Life.

Charles Reade was born at Ipsden, Oxfordshire, to John Reade and Anne Marie Scott-Waring, and had at least four brothers. He studied at Magdalen College, Oxford, taking his B.A. in 1835, and became a fellow of his college. He was subsequently dean of arts and vice-president, taking his degree of D.C.L. in 1847. His name was entered at Lincoln's Inn in 1836; he was elected Vinerian Fellow in 1842, and was called to the bar in 1843. He kept his fellowship at Magdalen all his life but, after taking his degree, he spent most of his time in London. William Winwood Reade, the influential historian, was his nephew.

Writings.

Reade began his literary career as a dramatist, and he chose to have "dramatist" stand first in the list of his occupations on his tombstone. As an author, he always had an eye to stage effect in scene and situation as well as in dialogue. His first comedy, "The Ladies' Battle", appeared at the Olympic Theatre in May 1851. It was followed by "Angela" (1851), "A Village Tale" (1852), "The Lost Husband" (1852), and "Gold" (1853).  But Reade's reputation was made by the two-act comedy, "Masks and Faces", in which he collaborated with Tom Taylor. It was produced in November 1852, and later was expanded into three acts. By the advice of the actress, Laura Seymour, he turned the play into a prose story which appeared in 1853 as "Peg Woffington". The same year he wrote "Christie Johnstone", a close study of Scottish fisher folk. In 1854 he produced, in conjunction with Tom Taylor, "Two Loves and a Life", and "The King's Rival", and, unaided, "The Courier of Lyons" (well known under its later title, "The Lyons Mail") and his adaptation of Tobias Smollett's "Peregrine Pickle". In the next year appeared "Art" (1855), afterwards known as "Nance Oldfield". He made his name as a novelist in 1856, when he published "It Is Never Too Late to Mend", a novel written to reform abuses in prison discipline and the treatment of criminals. The truth of some details was challenged, and Reade defended himself vigorously. Five more novels followed in quick succession: "The Course of True Love Never Did Run Smooth" (1857), "White Lies" (1857), "Jack of all Trades" (1858), "The Autobiography of a Thief" (1858), and "Love Me Little, Love Me Long" (1859). "White Lies" started as a translation of Auguste Maquet's play "Le Château de Grantier." After managers declined the manuscript, Reade adapted the story, weaving it into a novel which was serialised in "The London Journal" and published in three volumes the same year. He produced an adaptation of this on stage as "The Double Marriage" in 1867.  In 1861 Reade published what would become his most famous work, based on a few lines by the medieval humanist Erasmus about the life of his parents. The novel began life as a serial in "Once a Week" in 1859 under the title "A Good Fight", but when Reade disagreed with the proprietors of the magazine over some of the contentious subject matter (principally the unmarried pregnancy of the heroine), he abruptly curtailed the serialisation with a false happy ending. Reade continued to work on the novel and published it in 1861, thoroughly revised and extended, as "The Cloister and the Hearth". It became recognised as one of the most successful historical novels. Returning from the 15th century to modern English life, he next produced "Hard Cash" (originally published as "Very Hard Cash")(1863), in which he highlighted the abuses of private lunatic asylums. Three more such novels followed: "Foul Play" (1869), in which he exposed the iniquities of ship-knackers, and paved the way for the labours of Samuel Plimsoll; "Put Yourself in His Place" (1870), in which he dealt with trade unions; and "A Woman-Hater" (1877), in which he continued his commentary on trade unions while also tackling the topic of women doctors. "The Wandering Heir" (1875), of which he also wrote a version for the stage, was suggested by the Tichborne Case.  Reade also published three elaborate studies of character: "Griffith Gaunt" (1866), "A Terrible Temptation" (1871), "A Simpleton" (1873). He rated the first of these as his best novel. At intervals throughout his literary career, he sought to gratify his dramatic ambition, hiring a theatre and engaging a company for the production of his plays. An example of his persistence was seen in the case of "Foul Play". He wrote this in 1869 in combination with Dion Boucicault with a view to stage adaptation. The play was more or less a failure; but he produced another version alone in 1877, under the title of "A Scuttled Ship", which was a notable failure. His greatest success as a dramatist attended his last attempt – "Drink" – an adaptation of Émile Zola's "L'Assommoir", produced in 1879.  In that year his friend Laura Seymour, who may have been his mistress and had kept house for him since 1854, died. Reade's health failed from that time. On his death, he left behind him a completed novel, "A Perilous Secret", which showed he was still skilled in the arts of weaving a complicated plot and devising thrilling situations. Reade was an amateur of the violin, and among his works is an essay on Cremona violins with the title, "A Lost Art Revived." Reade is buried alongside Laura Seymour, in the churchyard of St. Mary's Church, Willesden, in north-west London.  Reade sub-titled a number of his novels "A matter-of-fact romance;" this referred to his practice of basing his novels largely on newspaper cuttings, which he began collecting for this purpose in 1848. He also conducted his own research, observing prisons personally, for example, as well as borrowing at times heavily from other novelists' works.  Reade's novels were popular, and he was among England's highest-paid novelists. However, many libraries refused to carry his works on the grounds that they were indecent.

Reputation.

Reade fell out of fashion by the turn of the century—"it is unusual to meet anyone who has voluntarily read him," wrote George Orwell in an essay on Reade—but during the 19th century Reade was one of England's most popular novelists. He was not highly regarded by critics. The following assessment by Justin McCarthy, writing in 1872, is typical: A strong, healthy air of honest and high purpose breathes through nearly all the stories. An utter absence of cant, affectation, and sham distinguishes them. A surprising variety of descriptive power, at once bold, broad, and realistic is one of their great merits. Mr. Reade can describe a sea-fight, a storm, the forging of a horseshoe, the ravages of an inundation, the trimming of a lady's dress, the tuning of a piano, with equal accuracy and apparent zest.... Indeed, Mr. Reade wants no quality which is necessary to make a powerful story-teller, while he is distinguished from all mere story-tellers by the fact that he has some great social object to serve in nearly everything he undertakes to detail. More than this I do not believe he is, nor, despite the evidences of something yet higher which were given in 'Christie Johnstone' and 'The Cloister and the Hearth,' do I think he ever could have been. He is a magnificent specimen of the modern special correspondent, endowed with the additional and unique gift of a faculty for throwing his report into the form of a thrilling story. But it requires something more than this, something higher than this, to make a great novelist whom the world will always remember. Mr. Reade is unsurpassed in the second class of English novelists, but he does not belong to the front rank. His success has been great in its way, but it is for an age and not for time. The author George Orwell summed up Reade's attraction as "the same charm as one finds in R. Austin Freeman's detective stories or Lieutenant-Commander Gould's collections of curiosities—the charm of useless knowledge," going on to say that  Reade was a man of what one might call penny-encyclopaedic learning. He possessed vast stocks of disconnected information which a lively narrative gift allowed him to cram into books which would at any rate pass as novels. If you have the sort of mind that takes a pleasure in dates, lists, catalogues, concrete details, descriptions of processes, junk-shop windows and back numbers of the "Exchange and Mart," the sort of mind that likes knowing exactly how a medieval catapult worked or just what objects a prison cell of the eighteen-forties contained, then you can hardly help enjoying Reade. During his career, the prolific Reade was involved in several literary feuds involving accusations of plagiarism. He strongly defended himself, but invoked standards on literary borrowing that are looser than those of today. Reade is frequently discussed in studies of evolving attitudes toward plagiarism.  Reade is credited with the quote: "Sow a thought, and you reap an act; Sow an act, and you reap a habit; Sow a habit, and you reap a character; Sow a character, and you reap a destiny”. These days it is often adapted to: "Mind your thoughts for they become your words; mind your words for they become your actions; mind your actions for they become your habits; mind your habits for they become your character; mind your character for it becomes your destiny."(This was used in the film, "The Iron Lady" (2011), spoken by Meryl Streep playing Margaret Thatcher, the former Prime Minister.)

Marriage and family.

Reade and his late wife had an adopted daughter. He cut off relations with her after she eloped at age sixteen with an actor. After her husband abandoned her, she worked as an actress for a number of years. She performed 2000 times in a production of Reade's "It Is Never Too Late to Mend." She wound up destitute in a workhouse in Kent.

Allusions.

Ira Gershwin’s lyric “It’s never too late to Mendelssohn...”, which appears in both "Oh, Kay!" and "Lady In The Dark", is a play on the title of Reade's book.  John Betjeman's poem "In Willesden Churchyard" includes a reference to "Laura Seymour's grave-/ 'So long the loyal counsellor and friend'/Of that Charles Reade whose coffin lies with hers/Was she his mistress?" followed by a long imagined passage about their possible relationship.

Charles Reade (8 June 1814 – 11 April 1884) was an English novelist and dramatist, best known for "The Cloister and the Hearth".

Charles Reade (* 8. Juni 1814 in Ipsden, Oxfordshire, England; † 11. April 1884 in London) war ein englischer Schriftsteller.


Definition of the Weyl quantization of a general observable.

The following explains the Weyl transformation on the simplest, two-dimensional Euclidean phase space. Let the coordinates on phase space be, and let be a function defined everywhere on phase space. In what follows, we fix operators "P" and "Q" satisfying the canonical commutation relations, such as the usual position and momentum operators in the Schrödinger representation. We assume that the exponentiated operators formula_1 and formula_2 constitute an irreducible representation of the Weyl relations, so that the Stone–von Neumann theorem (guaranteeing uniqueness of the canonical commutation relations) holds.

The basic formula.

The Weyl transform (or Weyl quantization) of the function is given by the following operator in Hilbert space,  Throughout, formula_3 is the reduced Planck constant.  It is instructive to perform the "p" and "q" integrals in the above formula first, which has the effect of computing the ordinary Fourier transform formula_4 of the function formula_5, while leaving the operator formula_6. In that case, the Weyl transform can be written as  We may therefore think of the Weyl map as follows: We take the ordinary Fourier transform of the function formula_8, but then when applying the Fourier inversion formula, we substitute the quantum operators formula_9 and formula_10 for the original classical variables formula_11 and formula_12, thus obtaining a "quantum version of formula_5."  A less symmetric form, but handy for applications, is the following,

In the position representation.

The Weyl map may then also be expressed in terms of the integral kernel matrix elements of this operator,

The inverse map.

The inverse of the above Weyl map is the Wigner map, which takes the operator back to the original phase-space kernel function, If one replaces formula_16 in the above expression with an arbitrary operator, the resulting function may depend on Planck's constant, and may well describe quantum-mechanical processes, provided it is properly composed through the star product, below. In turn, the Weyl map of the Wigner map is summarized by "Groenewold's formula",

The Weyl quantization of polynomial observables.

