Martha and the Vandellas original version.

Background.

The original version of "Dancing in the Street" by Martha and the Vandellas was produced in 1964 by William "Mickey" Stevenson and released as a single on the Gordy Records label. The song was written by Stevenson, Ivy Jo Hunter, and Marvin Gaye. The song highlighted the concept of having a good time in whatever city the listener lived. The idea for dancing came to Stevenson from watching people on the streets of Detroit cool off in the summer in water from opened fire hydrants. They appeared to be dancing in the water. The song was conceived by Stevenson who was showing a rough draft of the lyrics to Gaye disguised as a ballad. When Gaye read the original lyrics, however, he said the song sounded more danceable. With Gaye and Stevenson collaborating, the duo composed the single with Kim Weston in mind to record the song. Weston passed on the song and when Martha Reeves came to Motown's Hitsville USA studios, the duo presented the song to Reeves.  Reeves recounted that she initially regarded the song as too repetitive. Gaye and Stevenson agreed and including new Motown songwriter Ivy Jo Hunter adding in musical composition, the song was recorded in two takes. The song's writers made sure to include Detroit as one of the cities mentioned with the lyric: "Can't forget the Motor City".

Civil rights anthem.

The song took on a different meaning when riots in inner-city America led to many young black demonstrators citing the song as a civil rights anthem to social change which also led to some radio stations taking the song off its play list because certain black advocates such as H. Rap Brown began playing the song while organising demonstrations.  "Dancing in the Street" had two meanings. The first is the one Martha Reeves asserted to reporters in England. "The British press aggravated Reeves when someone put a microphone in her face and asked her if she was a militant leader. The British journalist wanted to know if Reeves agreed, as many people had claimed, that "Dancing in the Street" was a call to riot. To Reeves, the query was patently absurd. 'My Lord, it was a party song,' she remarked in retrospect" (Smith 221). While Berry Gordy had created the Black Forum label to preserve black thought and creative writing, he kept the Motown record label and the popular hits it produced from being too political. "Berry Gordy Jr. was extremely wary about affiliating his business with any organization of movement that might negatively influence his company's commercial success" (Smith 230).  "Motown records had a distinct role to play in the city's black community, and that community—as diverse as it was—articulated and promoted its own social, cultural, and political agendas. These local agendas, which reflected the unique concerns of African Americans living in the urban north, both responded to and reconfigured the national civil rights campaign" (Smith 227). The movement lent the song its secondary meaning and the song with its second meaning fanned the flames of unrest. This song (and others like it) and its associated political meanings did not exist in a vacuum. It was a partner with its social environment and they both played upon each other creating meaning that could not have been brought on by one or the other alone. The song therefore became a call to reject peace for the chance that unified unrest could bring about the freedom that suppressed minorities all across the United States so craved.

Reception.

"Dancing in the Street" peaked at No. 2 on the US "Billboard" Hot 100 chart when it was originally released as the group's third album "Dance Party"'s first single in 1964 (see 1964 in music), with "There He Is (At My Door)" included as a B-side. It was kept from the top spot by, "Do Wah Diddy Diddy" by Manfred Mann."Dancing in the Street" also reached the Top 5 on the UK Singles Chart peaking at No. 4 in a 1969 release after initially peaking at No. 28 on the chart and helped to revive the Vandellas' success in the UK.  On April 12, 2006, it was announced that Martha and the Vandellas' version of "Dancing in the Street" would be one of 50 sound recordings preserved by the Library of Congress to the National Recording Registry. Lead singer Martha Reeves said she was thrilled about the song's perseverance, saying "It's a song that just makes you want to get up and dance".  In 2013, the original Motown recording was remixed for club and summer celebration airplay by Minneapolis' Billboard charting producer/remixer Joel Dickinson as well as Danny Shaffer.  "Billboard" named the song No. 29 on their list of 100 Greatest Girl Group Songs of All Time.

Weekly charts.

U.S. [{Cash Box R&B Charts}] 8

The Mamas and the Papas version.

Background.

