, England, the series follows the exploits of the Shelby crime family in the direct aftermath of the First World War. The fictional family is loosely based on a real 19th century urban youth gang of the same name, who were active in the city from the 1890s to the early twentieth century.

Peaky Blinders – Gangs of Birmingham (Originaltitel: "Peaky Blinders") ist eine seit 2013 produzierte britische Dramaserie, die im England der 1920er- und der frühen 1930er-Jahre spielt. In den Hauptrollen sind Cillian Murphy, Paul Anderson und Helen McCrory als kriminelle Oberhäupter zu sehen.