While the above formulas give a nice understanding of the Weyl quantization of a very general observable on phase space, they are not very convenient for computing on simple observables, such as those that are polynomials in formula_12 and formula_11. In later sections, we will see that on such polynomials, the Weyl quantization represents the totally symmetric ordering of the noncommuting operators formula_10 and formula_9. For example, the Wigner map of the quantum angular-momentum-squared operator L is not just the classical angular momentum squared, but it further contains an offset term, which accounts for the nonvanishing angular momentum of the ground-state Bohr orbit.

Properties.

Weyl quantization of polynomials.

The action of the Weyl quantization on polynomial functions of formula_12 and formula_11 is completely determined by the following symmetric formula: for all real numbers formula_25 and formula_26. From this formula, it is not hard to show that the Weyl quantization on a function of the form formula_27 gives the average of all possible orderings of formula_28 factors of formula_10 and formula_30 factors of formula_9. For example, we have While this result is conceptually natural, it is not convenient for computations when formula_28 and formula_30 are large. In such cases, we can use instead McCoy's formula This expression gives an apparently different answer for the case of formula_36 from the totally symmetric expression above. There is no contradiction, however, since the canonical commutation relations allow for more than one expression for the same operator. (The reader may find it instructive to use the commutation relations to rewrite the totally symmetric formula for the case of formula_37 in terms of the operators formula_38, formula_39, and formula_40 and verify the first expression in McCoy's formula with formula_41.)  It is widely thought that the Weyl quantization, among all quantization schemes, comes as close as possible to mapping the Poisson bracket on the classical side to the commutator on the quantum side. (An exact correspondence is impossible, in light of Groenewold's theorem.) For example,

Deformation quantization.

Intuitively, a deformation of a mathematical object is a family of the same kind of objects that depend on some parameter(s). Here, it provides rules for how to deform the "classical" commutative algebra of observables to a quantum non-commutative algebra of observables.  The basic setup in deformation theory is to start with an algebraic structure (say a Lie algebra) and ask: Does there exist a one or more parameter(s) family of "similar" structures, such that for an initial value of the parameter(s) one has the same structure (Lie algebra) one started with? (The oldest illustration of this may be the realization of Eratosthenes in the ancient world that a flat earth was deformable to a spherical earth, with deformation parameter 1/"R".) E.g., one may define a noncommutative torus as a deformation quantization through a -product to implicitly address all convergence subtleties (usually not addressed in formal deformation quantization). Insofar as the algebra of functions on a space determines the geometry of that space, the study of the star product leads to the study of a non-commutative geometry deformation of that space.  In the context of the above flat phase-space example, the star product (Moyal product, actually introduced by Groenewold in 1946),, of a pair of functions in, is specified by  The star product is not commutative in general, but goes over to the ordinary commutative product of functions in the limit of. As such, it is said to define a deformation of the commutative algebra of.  For the Weyl-map example above, the -product may be written in terms of the Poisson bracket as  Here, Π is the Poisson bivector, an operator defined such that its powers are and where {"f", "f"} is the Poisson bracket. More generally, where formula_50 is the binomial coefficient.  Thus, e.g., Gaussians compose hyperbolically, or etc. These formulas are predicated on coordinates in which the Poisson bivector is constant (plain flat Poisson brackets). For the general formula on arbitrary Poisson manifolds, cf. the Kontsevich quantization formula.  Antisymmetrization of this -product yields the Moyal bracket, the proper quantum deformation of the Poisson bracket, and the phase-space isomorph (Wigner transform) of the quantum commutator in the more usual Hilbert-space formulation of quantum mechanics. As such, it provides the cornerstone of the dynamical equations of observables in this phase-space formulation.  There results a complete phase space formulation of quantum mechanics, completely equivalent to the Hilbert-space operator representation, with star-multiplications paralleling operator multiplications isomorphically.  Expectation values in phase-space quantization are obtained isomorphically to tracing operator observables with the density matrix in Hilbert space: they are obtained by phase-space integrals of observables such as the above with the Wigner quasi-probability distribution effectively serving as a measure.  Thus, by expressing quantum mechanics in phase space (the same ambit as for classical mechanics), the above Weyl map facilitates recognition of quantum mechanics as a deformation (generalization, cf. correspondence principle) of classical mechanics, with deformation parameter. (Other familiar deformations in physics involve the deformation of classical Newtonian into relativistic mechanics, with deformation parameter "v/c"; or the deformation of Newtonian gravity into General Relativity, with deformation parameter Schwarzschild-radius/characteristic-dimension. Conversely, group contraction leads to the vanishing-parameter undeformed theories—classical limits.)  Classical expressions, observables, and operations (such as Poisson brackets) are modified by -dependent quantum corrections, as the conventional commutative multiplication applying in classical mechanics is generalized to the "noncommutative star-multiplication" characterizing quantum mechanics and underlying its uncertainty principle.  Despite its name, Deformation Quantization does not constitute a successful quantization scheme, namely a method to produce a quantum theory out of a classical one. It amounts to a mere representation change from Hilbert space to phase space.

Generalizations.

In more generality, Weyl quantization is studied in cases where the phase space is a symplectic manifold, or possibly a Poisson manifold. Related structures include the Poisson–Lie groups and Kac–Moody algebras.

In quantum mechanics, the Wigner–Weyl transform or Weyl–Wigner transform (after Hermann Weyl and Eugene Wigner) is the invertible mapping between functions in the quantum phase space formulation and Hilbert space operators in the Schrödinger picture.

Die Weyl-Quantisierung ist eine Methode in der Quantenmechanik, um systematisch einen "quantenmechanischen" Hermiteschen Operator umkehrbar auf eine "klassische" Verteilung im Phasenraum abzubilden. Daher wird sie auch Phasenraum-Quantisierung genannt.


Early life.

Inspired by LL Cool J, Jay Electronica began rapping at the age of 10. He grew up in the Magnolia Projects in New Orleans and attended the all-boys parochial high school St. Augustine High School and was a part of the famed Marching 100 band where he played multiple instruments.  Electronica left New Orleans on January 1, 1996 with the intention of moving to New York City but took a stop in Atlanta. Electronica was struck by "all the now hiring signs because of the Olympics," there he accepted the teachings of Elijah Muhammad via the Five-Percent Nation before moving on to becoming a registered member of the Nation of Islam at its headquarters in Chicago.

Career.

In 2007, Jay Electronica released his first mixtape, "", via MySpace. It became wildly popular, and was downloaded over 50,000 times. That success and his catalog led to Electronica joining the Rock the Bells Tour in 2008.  Later that year, producer Just Blaze and Jay Electronica selected songs for Guitar Center's GAIN project, Fresh Cuts Vol. 3 and included a (previously unnamed) song which Just Blaze named “Exhibit A (Transformations).”  Just Blaze would later (October 27, 2009) debut Exhibit C on Tony Touch's Sirius Radio program, where it quickly caught on, making its way to terrestrial radio stations like New York's Hot 97 and spawning artist remixes from MCs AZ, N.O.R.E, Saigon, Joell Ortiz and others.  A bidding war ensued with Jay finally signing (November 12, 2010) with Roc Nation. Though fans and critics anticipated a full-length debut, Electronica's output in the subsequent decade consisted of several collaborations and non-album solo songs.  On February 7, 2020, Jay Electronica announced via Twitter the completion of his album, "A Written Testimony", which was recorded over a 40-day period. It was released on March 13, 2020.

Personal life.

Jay Electronica and Erykah Badu were in a relationship for 5 years and have a daughter together, Mars Mekeba, born in 2009.  Jay Electronica had an extramarital affair with Kate Emma Rothschild, the wife of Benjamin Goldsmith, resulting in the breakdown of Ben Goldsmith's marriage.

Elpadaro F. Electronica Allah (born Timothy Elpadaro Thedford; September 19, 1976), known professionally as Jay Electronica, is an American rapper, record producer, and songwriter from New Orleans, Louisiana. He first received widespread attention after the release of his debut mixtape, "", in 2007, and was signed to Jay-Z's record label Roc Nation in 2010. His debut studio album, "A Written Testimony", was released in 2020 after years of speculation and delay.

Jay Electronica (* 1976 in New Orleans; wirklicher Name "Timothy Elpadaro Thedford"; später auch als "Je'Ri Allah") ist ein US-amerikanischer Rapper und Produzent aus New Orleans. Seine bekanntesten Werke sind unter anderem "Eternal Sunshine (The Pledge)", "Exhibit A" und "Exhibit C". Inzwischen gilt er als Hoffnungsträger des Hip-Hop und bekommt Unterstützung von vielen bekannten Hip-Hop-Künstlern wie Nas, Mos Def, Q-Tip und Erykah Badu, mit welcher er bis 2009 liiert war und ein Kind hat.


History.

Nadia Ali was working in the New York offices of Versace, when a co-worker introduced her to record producer Markus Moser, who was looking for a female singer to collaborate on some of his productions for a girl group. The two teamed up and started a group that was originally named "Vaiio", named after the Sony Vaio laptop Ali used to write lyrics on. They later dropped the "va", on the advice of their label, to avoid causing problems in the future with Sony. Working with Moser, she wrote the lyrics and the vocals for the songs. Their first release was the 2001 single, "Rapture", a song Ali wrote in 30 minutes based on a relationship with an Australian man she met in a nightclub. The song was a hit, charting at number 2 in the UK Singles Chart and the "Billboard" Hot Dance Club Play chart. The song was remixed by prominent DJs and record producers including Avicii, Paul van Dyk, John Creamer & Stephane K, Armin van Buuren and Deep Dish.  "Rapture" was followed by "At the End" in 2002. The duo subsequently released "Smooth" in 2003, "Runaway" in 2004 and "Kiss You" in 2005. Their first studio album, "Poetica", was released in 2005 by Made Records. The release of the album was timed with the dissolution of iiO with Ali leaving to pursue a solo career. Meanwhile, Moser continued to release material, featuring her on the vocals. These included the 2006 number one "Billboard" Hot Dance Club Play single, "Is It Love?", the 2007 remix album, "", and the 2008 compilation album, "Rapture Reconstruction: Platinum Edition".  In 2010, iiO re-emerged from hiatus when Moser released new remixes of "At the End". In April 2011, iiO's second studio album and final project, "Exit 110", was released, featuring Ali on vocals. Speaking of the album, Ali explained that she had no involvement in it except her vocals and lyrics from nearly ten years ago being used for the project. She described it as "interesting" that there was new work featuring her being released by iiO when she had neither worked with or been in contact with Moser since she left iiO and was completely focused on her solo career. When asked further if the dissolution of the duo was amicable, she refused to comment further. Moser, on the other hand, said he decided to use material Ali had recorded before she left iiO to release a new album due to a demand by fans.

iiO (pronounced "eye-oh") was a New York City-based dance music act composed of singer and songwriter Nadia Ali and record producer Markus Moser. The group gained prominence for its 2001 single, "Rapture", which reached number two on the UK Singles Chart and the "Billboard" Hot Dance Club Play chart. Following the success of "Rapture", iiO released several singles and the studio album, "Poetica" in 2005. The album reached number 17 on the "Billboard" Top Electronic Albums chart.

iiO ist ein Dance- und House-Act aus New York, bestehend aus Musikproduzent und Songwriter "Markus Moser". Das ehemalige Mitglied, die Singer-Songwriterin Nadia Ali, verließ das Projekt 2005, um eine Solokarriere zu verfolgen. iiO ist vor allem bekannt für seine Hit-Single „Rapture“.