In 1966, the folk rock group, the Mamas & the Papas, recorded a cover version of the song "Dancing in the Street," which was taken from their second studio album "The Mamas and the Papas". Mama Cass Elliot sang the lead vocal, while the other members did their harmonies in the background. This version featured an instrumental section. The song's ending is humorous, which featured Elliot and Papa Denny Doherty having a dialogue listing the cities in both the United States, as well as Halifax, Nova Scotia, Canada, where Doherty was from, before the song's fade. At the Monterey Pop Festival in 1967, the Mamas and the Papas ended their set with "Dancing in the Street" before Elliot told the audience at the festival: "You're on your own.""cause we're sure on ours." This was the last time that the group performed live in concert.  "Dancing in the Street" was produced by Lou Adler and issued as the B-side of the single "Words of Love" on the Dunhill Records label. It reached No. 73 on the "Billboard" Hot 100 chart.  In 1969, Cass Elliot covered the song on her television special, "The Mama Cass Television Program".

Grateful Dead version.

The rock band Grateful Dead began performing "Dancing in the Street" live in 1966, and through 1971 played the song about 40 times, with Bob Weir singing lead before the song was shelved for several years. The song returned to their rotation in 1976 with Bob Weir taking the lead vocal, and was played about 80 more times before being retired in 1987. Live recordings from both periods have been released. In that second period, the group recorded a cover version of the song in the studio, and released it as a single taken from their 1977 album "Terrapin Station". This version is credited to Stevenson, Gaye, and Hunter, but is titled "Dancin' in the Streets" rather than "Dancing in the Street".  Bassist Phil Lesh has described "Dancing in the Street" as the first song the band stretched out in the live setting from a short pop song into drawn out improvisational jam piece, a practice that would become a Grateful Dead signature.

Black Oak Arkansas version.

The American southern rock band Black Oak Arkansas recorded a cover version of "Dancing in the Street", and released it as a single in 1974, taken from their 1974 studio album "Street Party".

Van Halen version.

Background.

The American rock band Van Halen recorded a cover version of "Dancing in the Street" in 1982. This version features heavy use of the electric guitar, played by Eddie Van Halen. Speaking about the cover, group member David Lee Roth said: "It sounds like more than four people are playing, when in actuality there are almost zero overdubs—that's why it takes us such a short amount of time [to record]." Group member Eddie Van Halen, discussing the cover and discussing his synthesizer part in the track, said: "It takes almost as much time to make a cover song sound original as it does writing a song. I spent a lot of time arranging and playing synthesizer on 'Dancing in the Streets,' and they [critics] just wrote it off as, 'Oh, it's just like the original.' So forget the critics! These are good songs. Why shouldn't we redo them for the new generation of people?"

Reception.

Van Halen released "Dancing in the Street" as the second single from their 1982 studio album "Diver Down". Their version attracted decent commercial success, reaching the top 40 on the US "Billboard" Hot 100 chart and becoming a top 15 hit on the Canadian Singles Chart.

David Bowie and Mick Jagger version.

Background.

A hit cover version of "Dancing in the Street" was recorded by the English rock icons Mick Jagger and David Bowie as a duo in 1985, to raise money for the Live Aid famine relief cause. The original plan was to perform a track together live, with Bowie performing at Wembley Stadium and Jagger at John F. Kennedy Stadium, until it was realized that the satellite link-up would cause a half-second delay that would make this impossible unless either Bowie or Jagger mimed their contribution, something neither artist was willing to do.  In June 1985, Bowie was recording his contributions to the "Absolute Beginners" soundtrack at Westside Studios with Clive Langer & Alan Winstanley, and so Jagger arranged to fly in to record the track there. A rough mix of the track was completed in just four hours on June 29 1985. Thirteen hours after the start of recording, the song and video were completed. Jagger arranged for some minor musical overdubs with Steve Thompson and Michael Barbiero in New York City.  The single version (Bob Clearmountain mix) is slightly different to the version used on David Bowie's "Best of Bowie" compilation and others, with the vocals and guitar brought out more and a slightly shorter intro.

Reception.