Premise.

Neal Caffrey, a renowned con artist, forger, and thief, is captured after a three-year game of cat and mouse with the FBI, specifically Special Agent Peter Burke. With only three months left in his four-year sentence, he escapes to look for his girlfriend, Kate. Peter Burke once again finds Caffrey and returns him to prison. This time, Caffrey proposes a deal to help Burke apprehend dangerous white collar criminals with the FBI as part of a work-release program. After some hesitation, Burke agrees. They thus begin their unconventional and testy relationship.

Reception.

The review aggregation website Rotten Tomatoes reports a 100% approval rating for the first season with an average rating of 8/10 based on 22 reviews. The website's consensus reads, "Featuring clever plotting and outstanding chemistry between its leads, "White Collar" is a witty, briskly-paced, caper series. On Metacritic, the series holds a 79 out of 100 based on 21 critics, indicating "generally favorable reviews".

Awards and nominations.

At the People's Choice Awards, "White Collar" was nominated in the categories of Favorite TV Obsession and Favorite Dramedy in 2011 and 2015. It was also nominated for Favorite TV Cable Drama between 2012-2014. Matt Bomer won the award for Favorite TV Cable Actor in 2015. Diahann Carroll was nominated for Outstanding Supporting Actress in a Drama series at the Image Awards in 2012 and 2014. At the TV Guide Awards, actors Tim DeKay and Matt Bomer were both nominated for Favorite Duo in 2012. At the NewNowNext Awards, Matt Bomer was nominated in the category of Cause You're Hot in 2010. Regan Mizrahi was nominated in the category of Best Performance in a TV series - Guest Starring Young Actor at the Young Artist Awards in 2012. The pilot received a nomination for Outstanding Achievement in Casting - Television Pilot - Drama at the Casting Society of America Awards in 2010.

Syndication.

ION Television acquired the rights for syndication of "White Collar" in 2013 along with "Burn Notice". It was the third USA Network television series to be in syndication on ION Television, along with "Monk" and "Psych".

Possible revival.

On May 6th, 2020, series creator Jeff Eastin and lead actor Matt Bomer teased that a revival of White Collar was under consideration. Jeff Eastin wrote on Twitter that he "Had a great convo with Matt Bomer. We have a plan to bring #WhiteCollar back." Fox 21 Television Studios, which succeeded the now-defunct Fox TV Studios, is not currently working on a revival.

Home media.

The first season of "White Collar" was released in the USA under the title "White Collar: The Complete First Season" as a widescreen four-disc Region 1 DVD box set on July 13, 2010.  DVD extras included Deleted Scenes, Gag Reel, Commentary, Exclusive Featurettes: "Pro and Con", "A Cool Cat in the Hat", and "Nothing But the Truth". The same set was released on July 26, 2010 in Region 2, and on August 18, 2010 in Region 4. The first season of "White Collar" is available on Blu-ray.  The season two four-disc Region 1 DVD box set was released on June 7, 2011. DVD extras consist of Deleted Scenes, Gag Reel, Episode Commentaries (for episodes 2x09 "Point Blank", 2x12 "Forging Bonds" and 2x16 "Under The Radar") and Exclusive Featurettes: ""White Collar" Roasts "Burn Notice": Rivalry in the Writers' Rooms", ""Burn Notice" Roasts "White Collar": Rivalry in the Writers' Rooms", "Slick Willie", and "So Here's The Deal: Anatomy of an Episode". The DVD was released on Region 2 on the February 18, 2013.  White Collar: The Complete Third Season four-disc Region 1 DVD box set was released on June 5, 2012. Region 1 DVD Features: Interrogation room, a trivia challenge with the cast, Jeff Eastin, @ddicted, Gag reel, Deleted scenes, Audio commentary on season finale, Dual Layer Widescreen - 1.78, Audio: English Dolby Digital 5.1, Subtitles - English SDH, French, Spanish  White Collar: Season 4 DVD box set was released on October 8, 2013. DVD Features: Region 1 Note: Deleted scenes Gag reel Tim DeKay - in the director's chair "In the wind" commentary featuring Jeff Eastin, Matt Bomer, Tim DeKay and Willie Garson Dual Layer Widescreen - 1.78 Audio: Dolby Digital 5.1 - English Subtitles - English, French, Spanish  White Collar: Season 5 DVD box set was released on November 4, 2014. DVD Features: Region 1 Note: Audio commentary on the season finale. Deleted scenes Gag reel Willie Garson: director extraordinaire Dual Layer Widescreen - 1.78 Audio: Dolby Digital 5.1 - English Subtitles - English, French, Spanish.  White Collar: Season 6 DVD box set was released on May 5, 2015. DVD Features: Region 1 Note: Audio commentary featuring Jeff Eastin, Tim DeKay and Willie Garson, Audio commentary featuring Jeff Eastin and Matt Bomer, Deleted scenes Gag reel White Collar: case closed retrospective Dual Layer Widescreen - 1.78 Audio: Dolby Digital 2.0 Stereo - English Dolby Digital 5.1 - English Subtitles - English, French, Spanish.

White Collar is a USA Network television series created by Jeff Eastin, starring Tim DeKay as FBI Special Agent Peter Burke and Matt Bomer as Neal Caffrey, a highly intelligent and multitalented con artist working as Burke's criminal informant. Willie Garson and Tiffani Thiessen also star. The show premiered on October 23, 2009, and aired six complete seasons, with the final season concluding on December 18, 2014.

White Collar ist eine US-amerikanische Krimiserie, die sich um Special Agent Peter Burke und den Meisterdieb und Kunstfälscher Neal Caffrey dreht, die miteinander arbeiten müssen. Sie lief in den USA vom 23. Oktober 2009 bis zum 18. Dezember 2014 beim Kabelsender USA Network und umfasst sechs Staffeln mit insgesamt 81 Episoden. Produziert wurde die Serie von Jeff Eastin.


Early life, education, and military service.

Born in St. Joseph, Missouri, he moved with his parents to Yuma County, Colorado in 1887. He settled in Denver in 1889, and attended the public schools and Sacred Heart College of Denver (now called Regis University). During the Spanish–American War, he commanded a company in the Philippine campaign of 1899, for which he was awarded the Distinguished Service Cross. Means "distinguished himself before the fall of Manila by swimming the Singalon river to reconnoiter the Spanish works", escaping capture when he was spotted. Returning from the war, he expressed a desire for the United States to permanently incorporate the Philippines, envisioning Manila surpassing Hong Kong as a trading center. In 1901, he graduated from the law department of the University of Michigan at Ann Arbor, and was admitted to the bar and commenced practice in Denver. From 1902 to 1904, he was county judge of Adams County, and in 1908 was an unsuccessful candidate for election to the Sixty-first United States Congress. Following this defeat, he was appointed deputy district attorney for Adams County, Colorado.  Means was elected commander-in-chief of the Army of the Philippines in 1913, and of the Veterans of Foreign Wars in 1914. He served during the First World War as a lieutenant colonel and commandant of the Fortieth Division School of Arms. He commanded the 4th Infantry in the Meuse–Argonne offensive. Means ran for a seat in the U.S. Senate in 1920, losing the Republican nomination to Samuel D. Nicholson, who would go on to win the seat. He was attorney for the City and County of Denver in 1923 and 1924.

Political career and later life.

Means was elected as a Republican to the United States Senate on November 4, 1924, in a special election to fill the vacancy caused by Nicholson's death. During the campaign, his Democratic opponent nicknamed him "Puffed Rice", but this did not hinder Means' election. Means was one of several candidates reported to have benefited from the support of the state's Ku Klux Klan organization. He served in the Senate from December 1, 1924, to March 3, 1927, chairing the Committee on Claims (Sixty-ninth Congress). During his tenure, he authored legislation deeming Armistice Day (later called Veterans Day) a national holiday in the United States. During this time, Means also became directing head of the Ku Klux Klan in Colorado. In 1926 he was an unsuccessful candidate for reelection, as he was again defeated in the Republican primary, this time by Charles W. Waterman, who "rode to victory on the wave of anti-klan sentiment".  In 1926 and 1927, Means was commander in chief of the United Spanish War Veterans, and in 1927 he became president of the National Tribune Corporation and publisher of the "National Tribune" and "Stars and Stripes" in Washington, D.C. In response to the enactment of the initial New Deal measures in 1933, Means fiercely criticized the FDR administration declaring it to have been "conceived by income-tax dodgers" and "born of ruthless, vicious propaganda", and calling it "a stain upon the honor of the United States". Means retired in 1937, and died in Denver on January 30, 1949, following a six-month bout with heart problems. He was interred in Denver's Fairmount Cemetery.

Rice William Means (November 16, 1877January 30, 1949) was an American war hero who became a Ku Klux Klan leader and a Republican United States Senator from Colorado.

Rice William Means (* 16. November 1877 in St. Joseph, Missouri; † 30. Januar 1949 in Denver, Colorado) war ein US-amerikanischer Politiker (Republikanische Partei), der den Bundesstaat Colorado im US-Senat vertrat.


Foreign relations of Libya under Muammar Gaddafi

Timeline.

Beginning in 1969, Colonel Muammar Gaddafi determined Libya's foreign policy. His principal foreign policy goals were Arab unity, elimination of Israel, advancement of Islam, support for Palestinians, elimination of outside influence in the Middle East and Africa, and support for a range of "revolutionary" causes.  After the 1969 coup d'état, U.S.-Libyan relations became increasingly strained.  Gaddafi closed American and British bases on Libyan territory and partially nationalized all foreign oil and commercial interests in Libya.

1970s.

Export controls on military equipment and civil aircraft were imposed during the 1970s.  On 11 June 1972, Gaddafi announced that any Arab wishing to volunteer for Palestinian armed groups "can register his name at any Libyan embassy will be given adequate training for combat". He also promised financial support for attacks. In response, the United States withdrew its ambassador.  Gaddafi played a key role in promoting the use of oil embargoes as a political weapon for challenging the West, hoping that an oil price rise and embargo in 1973 would persuade the West—especially the United States—to end support for Israel. Gaddafi rejected both Soviet communism and Western capitalism because he believed that communism was a violation against religion and capitalism was a violation against humanity.  In 1973 the Irish Naval Service intercepted the vessel "Claudia" in Irish territorial waters, which carried Soviet arms from Libya to the Provisional IRA.  In 1976 after a series of terror attacks by the Provisional

1980s.

In May 1981, the U.S. government closed the Libyan "people's bureau" (embassy) in Washington, D.C. and expelled the Libyan staff in response their conduct generally violating internationally accepted standards of diplomatic behavior.  In August 1981, in the first incident of the Gulf of Sidra, two Libyan jets fired on U.S. aircraft participating in a routine naval exercise over international waters of the Mediterranean Sea claimed by Libya. The U.S. planes returned fire and shot down the attacking Libyan aircraft. On 11 December 1981, the State Department invalidated U.S. passports for travel to Libya (a "de facto" travel ban) and, for purposes of safety, advised all U.S. citizens in Libya to leave. In March 1982, the U.S. government prohibited imports of Libyan crude oil into the United States and expanded the controls on U.S.-origin goods intended for export to Libya. Licenses were required for all transactions, except food and medicine. In March 1984, U.S. export controls were expanded to prohibit future exports to the Ra's Lanuf

1990s.

In 1991, two Libyan intelligence agents were indicted by prosecutors in the United States and United Kingdom for their involvement in the December 1988 bombing of Pan Am Flight 103. Six other Libyans were put on trial in absentia for the 1989 bombing of UTA Flight 772 over Chad and Niger. The UN Security Council demanded that Libya surrender the suspects, cooperate with the Pan Am 103 and UTA 772 investigations, pay compensation to the victims' families, and cease all support for terrorism. Libya's refusal to comply led to the approval of Security Council Resolution 748 on 31 March 1992, imposing international sanctions on the state designed to bring

2000s.

As of January 2002, Libya was constructing another chemical weapons production facility at Tarhuna. Citing Libya's support for terrorism and its past regional aggressions the United States voiced concern over this development. In cooperation with like-minded countries, the United States has since sought to bring a halt to the foreign technical assistance deemed essential to the completion of this facility. See Chemical weapon proliferation#Libya.  Following the fall of Saddam Hussein's regime in 2003, Gaddafi decided to abandon his weapons of mass destruction programs and pay almost 3 billion euros in compensation to the families of Pan Am

2010s.

During the start of the Arab Spring, Gaddafi condemned the Tunisian revolution in January 2011, saying protesters were misled by WikiLeaks and voicing solidarity with ousted President Zine El Abidine Ben Ali.  The progress made by Gaddafi's government in improving relations with the Western world was swiftly set back by the regime's authoritarian crackdown on protests that began the following month. Many Western countries, including the United Kingdom, the United States, and eventually Italy condemned Libya for the brutal crackdown on the dissidents. Peru became the first of several countries to sever diplomatic relations with Tripoli on 22 February 2011, followed closely by African Union member state Botswana the following day.  Libya was suspended from Arab League proceedings on 22 February 2011, the same day Peru terminated bilateral relations. In response, Gaddafi

Relations with the West.

In 2003 Libya began to make policy changes with the open intention of pursuing a Western-Libyan détente. The Libyan government announced its decision to abandon its weapons of mass destruction programs and pay almost $3 billion in compensation to the families of Pan Am Flight 103 and UTA Flight 772.  Starting in 2003, the Libyan government restored normal diplomatic ties with the European Union and the United States and has even coined the catchphrase, "The Libya Model", an example intended to show the world what can be achieved through negotiation rather than force when there is goodwill on both sides.  On 30 August 2008, Gaddafi and Italian Prime Minister Silvio Berlusconi signed a historic cooperation treaty in Benghazi. Under its terms, Italy will pay $5 billion to Libya as compensation for its former military occupation. In exchange, Libya will take measures to combat illegal immigration coming from its shores and boost investments in Italian companies. The treaty was ratified by Italy on 6 February 2009, and by Libya on 2 March, during a visit to Tripoli by Berlusconi.  On 31 October 2008, Libya paid $1.5 billion, sought through donations from private businesses, to a fund that would be used to compensate both US victims of the 1988 bombing of Pan Am flight 103 and the 1986 bombing of the La Belle disco in Germany. In addition, Libyan victims of US airstrikes that followed the Berlin attack will also be compensated with $300 million from the fund. US state department spokesman, Sean McCormack called the move a "laudable milestone... clearing the way for continued and expanding US-Libyan partnership." This final payment under the US-Libya Claims Settlement Agreement was seen as a major step towards improving ties between the two, which had begun easing after Tripoli halted its arms programmes. George Bush also signed an executive order restoring Libya's immunity from terror-related lawsuits and

International incidents.

1986 West Berlin discotheque bombing.

On 13 November 2001, a German court found four persons, including a former employee of the Libyan embassy in East Berlin,

Lockerbie bombing.

In November 1991, two Libyan intelligence agents, Abdelbaset al-Megrahi and Lamin Khalifah Fhimah, were charged with the December 1988 Lockerbie bombing. Libya refused to extradite the two accused to the U.S. or to Scotland. As a result, United Nations Security Council Resolution 748 was approved on 31 March 1992, requiring Libya to surrender the suspects, cooperate with the Pan Am Flight 103 and UTA Flight 772 investigations, pay compensation to the victims' families, and cease all support for terrorism. The UN imposed further sanctions with Resolution 883, a limited assets freeze and an embargo on selected oil equipment, in November 1993. In 1999, six other Libyans who had been accused of the September 1989 bombing of Union Air Transport Flight 772 were put on trial in their absence by a Paris court. They were found guilty and sentenced to life imprisonment.  The Libyan government eventually surrendered the two Lockerbie bombing suspects in 1999 for trial at

Benghazi hospital affair.

In the late 1990s, a Benghazi children's hospital was the site of an outbreak of HIV infection that spread to over 400 patients. Libya blamed the outbreak on five Bulgarian nurses and a Palestinian doctor, who were arrested and eventually sentenced to death (eventually overturned and a new trial ordered). The international view is that Libya has used the medics as scapegoats for poor hygiene conditions, and

Dispute with Switzerland.

On 15 July 2008 the fifth eldest son of Muammar Gaddafi, Hannibal Gaddafi, and his wife were held for two days and charged with assaulting two of their staff in Geneva, Switzerland and then released on bail on 17 July. Hannibal Gaddafi has a history of violent and aggressive behaviour having been charged with battery by his later wife and having attacked Italian police officers.  The government of Libya subsequently put a boycott on Swiss imports, reduced flights between Libya and Switzerland, stopped issuing visas to Swiss citizens, recalled diplomats from Bern, and forced all Swiss companies such as ABB and Nestlé to close offices. General National Maritime Transport Company, which

Schengen Area visa ban.

In February 2010, the dispute with Switzerland spread, with Libya refusing to issue entry visas to nationals of any of the countries within the Schengen Area, of which Switzerland is a part. This action was apparently taken in retaliation for Switzerland blacklisting 188 high-ranking officials from Libya.  As a result of the ban, foreign nationals from certain countries were not permitted entry into Libya at Tripoli airport, including 22 Italians and eight Maltese citizens, one of whom

Support for rebel and paramilitary groups.

The government of Libya had in the past received criticism and trade restrictions from Western countries

Africa.

Libya has in the past claimed a strip along their border of about in northern Niger and part of southeastern Algeria. In addition, it is involved in a maritime boundary dispute with Tunisia.  As with all other African countries, Libya is a member of the Non-Aligned Movement. As with most international organizations to which Tripoli is a party, NAM recognizes it under the name Libyan Arab Jamahiriya.

Algeria.

Algeria–Libya relations have generally been amicable. Libyan support for the Polisario Front in the Western Sahara facilitated early post independence

Chad.

Libya long claimed the Aouzou Strip, a strip of land in northern Chad rich with uranium deposits that was intensely involved in Chad's civil war in the 1970s and 1980s.  In 1973, Libya engaged in military operations in the Aouzou Strip to gain access to minerals and to use it as a base of influence in Chadian politics. Libya argued that the territory was inhabited by indigenous people who owed allegiance to the Senussi Order and subsequently to the Ottoman Empire, and that this title had been inherited by Libya. It also supported its claim with an unratified 1935 treaty between France and Italy, the colonial powers of Chad and Libya, respectively. After consolidating its hold on the strip, Libya annexed it in 1976. Chadian forces were able to force the Libyans to retreat from the Aouzou Strip in 1987.  A cease-fire between Chad and Libya held from 1987 to 1988, followed by unsuccessful negotiations over the next several years, leading finally to the 1994 International Court of Justice decision granting Chad sovereignty over the Aouzou

Egypt.

After the neighboring countries of Egypt and Libya both gained independence in the early 1950s, relations were initially cooperative. Libya assisted Egypt in the 1973 Yom Kippur War. Later, tensions arose due to Egypt's

United States.

In early 2004, the U.S. State Department ended its ban on U.S. citizens using their passports for travel to Libya or spending money there. U.S. citizens began legally heading back to Libya for the first time since 1981.  On 15 May 2006 David Welch, Assistant Secretary of State for Near Eastern Affairs, announced that the U.S. had decided, after a 45-day comment period, to renew full diplomatic relations with Libya and remove Libya from the U.S. list of countries that foster terrorism. During this announcement, it was

Asia and Oceania.

Indonesia.

Beginning in 1989, Libya supported the Free Aceh Movement through GAM's second

Pakistan.

Since gaining independence from their respective colonial powers, both

Vanuatu.

Vanuatu and Libya established official diplomatic relations in 1986, at the initiative of the former. The aim, for Vanuatu, was to

International recognition.

As of 18 October 2011, at least 100 UN member states have explicitly recognised the National Transitional Council, as have all international organisations to which Libya is a member. Only the 8 countries of the Bolivarian Alliance for the Americas and the African countries of Namibia and Zimbabwe have explicitly continued to denounce the NTC and insist on Gaddafi's legitimacy.

The foreign relations of the Libyan Arab Jamahiriya (1969–2011) underwent much fluctuation and change. They were marked by severe tension with the West (especially the United States, although relations were normalised in the early 21st century prior to the Libyan Civil War) and by other national policies in the Middle East and Africa, including the Libyan government's financial and military support for numerous paramilitary and rebel groups.

Das Bestreben des libyschen Revolutionsführers Muammar al-Gaddafi, durch den Zusammenschluss Libyens mit anderen Staaten eine afrikanisch-islamische bzw. arabische Einheit zu erreichen, umfasste in den ersten 25 Jahren seiner Amtszeit (1969–1994) zwölf bilaterale und trilaterale Vereinigungsprojekte mit acht Staaten. Dieses intensive libysche Einheitsstreben stand in der Tradition des Nasserismus, ist darüber hinaus aber auch von einer Gaddafi eigenen Rezeption panarabischer, panafrikanischer und panislamistischer bzw. islamisch-sozialistischer Konzeptionen geprägt gewesen.