The David Bowie and Mick Jagger recording of "Dancing in the Street" was issued as a single on EMI, with all profits going to the charity. The song topped the UK Singles Chart for four weeks, and reached No. 7 in the United States on the "Billboard" Hot 100 chart. Bowie and Jagger would perform the song once more, at the Prince's Trust Concert on June 20, 1986. The song has been featured since on several Bowie compilations. In 1988, US TV network ABC used a sample of this song, to promote their 1988–1989 campaign, but under the name ""Something's Happening"", which is the second year they used the same name, the first time being for the 1987–1988 campaign.  In 2011 it was voted the eighth-best collaboration of all time in a "Rolling Stone" readers poll. In a survey conducted by PRS for Music, the song was voted as the top song the British public would play at street parties in celebration of the 2011 Royal Wedding of Kate Middleton and Prince William.

Music video.

The pair went to Spillers Millennium Mills in London to film a video with director David Mallet. The music video was shown twice at the Live Aid event. It was also shown in movie theaters before showings of "Ruthless People", for which Jagger had recorded the theme song.

Myra version.

It was Myra's cover of "Dancing in the Street" for the 2001 Disney film "" that really sparked the first Latina Pop singer signed to Walt Disney Records. She would then re-record the song in Spanish, titled "Bailando en la Ciudad", in 2002 for the Disney Channel original movie, "Gotta Kick It Up!" This version was also included on the Spanish edition of her debut album, "Milagros."  The English version of the cover song was accompanied by a music video directed by Scott Marshall and choreographed by Darrin Henson. The music video was shot against a black & white studio background in Los Angeles, California, with Myra and her background dancers dancing with a disc jockey playing music with records. Another version was made in which the video is interlaced with clips of the "Green Tambourine" closing sequence of the movie and Myra performing against a bluescreen displaying clips of the film; this version was featured at the end of the VHS release of the film.

Legacy.

"Street Fighting Man", a 1968 song from the Rolling Stones, slightly modifies a signature line from "Dancing in the Street" to be: "Summer's here and the time is right for fighting in the street."

"Dancing in the Street" is a song written by Marvin Gaye, William "Mickey" Stevenson and Ivy Jo Hunter. It first became popular in 1964 when recorded by Martha and the Vandellas whose version reached No. 2 on the "Billboard" Hot 100 chart and peaked at No. 4 in the UK Singles Chart. It is one of Motown's signature songs and is the group's premier signature song. A 1966 cover by the Mamas & the Papas was a minor hit on the Hot 100 reaching No. 73. In 1982, the rock group Van Halen took their cover of "Dancing in the Street" to No. 38 on the Hot 100 chart and No. 15 in Canada on the "RPM" chart. A 1985 duet cover by David Bowie and Mick Jagger charted at No. 1 in the UK and reached No. 7 in the US. The song was also covered by The Kinks, Grateful Dead, Carpenters and Black Oak Arkansas.

Dancing in the Street est une chanson américaine écrite par William Stevenson, Ivory Joe Hunter et Marvin Gaye. La chanson a connu plusieurs interprétations importantes, la première étant celle de Martha and the Vandellas en juillet 1964 chez Motown records sous le label Gordy. Il s'agit d'un titre emblématique des débuts de la Motown, et c'est aussi le titre qui a fait connaitre Martha Reeves et son groupe.


Geography.

Flandreau is located at (44.047855, −96.596417), along the Big Sioux River.  According to the United States Census Bureau, the city has a total area of, of which, is land and is water.  Flandreau has been assigned the ZIP code 57028 and the FIPS place code 21540.

Demographics.

2010 census.

As of the census of 2010, there were 2,341 people, 973 households, and 583 families living in the city. The population density was. There were 1,091 housing units at an average density of. The racial makeup of the city was 64.2% White, 0.5% African American, 27.7% Native American, 2.3% Asian, 1.5% from other races, and 3.8% from two or more races. Hispanic or Latino of any race were 3.5% of the population.  There were 973 households of which 29.4% had children under the age of 18 living with them, 39.6% were married couples living together, 12.8% had a female householder with no husband present, 7.5% had a male householder with no wife present, and 40.1% were non-families. 34.5% of all households were made up of individuals and 15.8% had someone living alone who was 65 years of age or older. The average household size was 2.35 and the average family size was 3.00.  The median age in the city was 38.4 years. 25.9% of residents were under the age of 18; 8.2% were between the ages of 18 and 24; 22.3% were from 25 to 44; 25.1% were from 45 to 64; and 18.6% were 65 years of age or older. The gender makeup of the city was 47.3% male and 52.7% female.