Recording.

Clinton Heylin places the writing of "Visions of Johanna" in the fall of 1965, when Dylan was living in the Chelsea Hotel with his pregnant wife Sara. Heylin notes that "in this déclassé hotel...the heat pipes "still" cough", referring to a line from the song. Greil Marcus reports that when the song was first released, "the story was that the song had been written during the great east coast blackout of November 9, 1965." Dylan first recorded this song, backed by The Hawks, in the CBS New York recording studio, on November 30, 1965, announcing his new composition with the words: "This is called 'Freeze Out'." Andy Gill notes that this working title captures the "air of nocturnal suspension in which the verse tableaux are sketched...full of whispering and muttering." According to Marcus, Dylan introduced the song in live performances in 1966 with the words, "Seems like a freeze-out."  Some of the New York recordings were uptempo and contain in the fifth verse the additional line "He examines the nightingale's code". Historian Sean Wilentz, for his book "Dylan In America", listened closely to full studio tapes of the "Blonde on Blonde" sessions, and describes how Dylan guided the New York backing musicians through fourteen takes, trying to explain how he wanted "Visions of Johanna" played. At one point, Dylan says: "It's not hard rock, The only thing in it that's hard is Robbie." Analyzing the evolution of the song in the New York recording session, Wilentz writes that Dylan "quiets things down, inching closer to what will eventually appear on "Blonde on Blonde"—and it is still not right." Several complete takes of the song were recorded on November 30, including one with an uptempo rock beat, containing harpsichord accompaniment, and another with a march-like tempo, which was released on "" in 2005.  "Visions of Johanna" fell into place when Dylan was persuaded by his producer, Bob Johnston, to move the recording sessions to Nashville, Tennessee. During his first day in the CBS Nashville studio, on February 14, 1966, the "Blonde on Blonde" version of the song was recorded. In an interview with Andy Gill, Al Kooper has said that he and guitarist Robbie Robertson became sensitive to the nuances of Dylan's vocal. Kooper added that "it's very important what Joe South's bass is doing in that"; Kooper described it as "this throbbing...rhythmically amazing bass part". Other backing musicians were Charlie McCoy, guitar, Wayne Moss, guitar, and Kenneth Buttrey on drums.

Live performances and studio outtakes.

Dylan first performed "Visions of Johanna" in public on December 4, 1965, at the Berkeley Community Theatre. Present at this concert was Joan Baez, who believed the lyrics referred to her. She said, "He'd just written 'Visions of Johanna', which sounded very suspicious to me...he'd never performed it before and Neuwirth told him I was there that night and he performed it." Heylin suggests that if Dylan performed it for anyone that night it was Allen Ginsberg, who was also present. Heylin argues Dylan considered Ginsberg to be an important influence on his songwriting at this juncture, and was keen to showcase the song for the Beat poet.  All live versions of the song recorded during Dylan's 1966 tour of England have been released. Dylan's performance of the song at London's Royal Albert Hall on May 26, 1966, appeared on "Biograph", released in 1985. Asked by Cameron Crowe, for the liner notes for "Biograph", how he could remember the words of such a complex song in live performance, Dylan responded, "I could remember a song without writing it down because it was so visual." A performance of the song recorded at the Manchester Free Trade Hall on May 17, 1966, was released on "" in 1998. In addition, a May 6, 1966, performance of the song, recorded in Belfast, was included on "Live 1962-1966: Rare Performances From The Copyright Collections", released in 2018.  On November 11, 2016, Legacy Recordings released a 36-CD boxed set, "The 1966 Live Recordings", which comprises every known recording of Bob Dylan’s 1966 concert tour. The recordings commence with the concert in White Plains, New York on February 5, 1966, and end with the Royal Albert Hall concert in London on May 27. The set contains 18 live performances of "Visions of Johanna", all featuring Dylan solo on acoustic guitar. (The May 26, 1966, performance was included on the separately released album "The Real Royal Albert Hall 1966 Concert".)  The "Visions of Johanna" studio recording sessions were released in their entirety on the 18-disc Collector's Edition of "" on November 6, 2015, with highlights from the November 30, 1965, outtakes appearing on the 6-disc and 2-disc versions of that album. The 18-disc version contains 14 takes of "Visions of Johanna" recorded in New York on November 30, 1965, and 4 takes of the song recorded in Nashville on February 14, 1966, the last being the "Blonde on Blonde" version of the song.

Interpretation.

Noting how popular "Visions of Johanna" remains among "hardcore Dylanophiles," Andy Gill suggests it is the enigmatic quality of the song that is responsible for its popularity—"forever teetering on the brink of lucidity, yet remaining impervious to strict decipherment". Gill writes that the song begins by contrasting two lovers, the carnal Louise, and "the more spiritual but unattainable" Johanna. Ultimately, for Gill, the song seeks to convey how the artist is compelled to keep striving to pursue some elusive vision of perfection.  Clinton Heylin has described what he construes as the strange circumstances surrounding the song. Written around the time of Dylan's marriage to Sara Lownds, Heylin describes it as "one of the oddest songs ever written by a man who has just tied the knot and is enjoying a brief honeymoon in the city". Noting that the song is an elegy for a past lover, Heylin speculates that "it is awfully tempting to see Johanna as his muse," who, in the song, is "not here". For Heylin, the triumph of the song lies in "the way Dylan manages to write about the most inchoate feelings in such a vivid, immediate way".  Dylan critic Michael Gray also praises the subtlety of the song. Gray acknowledges that it is difficult to say what this song is "about", since it is at once indefinable and precise. For Gray, its principal achievement lies in the way it confuses categories, using language to be simultaneously serious and flippant, delicate and coarse, and mixing up "abstract neo-philosophy and figurative phraseology".  Robert Shelton called "Visions of Johanna" one of Dylan's major works. He writes that Dylan's technique of throwing out "skittering images" evokes "a mind floating downstream"; these "non-sequential visions" are the record of a fractured consciousness. Shelton argues that the song explores a hopeless quest to reach an ideal, the visions of Johanna, and yet without this quest life becomes meaningless. He suggests that the same paradox is explored by Keats in his "Ode on a Grecian Urn".  Mike Marqusee situates the song in New York City, "a flickering, electric, ghostly, cityscape". Dylan describes himself stranded in a fog of detachment which provides a haven, and at the same time is pained by a piercing clarity: an unmediated response that is "too concise and too clear". For Marqusee, Dylan describes his predicament, suspended between freedom and slavery, yet hungry for an authentic experience. Johanna and Louise are objects of desire and yearning. "It is their elusiveness and unreality that's the point."  Guitarist and critic Bill Janovitz also emphasizes the urban, unreal quality of "Visions of Johanna", calling it a "sprawling epic". "The journey takes Dylan through lofts, the D train, a museum, empty lots, and through snippets of overheard conversation, as well as a discussion with some 'little boy lost', who 'takes himself so seriously', and who is'so useless and all/muttering small talk at the wall'." For Janovitz, this could "possibly be a swipe at a critic".  Literary critic Christopher Ricks, in his study of Dylan's work, pinpoints the emotional effect of these same lines:  Ricks writes that the phrase "and all" turns a mood of helplessness into a sense of "aggression and baffled anger".  Trying to unravel the mystery of the song, Greil Marcus writes that the song is concerned with internal questions, rather than external ones: "Line by line, 'Blowin' in the Wind' is pious, or falsely innocent—isn't it obvious that whoever wrote "Yes, 'n' how many seas must a white dove sail / Before she sleeps in the sand?" already knows the answer, assuming he, or anyone, can actually bring themselves to care about such a precious question? But 'Visions of Johanna' is asking different sorts of questions. Such as: Where are you? Who are you? What are you doing here?" Evoking the drugged, urban milieu of the song, Marcus writes of "People wandering from one corner of a loft to another, doped, drunk, half-awake, fast asleep, no point to the next breath, let alone the next step." For Marcus, "'Visions of Johanna' makes a narrative solely out of atmosphere."

Legacy.

The song has been described by several critics as a masterpiece. In 2004, "Rolling Stone" magazine placed the song at No. 404 on their list of the 500 Greatest Songs of All Time, commenting that Dylan "never sounded lonelier than in this seven-minute ballad, cut in a single take on Valentine's Day 1966." (When "Rolling Stone" updated their list in 2010, the song dropped to No. 413.) In 1999, Britain's Poet Laureate, Andrew Motion, chose it as his candidate for the best song lyric ever written. Motion praised "the concentration and surprise" of Dylan's lyrics, and said that, although he distanced himself from some of the singer's views about women, the "rasp of his anger" was a part of his greatness. In 2017, the International Observer named the song the second best ever recorded, stating, "The 24 year old Dylan was beginning to realize that no matter how many perfect songs he wrote he could not achieve immortality through his art as he perhaps once believed, because even if people were still listening to the music in 500 years, he would still be dead." In an interview with "The Independent" in 1992, cult British musician Robyn Hitchcock described the song by saying "it's pretty much the reason I'm a singer". Commenting on the song in a 1985 interview, Dylan said, "I still sing that song every once in a while. It still stands up now as it did then, maybe even more in some kind of weird way."

Cover versions.

The Grateful Dead played "Visions of Johanna" in concert a number of times between 1986 and 1995, and both they and Jerry Garcia solo each released a live version on record. There is also a 16-minute studio version of the song on Jerry Garcia's "All Good Things Redux", a bonus CD provided with the "" box set of Garcia's studio recordings.  Other artists who have covered the song include Marianne Faithfull, Robyn Hitchcock, Lee Ranaldo, Chris Smither, former Flamin' Groovies guitarist Chris Wilson, Julie Felix, Maggie Holland, and Old Crow Medicine Show. The jazz trio Jewels and Binoculars, who named themselves after a phrase from "Visions of Johanna", recorded an instrumental treatment of the song on their album "The Music of Bob Dylan". Foreign language versions of the song include a recording by Jan Erik Vold, Kåre Virud and Telemark Blueslag in Norwegian, Gerard Quintana's and Jordi Batiste's version in Catalan, Steffen Brandt's in Danish, and Ernst Jansz's in Dutch.

"Visions of Johanna" is a song written and performed by Bob Dylan on his 1966 album "Blonde on Blonde". Several critics have acclaimed "Visions of Johanna" as one of Dylan's highest achievements in writing, praising the allusiveness and subtlety of the language. "Rolling Stone" included "Visions of Johanna" on their list of the 500 Greatest Songs of All Time. In 1999, Sir Andrew Motion, Poet Laureate of the United Kingdom, listed it as the greatest song lyric ever written.

Visions of Johanna ist ein Rocksong von Bob Dylan, der von Bob Johnston produziert wurde und 1966 auf dem Album "Blonde on Blonde" erschienen ist.


Beliefs.