2000 census.

As of the census of 2000, there were 2,376 people, 986 households, and 605 families living in the city. The population density was 1,370.9 people per square mile (530.3/km). There were 1,090 housing units at an average density of 628.9 per square mile (243.3/km). The racial makeup of the city was 70.62% White, 0.46% African American, 24.92% Native American, 1.22% Asian, 0.08% from other races, and 2.69% from two or more races. Hispanic or Latino of any race were 1.05% of the population.  There were 986 households out of which 30.5% had children under the age of 18 living with them, 43.6% were married couples living together, 12.7% had a female householder with no husband present, and 38.6% were non-families. 34.3% of all households were made up of individuals and 18.5% had someone living alone who was 65 years of age or older. The average household size was 2.35 and the average family size was 2.96.  In the city, the population was spread out with 26.4% under the age of 18, 8.7% from 18 to 24, 24.2% from 25 to 44, 20.0% from 45 to 64, and 20.8% who were 65 years of age or older. The median age was 38 years. For every 100 females, there were 88.9 males. For every 100 females age 18 and over, there were 84.1 males.  As of 2000 the median income for a household in the city was $31,090, and the median income for a family was $40,272. Males had a median income of $26,369 versus $19,738 for females. The per capita income for the city was $15,895. About 9.8% of families and 12.2% of the population were below the poverty line, including 18.2% of those under age 18 and 10.9% of those age 65 or over.

Early history.

The British established a Hudson's Bay Company trading post in 1763 near present-day Flandreau.  The town of Flandreau, or possibly Flandreau, was originally settled in 1857, and named for U.S Indian Agent Charles E. Flandrau. The settlement, like others in the region was abandoned within a year, as a result of threatening activities of the Yankton Sioux. In 1869, the town was resettled by twenty-five families of Christianized Sioux from the Santee reservation. White settlement resumed in 1872. When Moody County was organized in 1873, Flandreau was made the county seat. Richard F. Pettigrew of Sioux Falls, a relative of Pettigrew settlers in Flandreau, made the establishment of an Indian School at Flandreau part of his successful 1889 campaign for the U.S. Senate; the Riggs Institute was opened in 1892 and is today known as the Flandreau Indian School.

Flandreau is a city in and county seat of Moody County, South Dakota, United States. The population was 2,341 at the 2010 census. It was named in honor of Charles Eugene Flandrau, a judge in the territory and state of Minnesota, who is credited with saving the community of New Ulm, Minnesota, from destruction during conflict with the Sioux tribe in 1862.

Flandreau (en anglais ) est une ville américaine, siège du comté de Moody, dans l’État du Dakota du Sud. Sa population était de au recensement de 2010. La municipalité s'étend sur une superficie de.


Nature.

Oulanka National Park is a unique and versatile combination of northern, southern and eastern nature. The landscape is made up of pine forests, river valleys with sandy banks and rapids, and in the north of vast mires. It has a unique river ecosystem and is an example of untouched and unlogged boreal forest, close to the arctic circle, which is protected by World Wide Fund for Nature from intensive reindeer herding. The area is rich in animal and plant species, even endangered ones. Near the visitor's center is the Oulanka Research Center, which is part of the Thule Institute and was established in 1966 to facilitate research in biological and geological sciences. The research center also offers its facilities to visiting tourists or hikers, during the less busy seasons.  Along with the rugged geography and the varied microclimates, the location of the park is also one of the main reasons for the great variety of plants and trees, with more than 500 vascular plant species in the area. There is an overlap between northern and southern species in terms of their distribution, and numerous species in the east of Finland have their westernmost outposts here. Oulanka has a nutrient-rich soil, which makes it ideal for the rare and demanding flora that is found here. The Oulanka River Valley was a very important dispersal route for various species coming from eastern Finland, after the last Ice Age. In late summer, the park is abound with bilberries and mushrooms, and wild orchids are one of the most popular flowers in the area.  Riverbeds and alluvial meadows are home to rare species of butterflies, and more than a hundred different bird species have their home in the park. Most meadows are managed in a traditional manner, and reindeer herding continues to thrive within the park, although it is restricted to people from Lapland. In the park there are also rare birds such as the Siberian jay and capercaillies, which are fond of the herb-rich forests in the park. Endangered species such as bear, lynx and wolverine also find their home in Oulanka, along with moose and other game.