The Hutaree have claimed, "We see the end of the age coming quickly, and with it some very rough times ahead, as foretold by God's word". The militia describe his goals "The only thing on earth to save the testimony and those who follow it, are the members of the testimony, until the return of Christ in the clouds. We Hutaree are prepared to defend all who belong to Christ and save them. those who are not. We will still spread the word and fight to keep it, until the time of the great coming.  According to some sources, the group is described as practicing survivalism. Most of the members were active voters with unidentified political party affiliations.  The Hutaree has been known to lend assistance to other militias in the past, with such things as searching for missing persons.  Many videos posted on the Hutaree's website have supported several right-wing organizations, politicians, and news commentators. A former fiancée of Hutaree leader David Stone, has claimed that he was a "Ron Paul fanatic."  The Hutaree insignia includes a sword, crossed spears, and the letters "CCR" which stand for "Colonial Christian Republic." Hutaree members use a unique system of paramilitary ranks with titles from highest to lowest: Radok, Boramander, Zulif, Arkon, Rifleman (three grades), Lukore, and Gunner (three grades). University of Pennsylvania linguistics professor Mark Liberman commented: "I don't see basis in biblical or military history for Radok, Boramander, Zulif, Arkon, and Lukore."  The group remained exclusively Christian but attempted to maintain relationships with individuals and groups that adhere to other beliefs, especially within the militia movement. One militia associate of the group, named Matt Savino, was denied membership in the Hutaree when he revealed that he was a Muslim. Savino was referred to join the Michigan Militia by the Hutaree who declined his membership but maintained contact with Mr Savino. Savino eventually was elected to be a "Colonel" in the Michigan Militia. Savino later provided information to the Federal Bureau of Investigation (FBI) which appears to have assisted them in capturing the last indicted Hutaree at large, Joshua Stone.

Criminal investigation.

From March 28 to March 30, 2010, nine people thought to be Hutaree members were arrested in police raids in Michigan, Ohio, and Indiana (in Hammond), for their alleged involvement in a plot to kill various police officers and possibly civilians using illegal explosives and/or firearms. An undercover agent played a role in the investigation that led to indictments. Grand jury testimony by a law enforcement officer referred to an "undercover FBI agent" who worked on the case; the FBI declined to comment, but infiltration is a common tactic for law-enforcement officials targeting domestic militia groups. The FBI informant was later revealed to be Hal Turner.  The group was allegedly preparing for what they believed would be an apocalyptic battle with the forces of the Antichrist, whom they believed would be supported and defended by local, state, and federal law enforcement.  On May 3, 2010 a federal judge ordered that all nine members be freed on bond until their trial, saying that prosecutors were not able to demonstrate that the defendants would pose a danger if released.  The United States Attorney's Office stated that the Hutaree allegedly planned "to kill an unidentified member of local law enforcement and then attack the law enforcement officers who gather in Michigan for the funeral". The press release further stated that nine had been indicted by a federal grand jury in Detroit on charges of seditious conspiracy, attempted use of weapons of mass destruction, teaching the use of explosive materials, and possessing a firearm during a crime of violence. The indictment said that the Hutaree planned to attack unspecified law enforcement vehicles during the funeral procession for an unspecified officer or officers they planned to kill on an unspecified occasion, using unspecified explosively formed penetrator improvised explosive devices (which under federal law are considered "weapons of mass destruction").  Some articles suggested the Hutaree had not yet determined whom in law enforcement they would kill, or even that they wished to kill a law enforcement officer in order to begin a war with law enforcement, while not having any specific target. The FBI was aided in its investigation by members of another militia group.

Members taken into custody.

Nine members of the group that were arrested:  On May 3, 2010, U.S. District Judge Victoria A. Roberts ordered all nine defendants to be released on bond, over the objection of Federal prosecutors. "The order is silent as to any financial aspects of the bonds. In federal court, defendants are normally released on $10,000 unsecured bonds, meaning they do not have to put up any money." The court ruled that five of the Hutaree remain in custody. The ruling applies to David Stone, Sr., Joshua Stone, Joshua Clough, Michael Meeks and Thomas Piatek. Four other members have already been released on bond. The court ordered that they be placed on electronic monitors.  In addition to being confined to their homes, outside of time spent away from work (or while seeking employment as per standard federal pretrial release conditions), some additional requirements were placed on individual defendants, for example, alleged leader David Brian Stone Sr. is barred from having any contact with Michigan-based militia activist Mark Koernke.  Prosecutors added charges in June 2012 stating that David Stone Sr., Joshua Stone and Clough illegally possessed automatic rifles and that David Stone Sr., David Stone Jr. and Joshua Stone possessed unregistered firearms, charging them with violations of the National Firearms Act. Clough had earlier entered a guilty plea in December 2011 to a weapons law violation in a plea agreement, with leniency suggested in light of his cooperative testimony in the case. David Stone Sr. and Joshua Stone eventually later entered a guilty pleas in March 2012 to some NFA violations as part of a plea agreement.

Trial.

In February 2011, Judge Victoria A. Roberts set a new trial date of September 13, 2011 after defense attorneys asked for more time to review the hundreds of pages of evidence prosecutors have provided them. Attorneys also cited the complexity of the case in asking for a delay. The case originally was to go to trial on February 28, 2011. Roberts first delayed the trial in December 2010 until April after attorneys made a similar request. Defense attorneys argued that statements made by Hutaree were constitutionally protected free speech and not plans for an attack.  In January 2012, a federal judge issued an order granting the defense attorneys' motion to exclude prosecution testimony by an expert drawing parallels between the defendants' beliefs and various conspiracy theories about Ruby Ridge, the Waco siege, the Oklahoma City bombing, and 9/11, concluding: "It is largely irrelevant to the issues in dispute and what little probative value it might add is substantially outweighed by the risks of undue prejudice, confusion and misleading the jury." On March 27, 2012, a federal judge acquitted seven Hutaree defendants of the most serious charges related to conspiracy and sedition; they were free to go. David Stone Sr. and Joshua Stone continued to be held on weapons-related charges. On August 8, 2012, David Stone Sr., Joshua Stone and Joshua Clough were sentenced to time served on weapons-related charges, to which they pleaded guilty, and placed under supervision for two years.

Return of seized property.

After the acquittal of seven Hutaree members, the property seized during a March 2010 raid was returned to the owners. Items included a wedding ring, firearms and surplus items of military equipment previously owned by Hutaree members. The FBI returned Stone’s 6 guns, including her AR-15 semi-automatic rifle.  Seized items that had been returned included hundreds of thousands of rounds of ammunition, numerous weapons and other material, but several items, including illegal weapons taken as evidence, had been destroyed by the Justice Department.

Hutaree is a militia movement group adhering to the ideology of the Christian Patriot movement, based near Adrian, Michigan, in the United States. The group formed in early 2006. The name "Hutaree" appears to be a neologism; the group's web site says that the name means "Christian warriors", but an investigation by the FBI concluded the word doesn't have a Christian background. The group became widely known in 2010 after the United States FBI prosecuted them in federal court for an alleged plan for violent revolt. The prosecution said they intended to kill a police officer and to attack the funeral with bombs. The presiding judge dismissed these charges. Three members pleaded guilty to possessing a machine gun and were sentenced to time served.

Hutaree ist eine militante christlich-fundamentalistische Gruppe der Milizbewegung, die hauptsächlich im US-Bundesstaat Michigan vertreten ist, aber auch Mitglieder in Ohio und Indiana hat. Angeführt wird die Gruppe von David Brian Stone. Der Name "Hutaree" soll laut Angaben auf der Internetseite der Gruppe in einer Fantasiesprache „christliche Krieger“ bedeuten.


History.

1837–46.

The company originated in 1837 as the Ditchburn and Mare Shipbuilding Company, founded by shipwright Thomas J. Ditchburn and the engineer and naval architect Charles John Mare. Originally located at Deptford, after a fire destroyed their yard the company moved to Orchard Place in 1838, between the East India Dock Basin and Bow Creek. There they took over the premises of the defunct shipbuilders William and Benjamin Wallis.  The firm did well and within a few years occupied three sites covering an area of over.  Ditchburn and Mare were among the first builders of iron ships in the area; their partnership commenced with the construction of small paddle steamers of between 50 and 100 tons, before progressing to cross-Channel vessels and by 1840 were building ships of more than 300 tons. The company's early customers included the Iron Steamboat Company and the Blackwall Railway Company, several paddle steamers being constructed for the latter, including the "Meteor" and the "Prince of Wales", which operated between Gravesend and the company's station on Brunswick Wharf.  In this period the company was also awarded several contracts by the Admiralty, including HMS "Recruit" (a 12-gun brig) which was one of the first iron warships built. They also constructed the P & O Company's steamers "Ariel" and "Erin", along with the paddle steamer for Prussia.

1847–56.

Thomas Ditchburn retired in 1847 and the business was carried on by Charles Mare, under the name of C.J. Mare and Company. He was joined by naval architect James Ash, who later began his own shipyard at Cubitt Town.  From 1847 the company grew considerably and Mare purchased land on the Canning Town side of the River Lea, a ferry service being established between the two sites.  Mare constructed a yard with furnaces and rolling mills that could construct vessels of 4,000 tons; because of the narrowness of the spit at the mouth of the River Lea, the Orchard Place site was limited to the construction of vessels of less than 1,000 tons. In 1853 the company launched the SS "Himalaya" for the Peninsular and Oriental Steam Navigation Company, briefly the world's largest passenger ship before becoming a naval troopship.  In 1855, the company which by now had more than 3000 employees, was threatened with closure following Mare's bankruptcy. It is thought by some that his financial difficulties arose from delays in payment for completed work or, alternatively, that the company had miscalculated the cost of building vessels for the Royal Navy. The business did not lack orders, having in hand six contracts for gunboats and the contract for Westminster Bridge (which was built in 1862).

1857–1912.