Hiking.

Oulanka is one of the most popular national parks in Finland. The most well-known Finnish trekking route, Karhunkierros (80 km), is located in the national park, and is accessible all year round. Other routes include the Pieni Karhunkierros Trail (12 km), Keroharju Hiking Trail (17 km) and other smaller nature trails such as the Rytisuo Nature Trail (5 km), Hiidenlampi Nature Trail (5 km), and the Kiutaköngäs Day-trip Trail (8 km). There are various camping areas, designated fireplaces, wooden cabins and boats which are available to the public. There are also some winter trails, which include the Rytisuo Snowshoeing Trail (7.5 km) or the Oulanka Wilderness Trail, from Juuma to Kiutaköngäs (26 km) which can be also explored with skis, snowshoes or even snowmobiles. Other activities include canoeing or cycling through some routes. Visitors are allowed to pick berries and mushrooms, but are not allowed to hunt game or fish without a license.

Oulanka National Park () is a national park in the Northern Ostrobothnia and Lapland regions of Finland, covering. The park was established in 1956 and was expanded in 1982 and 1989. It borders the Paanajärvi National Park in Russia. The first inhabitants in the area were Sami people from Lapland who lived here until the end of the 17th century, which was when they had to give way to Finnish settlers. Although hunting, fishing and later farming was the primary occupation of the people who lived there, today the most notable activity in Oulanka is tourism. From the 1930s, the Finnish Tourist Association kept boats on the river and renovated the wooden cabins found across the park for accommodation purposes. These cabins can be used free of charge by any hikers in the area, given that they follow some basic guidelines and rules regarding the state of the cabins, the wood supply, and protecting the surrounding nature.

Le Parc national Oulanka () est un parc naturel de situé en Finlande au niveau du cercle polaire arctique. Il est situé près d'une grande station de ski entre deux villes de la province d'Oulu : Ruka et Kuusamo.


History.

Tapiola was one of the first post-war "new town" projects in Continental Europe. It was created by a private non-profit enterprise called Asuntosäätiö (the Housing Foundation), which was established in 1951 by six social trade organisations including the Confederation of Finnish Trade Unions, the Central Organisation of Tenants, the Mannerheim Child Welfare Federation, the Finnish Federation of Civilian and Military Invalids and the Civil Servants' Federation.  The project was conceived, built and managed by Heikki von Hertzen, the executive of the Asuntosäätiö and garden city advocate. Under Von Hertzen's leadership, the Housing Foundation bought 660 acres of forest land, six miles from the centre of Helsinki, and set out to create an ideal garden city. The role of the Housing Foundation included financing the project and overseeing the planning and building process so as to ensure consistency within different areas of the town. The Housing Foundation's unique combination of various socio-political organisations facilitated the negotiation of funds with governmental bodies. Von Hertzen set out to create a modern urban environment that would address the housing shortage in Helsinki and would be both economically viable and beautiful. Tapiola did not form part of any wider plan for Finland’s development other than von Hertzen’s Seven Towns Plan, a response to urban sprawl in Helsinki.  The original city plans for Tapiola were made by Otto-Iivari Meurman. Later, the Housing Foundation made significant changes to the plans, and handed planning of Tapiola over to a group of prominent Finnish architects, including Aarne Ervi, Alvar Aalto, and Kaija Siren. Each member of the group designed their own part of the area and its buildings, including social housing blocks (80% of all dwellings) and individual houses.  The planners of Tapiola were convinced that no one professional group could solve the manifold problems of modern community planning; planning has to be highly skilled and strictly directed teamwork at all levels. Tapiola is a result of close teamwork in the fields of architecture, sociology, civil engineering, landscape gardening, domestic science, and youth welfare.  The name of the garden city itself was chosen through a public competition in 1953. The winning name was suggested by eleven different people, which in Finnish means the home of the Tapio, the forest god from The Kalevala.  Tapiola is also the cultural centre of Espoo, as it houses the Espoo cultural centre (home of the Tapiola Sinfonietta), the city museum (in the WeeGee house), and the Espoo City Theatre. The Tapiola library is located in the cultural centre.

Urban planning.

Tapiola brought worldwide fame for Finnish urban planning. From its first stages it gained both a national and international reputation for its high class architecture and landscaping, as well as an ideological experiment. Tapiola's planners aimed at demonstrating a new direction for Finnish town planning and housing. The aim of the Housing Foundation was to create a garden city which would be a microcosm of Finnish society: all social classes would live there and there would be different types of buildings, ranging from detached houses to terraced and multi-storey blocks. The slogan of the project was: "we do not want to build houses or dwellings but socially healthful surroundings for contemporary man and his family". Tapiola provided a utopian vision of society and an alternative to what was seen at the time as an oppressive urban environment. In this sense, Tapiola was both an experiment and a model.  Tapiola was built on the principles of Ebenezer Howard's garden city. The founder of Tapiola, Heikki von Hertzen, believed that it was not possible to create a satisfactory residential centre if the population density exceeds a certain figure. Hertzen's vision for Tapiola, which was originally planned for an area of 600 acres, was to have only 26 residents per acre, and a total of 15,000 people. The ground was divided into four neighbourhood units, separated by green belts, and in the middle was built a main shopping and cultural centre to meet the needs of 30,000 inhabitants (including those of surrounding districts) (Hertzen 1959). An important feature of the Tapiola and garden cities is the development of a self-contained community. This meant that as many jobs as possible had to be provided – as many as could be at a distance of less than 10 km from Helsinki.  The architects commissioned to plan Tapiola had also been influenced by Le Corbusier and other propagandists of Modernism, and thus their urban ideals also included tower blocks forming impressive silhouettes, as well as a dense method of building. The various residential units which made up Tapiola compromise multi-storey blocks and individual homes, either detached or in rows, introducing a note of variety in the neighbourhood and allowing for the mixing of residents. Combining the architecture of modernism and the ideology of the garden city movement is credited for the huge interest in Tapiola's planning history.  The main planning features on which Tapiola was built, as synthesised from Von Hertzen's writings, are summarised below:

Neighbourhoods.