The company's chief creditors moved to keep the company in operation, and two employees, Joseph Westwood and Robert Baillie were appointed works managers. The main figure in saving the company was Peter Rolt, Mare's father-in-law and Conservative MP for Greenwich. Rolt was also a timber merchant and a descendant of the Pett shipbuilding family. He was supported in the venture by another company director, Lord Alan Spencer-Churchill.  Rolt took control of the company's assets and in 1857 transferred them to a new limited company, named the Thames Ironworks and Shipbuilding and Engineering Company Ltd.. It had a capital of £100,000 in 20 shares of £5000 each, five of which were held by Rolt who was the main shareholder and also chairman of the board.  The new company was the largest shipbuilder on the Thames, its premises described by the Mechanics' Magazine in 1861 as "Leviathan Workshops". Large scale Ordnance Survey maps of the 1860s show the yard occupying a large triangular site in a right-angled bend on the east bank of Bow Creek with the railway to Thames Wharf on the third side, and with a smaller site on the west bank. The main yard had a quay 1,050 feet (320m) long. To the south-east the yard occupied the north bank of the Thames east of Bow Creek, with two slips giving direct access to the main river. Today the site is crossed by the A1020 Lower Lea Crossing and the Docklands Light Railway south of Canning Town station.  By 1863 the company had the capacity to build 25,000 tons of warships and 10,000 tons of mail steamers simultaneously. One of its first Admiralty contracts was for HMS "Warrior", launched in 1860, at the time the world's largest warship and the first iron-hulled armoured frigate. HMS "Minotaur" followed in 1863, long and 10,690 tons displacement.  Work on vessels such as "Minotaur" was performed on the Canning Town side of the Lea, and this is where the Thames Ironworks expanded from less than in 1856 to by 1891. While the old site at Orchard Place was still the company's official address until 1909, its presence there was minimal, by the late 1860s the company having only a site there.  General shipbuilding on the Thames came under great pressure due to the cost advantages of northern yards with closer supplies of coal and iron, and many yards closed following the 1866 financial crisis. Of the survivors, those like the Thames Ironworks were specialised in warships and liners. Following the success of HMS "Warrior" and HMS "Minotaur", orders were placed by navies all over the world, and vessels were built for Denmark, Greece, Portugal, Russia, Spain and the Ottoman Empire. The yard also built the Prussian Navy's first iron-hulled warship, the SMS "König Wilhelm" in 1868 and the cruiser "Afonso de Albuquerque" for Portugal in 1884. A multitude of mostly small warships were also built for the Romanian Navy, most notably the brig "Mircea". Also notable was the tiny minelayer "Alexandru cel Bun". The Iron Works also produced for the Romanian Navy a class of three small 45-ton gunboats, a class of three medium 116-ton gunboats and a class of eight 50-ton torpedo boats.  In the 1890s philanthropist Arnold Hills became the managing director. He had originally joined the board of directors in 1880 at the age of 23. Hills was one of the first business directors voluntarily to introduce an eight-hour day for his workers at a time when 10- and 12-hour shifts were more common in industrial work.  In 1895 Hills helped to set up a football club for the Works' employees, Thames Ironworks F.C. and within their first two years they had entered the FA Cup and the London League. As a result of the committee's desire to employ professional players, the Thames Ironworks F.C. was wound up in June 1900 and West Ham United F.C. was formed a month later.  Merged with the engine builder John Penn and Sons in 1899 as the Thames Iron Works, Shipbuilding and Engineering Co.  During its lifetime the yard produced 144 warships and numerous other vessels. In 1911 Hills petitioned Winston Churchill, then First Lord of the Admiralty, regarding the lack of new orders. He was unsuccessful, and the yard was forced to shut in 1912. Within two years the United Kingdom was at war with the German Empire, with the yard's last major ship taking part in the Battle of Jutland.

Archaeology.

Part of the company's Limmo Peninsula site was excavated during the construction of Crossrail in 2012.

Links to West Ham United Football Club.

Employees at the Thames Ironworks formed a works football team, called Thames Ironworks Football Club. This club was later renamed West Ham United, whose emblem of the crossed hammers represents the large riveting hammers used in the shipbuilding trade. West Ham are also known as "The Hammers" for this reason.  While the media and the general football world commonly refer to the club as The Hammers, the club's own supporters have always referred to their team as 'The Irons', which again comes from the link with Thames Ironworks. The chant 'Come on you Irons' is heard on every match day at West Ham.  The shape of the 16th evolution of the club badge, launched after club moved to the Olympic Stadium in 2016, is a representation of the cross-section of the bow of HMS "Warrior", the first iron clad battleship, built by the Thames Ironworks in 1860.

The Thames Ironworks and Shipbuilding Company, Limited was a shipyard and iron works straddling the mouth of Bow Creek at its confluence with the River Thames, at Leamouth Wharf (often referred to as Blackwall) on the west side and at Canning Town on the east side. Its main activity was shipbuilding, but it also diversified into civil engineering, marine engines, cranes, electrical engineering and motor cars.

Die Thames Ironworks and Shipbuilding and Engineering Company Ltd. war ein britischer Maschinen- und Schiffbaubetrieb, der von 1837 bis 1912 in Blackwall (London) ansässig war. Zwischen 1906 und 1911 wurden dort auch Automobile hergestellt.


Life.

Marcus Gheeraerts the Elder was born in Bruges, Flanders, as the son of Egbert Gheeraerts and his wife Antonine Vander Weerde. Egbert Gheeraerts was a painter who had moved from an unknown location to Bruges. Some scholars believe that Gheeraerts' patronymic indicates that he likely came from the Northern Netherlands. His wife Antonine, on the other hand, was a native of Bruges. Egbert became a master of the Guild of Saint Luke of Bruges on 20 January 1516. The exact date of birth of Marcus Gheeraerts is not known. On the basis of archival sources about the life of his father, it can be deduced that he was born between 1516 and 1521. Not long after her husband's death, Marcus' mother remarried Simon Pieters, who was also a painter and probably a native of the Northern Netherlands. The couple had six children with whom Marcus was raised. This explains why he was sometimes referred to as Marcus Pieters. After the death of his stepfather Simon Pieters in early 1557, Marcus Gheeraerts became the guardian of his half-brothers and sisters. Marcus's mother died on 8 August 1580. The master or masters of Marcus Gheeraerts are not known. The most obvious candidate is his stepfather Simon Pieters. Art historians believe that he started his training with Simon Pieters and later worked in the workshop of his guardian Albert Cornelis. It is speculated that he may have had other masters but there is no agreement as to their identity. He likely trained outside Bruges to learn the craft of engraver, which was not generally practised at a high level in Bruges.  There is no information about Gheeraerts in the registers of the Sint-Lucas guild in Bruges for the period from 1522 to 1549. This absence has been interpreted as an indication that he left his hometown to study in Antwerp or abroad. From 1558 onwards a number of documents demonstrate that Gheeraerts was resident in Bruges. On 31 July 1558, he entered the artisan and saddle maker's guild of Bruges as a master painter. In the same year, he was elected second board member of the guild, suggesting that he already enjoyed considerable professional recognition. From April to September 1561 Gheeraerts was the first board member.  On 3 June 1558, Marcus Gheeraerts married Johanna Struve. The couple had three children, of whom two are known by name, a son later referred to as Marcus the Younger and a daughter called Esther. A third child died at a young age and was buried in 1561.  Gheeraerts developed a professional career as a painter, etcher and designer. He was active as a designer of heraldic motifs. On 10 September 1559, he was commissioned to provide designs for the tombs of Mary of Burgundy and Charles the Bold in the Church of Our Lady in Bruges. He drew the patterns for the lavishly decorated metal ornaments, the colorful coats of arms and two copper angels that were attached to the sides of the tombs. In 1561 Marcus Gheeraerts was commissioned to complete a triptych of the Passion of Christ that had been commenced by the prominent painter Bernard van Orley. The painting had remained unfinished after van Orley's death in 1542. Originally intended for the church of the monastery of Brou near Bourg-en-Bresse (Ain department, France), which Margaret of Austria had built, the triptych was transferred to Bruges after her death. Gheeraerts completed it. Margaret of Parma later decided to place the triptych in the Church of Our Lady in Bruges. Gheeraerts was further commissioned in 1561 to make a print depicting a map of his hometown. He completed the work in one year. The map is one of the earliest examples of a perspective city map that is correctly displayed. It is during this period that Gheeraerts most likely painted the (collection of the Memling museum in Old St. John's Hospital in Bruges).  Marcus Gheeraerts became involved in the Calvinist community in Bruges and became a leader of the local church community. Whereas Calvinism was initially tolerated, the religious persecution of Calvinists commenced in 1567 with the arrival of new governor of the Low Countries, the Duke of Alva. In 1566 he participated in protests against the arrest of Calvinists in Bruges. He reflected in his art on the religious turmoil and iconoclasm of his time. As a Calvinist and artist he seemed to have had mixed feelings about the Iconoclasm of his religious group: he condemned idolatry of images but did not agree with the wholesale destruction of religious images by the Iconoclasts. In 1566 or shortly after, he created a print referred to as the "Allegory of Iconoclasm" that shows a composite rotting head of a monk. The head appears to rise up from a rocky outcropping. Myriad little figures swarm over the rocks. They enact 22 different scenes that used to be denoted by alphabetical keys which have not survived. Inside the gaping mouth a diabolical mass is celebrated. On the pate of the head sits a pope-like figure under a canopy on a throne surrounded by bishops and monks. Indulgences and rosaries are pinned up on the staves and various rituals and processions take place and are labelled with letters. In the foreground Protestant iconoclasts are smashing altarpieces, religious sculptures, other church-related items and hurling them into a fire. The print is a condemnation of Catholic idolatry in all its forms and shows the Calvinists as cleansing the world of this perceived evil. Gheeraerts is believed to have followed up this print with more politically tainted prints, which resulted in 1568 in a prosecution for producing caricatures of the pope, the king and Catholicism. Fearing that he would be condemned to death in the criminal proceedings against him, Gheeraerts fled in 1568 to England with his son Marcus and his workshop assistant Philipus de la Valla. His wife and daughter remained in Bruges. The verdict in his case was pronounced at the end of 1568. He was convicted and the punishment was permanent banishment and forfeiture of his entire fortune.  Gheeraerts took up residence in London upon his arrival in England in 1568. He was joined by his daughter in May 1571 likely after her mother had died. After the death of his wife in Bruges, the artist married in England his second wife, Sussanah de Critz. His wife was a sister of Queen Elizabeth I's serjeant-painter, John de Critz, another Flemish painter who had fled to England.The couple had two daughters and one son. The only child surviving into adulthood, Sarah, later married the famous French-born English limner Isaac Oliver. Just as before in Bruges, Gheeraerts made drawings and etchings and continued his painting activities. As there was a keen demand for portrait paintings in England, Gheeraerts started to paint portraits, which he had not done while still in Flanders.  Art historians do not agree as to whether Gheeraerts returned to his native Flanders around 1577 to continue his career in Antwerp. In 1577 a 'Mercus Geeraert Painter' was registered as a master in the Guild of Saint Luke of Antwerp and paid registration fees for the years 1585 and 1586. It is not clear whether this Mercus referred to Marcus the Elder or to Marcus the Younger. Some art historians believe that Marcus the Elder registered in the Antwerp Guild in order to be able to legally work with Antwerp printers for the publications on which he worked. Others believe that he actually worked in Antwerp and point to the various publications printed in Antwerp on which he collaborated.  Marcus Gheeraerts had various pupils during his career. In 1563, 13-year-old Melchior d'Assoneville became an apprentice of Gheeraerts in Bruges. Melchior d’Assoneville later became a sculptor and decorative painter and while living in Mechelen he was the master of Hendrik Faydherbe. His workshop assistant Philipus de la Valla who fled with him to England may also have been a pupil of Gheeraerts although he is sometimes referraed to in contemporary records as a servant. It is not certain whether Marcus Gheeraerts the Elder was the teacher of his son Marcus the Younger. There are different views on this, but it is likely that he was but that his son also received training with other artists, who may have included other Flemish emigrants in England, such as Lucas de Heere and John de Critz. The date of death of Gheeraerts is not known but it must have been before 1599.

Work.

General.

Gheeraerts was a painter, draughtsman, print designer, etcher and ornamemtal designer. As many of his paintings were lost as a result of the Iconoclasm of the 16th century, he is now mainly known for his work as a printmaker and print designer. He was a keen innovator and experimented with etching at a time when woodcut and engraving were dominant techniques. For example, his 1562 birds-eye view of the town of Bruges was etched on 10 different plates, and the resulting map measures 100 x 177 cm.

Paintings.

Very few paintings have been attributed to Gheeraerts with much certainty. He did not sign any of his paintings. It is documented that he finished the triptych of the Passion of Christ that had been commenced by the prominent painter Bernard van Orley. The triptych was later damaged during the period of Iconoclasm and largely repainted in 1589 by Frans Pourbus the Younger during restoration work. It is not clear from the current state of the work, which parts were painted by which painter. It has been suggested that Bernard van Orley started the centre of the panel and that Marcus Gheeraerts completed the outer areas. A replica of the appeared on the art market (Hampel Fine Art sale of 27 June 2019, lot 551) and was attributed to Gheeraerts. Another version of the Lamentation also attributed to Gheeraerts is in the Saint Amands Church of Geel. The panel of the (Memling museum in Old St. John's Hospital in Bruges) has been attributed to Marcus Gheeraerts. The (Catharijneconvent Museum in Utrecht) has been attributed to Gheeraerts but this attribution is not uncontested.  Gheeraerts the Elder was known as a portrait painter. The traditional attribution to Gheeraerts of the, also referred to as the "Peace portrait" is still a matter of contention. The monogram “M.G.F.” on the portrait can apply to both Marcus Gheeraerts the Elder and his son Marcus the Younger. Some art historians regard it as a collaboration of father and son Gheeraerts. A (Blair Castle, Scotland) has also been attributed to Gheeraerts.  Two works depicting celebrations, the and (Hatfield House, Herefordshire), England), formerly attributed to Flemish artist Joris Hoefnagel, were attributed to Marcus Gheeraerts the Elder in 2015. An inscription on the first painting indicates it was painted on commission by the Flemish merchant Jacob Hoefnagel, a brother of Joris Hoefnagel and a resident of London. The inscription also mentions that Jacob Hoefnagel wanted the picture to depict all the fashions that could be seen in England. Gheeraerts followed this instruction by depicting the figures in costumes from England, France, Venice and other European countries. These costumes were based on a publication depicting various costumes compiled and illustrated by Flemish émigré artist Lucas de Heere. It is believed both paintings depict marriage celebrations. The location of the "Fête" is the river bank of the Thames while the "Festival" is placed in an imaginary landscape. In both paintings, a procession is moving from right to left headed by two men carrying large oval cakes, two violinists and a man bearing a vase with rosemary tied with ribbons. The faces of the figures are rendered with precision and are likely portraits of members of the Flemish community in England. The paintings may have been intended to showcase the dignity and piety of the Flemish émigré community in England and to assert their proper place in their adopted country. It is believed that the man looking at the viewer appearing in both paintings is a self-portrait of the artist Gheeraerts. Karel van Mander wrote in his "Schilderboeck" from 1604 that Gheeraerts was a good landscape painter, who "often had the habit of including a squatting, urinating woman on a bridge or elsewhere." A similar detail is seen in one of his fable illustrations and his map of Bruges. No landscape paintings by Gheeraerts' hand are currently attributed to him but some of his works such as the "Fête", the "Festival" and the contain important landscape elements.  The description of the art collection of Cornelis van Hooghendorp made at the end of the 16th century included five paintings by Gheeraerts. These included a landscape with cows, an allegorical representation with a "scene of the night when the devil sowed bad seed", a representation of "Mary on the flight to Egypt" and two paintings on parchment. In 1563 Marcus Gheeraerts also painted a triptych for the church of the friars minor recollect in Bruges.  The painting style of Gheeraerts was initially influenced by Bernard van Orley. After 1565 he followed the Italianate style of painting of prominent Antwerp history painter Maerten de Vos. His painting style is further close to that of the little-known Vincent Sellaer.

Prints.

Gheeraerts was active as a printmaker and print designer during his time in Flanders and in England. The best-known print works he created before he left for England are the map of Bruges, the "Allegory of Iconoclasm" (both discussed above) and the emblematic fable book "De warachtighe fabulen der dieren" ("The true fables of the animals").

De warachtighe fabulen der dieren.

This book was published in 1567 in Bruges by Pieter de Clerck. Marcus Gheeraerts etched the title page and the 107 illustrations for each fable that his friend, Edewaerd de Dene, had written in his local Flemish verse. Gheeraerts initiated and financed the publication, which was printed to the highest standards of its time as a luxurious object with three different fonts. Each fable takes up two facing pages: on the left-hand side the illustration is displayed headed with a proverb or saying and some verse underneath it while on the right-hand the fable and its moral are told. It was the first emblematic fable book and set a trend for similar books.  The principal source of the text in the book were "Les fables du très ancien Ésope" written by the French humanist Gilles Corrozet and published in Paris in 1542. A second source was the "Aesopi Phrygis et aliorum fabulae", a collection of fables in Latin that was published on the Antwerp printing presses of Christophe Plantin in various editions from 1660. A third source for the fables writings of natural history such as "Der Naturen Bloeme" (The Flower (i.e. choice) of Nature), a Middle Dutch natural history encyclopedia, written in the thirteenth century by the Flemish writer Jacob van Maerlant and the Dutch-language natural history compilation "Der Dieren Palleys" (The palace of the Animals), published in Antwerp in 1520. A final source for the fables are contemporary emblemata books such as the "Emblemata" of Andrea Alciato and an emblem of Joannes Sambucus. Illustrations made by Bernard Salomon for an edition of Aesop's fables published in Lyon in 1547 and a German edition with prints by Virgil Solis published in Frankfurt in 1566 were the basis for the motifs of Gheeraerts. He gave his subjects greater naturalism than these artists. About 30 images were Gheeraerts' own invention.  Gheeraerts added another 18 illustrations and a new title page for a French version of the "Fabulen" that was published in 1578 under the title "Esbatement moral des animaux". A Latin version, "Mythologia ethica", was published in the following year with a title page likely based on a drawing by Gheeraerts. The copper plates were used in books well into the 18th Century and the fable series was copied by artists all over Europe. Gheeraerts also etched a second series of 65 illustrations for the fable book "Apologi Creaturarum", which was published in Antwerp in 1584. However, the etchings were smaller than those of the first series and this book never achieved the same popularity as the original one. Gheeraerts' images were also used in publications until the 18th century in the Dutch Republic, Germany, France and Bohemia.

Marcus Gheeraerts the Elder, Marc Gerard and Marcus Garret (c. 1520 – c. 1590) was a Flemish painter, draughtsman, print designer and etcher who was active in his native Flanders and in England. He practised in many genres, including portraits, religious paintings, landscapes and architectural themes. He designed heraldic designs and decorations for tombs. He is known for his creation of a print depicting a map of his native town Bruges and the illustrations for a Dutch-language publication recounting stories from Aesop's Fables. His attention to naturalistic detail and his practice of drawing animals from life for his prints had an important influence on European book illustration. His son Marcus the Younger became a prominent court painter at the English court.

Marcus Gerards der Ältere (* etwa 1520/1521 in Brügge; † nach 1586 und vor 1604) war ein flämischer Renaissancemaler, Grafiker und Graveur.


Early years and education.

Edith Kertész-Gabry, born Edith Gáncz in Budapest, Hungary, studied at the Franz Liszt Academy of Music, and made her debut in 1951 at the Budapest National Opera. That same year, she married the conductor, István Kertész. After the Hungarian Revolution of 1956, Kertész-Gabry left Hungary and moved to Germany with her husband and young son.

Career.

Kertész-Gabry received an appointment to the Bremen Opera from where she moved on to Cologne in 1960. On 15 February 1965 she distinguished herself as a dramatic coloratura soprano in the lead role of Marie in the premiere of Bernd Alois Zimmermann's opera, "Die Soldaten". Zimmermann's four-act opera commissioned by the Cologne Opera is considered one of the most important and influential operas written in Germany since the second world war." In 1974 she performed this role once again in Zimmermann's shortened concertante version of his opera, the "".  Kertész-Gabry gave guest performances at various opera houses and festivals throughout Germany and abroad. During the earliest years of her singing career, she quickly expanded her repertoire to include Konstanze in the "Die Entführung aus dem Serail", Susanna in "The Marriage of Figaro", Fiordiligi in "Così fan tutte", Pamina in "The Magic Flute", Zerlina in "Don Giovanni", Mrs. Fluth in Otto Nicolai's "The Merry Wives of Windsor", the Baroness in Albert Lortzing's "Der Wildschütz", Sophie in "Der Rosenkavalier", Eva in Wagner's "Die Meistersinger von Nürnberg", Desdemona in Verdi's "Otello", Alice Ford in Verdi's "Falstaff", Antonia in Jacques Offenbach's "The Tales of Hoffmann", and Zerline in Daniel Auber's "Fra Diavolo". At the 1967 Salzburg Festival she performed, Silvia in Mozart's, "Ascanio in Alba". By then, her repertoire of operas from the 20th century also included, in addition to Marie in "Die Soldaten", Cardillac's daughter in Paul Hindemith's "Cardillac", and Luise in Hans Werner Henze's "Der junge Lord".  Since 1971, in addition to performing regularly with the Cologne Opera, Kertész-Gabry taught at the Folkwang-Musikschule. Before 1977 she received a teaching appointment at the Cologne University of Music. In 1988, she performed one of her last notable performances at the Schwetzingen Festival. There she sang the role of Berta in Rossini's "The Barber of Seville".

Death.

After a prolonged illness, Kertész-Gabry died in Cologne on February 10, 2012. She is survived by two children and five grandchildren.

References.

Further sources

Edith Kertész-Gabry (18 July 1927 – 10 February 2012) was a Hungarian soprano and professor of opera at the Cologne University of Music.

Edith Kertész-Gabry, eigentlich "Edith Gáncz" (* 18. Juli 1927 in Budapest; † 10. Februar 2012 in Köln) war eine ungarische Opernsängerin (Sopran) und Hochschullehrerin. Bekannt wurde sie als erste Marie in Bernd Alois Zimmermanns Oper "Die Soldaten".