The development of Tapiola occurred in several stages: the eastern neighbourhood 1952 – 1956, the western neighbourhood, 1957-1960, the town centre 1958-1961-1970, the northern neighbourhood 1958-1967, the southern neighbourhood 1961-1965. Planning in Tapiola commenced with architect, Otto-Iivari Meurman's site plan and building schedule which were reviewed from 1951 onwards. His original plan detailed four neighbourhoods split by two crossing roads and set apart by green belts.  Architects Aarne Ervi, Viljo Revell, Aulis Blomstedt and Markus Tavio were charged with designing the eastern neighbourhood based on Meurman's plan. They were required to design buildings suited to the surrounding environment and the topography of the area.  A housing team was created to appraise the architects' housing designs; this process occurred more frequently during the development of the eastern neighbourhood. Team members were from a wide range of fields and included a building engineer, a heating engineer, two independent architects, an electrical engineer, a landscape gardener, a domestic science expert, a child welfare expert, a sociologist, and a housewife. This unique team, coupled with the board of the Housing Foundation, assessed housing designs, taking into consideration the needs and desires of future residents from a diverse range of backgrounds. The parties had different beliefs and values, which sometimes led to disagreements, for example the Housing Foundation was concerned with economising whilst the home-economics experts were chiefly concerned with the needs of families. Thus planning in Tapiola was collaborative and proactive as it involved targeting specific family types and classes, deciding on an ideal lifestyle for these residents, which accordingly influenced their behaviours. Many dwellings were designed to house a specific family-type and lifestyle. For example, it was perceived to be ideal to have families with children reside in dwellings, at or close to ground level in order for the children to have better access to the outdoors and to parks, whilst a tower block with one-room flats was designed to accommodate childless couples.  Meurman resigned from the board of governors of the Housing Foundation in 1954 following a shift from developing a town with low population density (six persons per acre) and low-rise buildings dwellings, as advocated by Meurman, to more multi-storey buildings and a higher population density (30 persons per acre) as recommended by other architects and the Housing Foundation. This shift was prompted by the need to accommodate a larger population, triggered by the housing shortage in Finland. Ervi took up Meurman’s position as master planner.  The development of the eastern neighbourhood led to the implementation of important planning principles such as providing facilities that encourage interaction and foster a sense of community as well as the separation of vehicles and pedestrians. It was also deemed necessary to have a mixture of building types located within the one area to encourage social diversification. The eastern and western residential areas of Tapiola featured curved streets with lots of varying sizes and positions, whilst the northern neighbourhood designed by architect Pentti Ahola, marked a return to the orthogonal grid plan. Ahola's design however, reflected the original aims of Tapiola; that of encouraging social diversification by locating a variety of building types within the one area. Financial concerns affected the development of the western area of Tapiola, leading to the construction of housing units that were economically feasible.  In 1953 Aarne Ervi was awarded the commission to plan the town centre. The aim of the town centre's design was to provide all the facilities necessary for a modern urban centre and to maximise social interaction. The centre included a market square, public square, church, public premises, businesses and an administration building. As with the other areas of Tapiola, the centre was designed with consideration for the site's features and terrain as well as to provide an active and versatile environment for pedestrians. Roads surrounded the central area producing a modern design completely separate from vehicles and featuring a special route for pedestrians and cyclists only (Tapionraitti). Ervi ensured the centre preserved the garden-city character of Tapiola by locating the buildings around an artificial lake, however this plan was considered strange and criticised for its lack of density. The centre was later expanded with a pedestrian based shopping centre linked to the Tapionraitti, notable for its undercover, outdoor pathways. Later developments showed less consideration for the natural surroundings, though most developments respected the dominance of the existing buildings. Tapiola's centre did not expand to such an extent as to rival Helsinki.

Espoo.

The building of Tapiola and other areas of Espoo was largely influenced by funding from the state. Without state funds, the construction would not have been possible; however the state imposed restrictions on average and maximum size of the apartments and so on.  In the 1980s, the state of Finland demanded that this all be given, free of charge, to the city of Espoo against the residents' opinions. Espoo decided that the center of Tapiola and the area with the main offices of the Metsä Group, Finnforest, Vapo, the main user of the peat energy in Finland, Metsä Board (formerly Metsä Botnia), the Central Union of Agricultural Producers and Forest Owners (MTK) and Tapiola Constructing and Insurance company here, the Tapiola Bank company, is not the real Tapiola and may be constructed neglecting all garden city principles. This applied also to the Tapiola Garden hotel constructed by the Tapiola Bank and managed by HOK Elanto.  Originally, nature was a valuable part of Tapiola. During the last years new high-rise buildings, new shopping areas and underground car parks were situated in the place of massive bedrock. Car parking free of charge has been promised for everybody in the center to promote the private use of cars. The cost is estimated as €30,000-€50,000 per car. The International Association of Public Transport recommends ensuring the management of all costs of private cars to the users instead of tax payers. According to the International Association of Public Transport the restriction of car parking in the cities is the most effective way to promote public transport.

Services.

Finland's first shopping centre, Heikintori, was opened in Tapiola in 1968. The Tapiola centre has a large selection of services: a department store (Stockmann), a book store (Akateeminen kirjakauppa), groceries (K-Supermarket, Stockmann Herkku), Alko, a post office, banks (Nordea, Danske Bank, Aktia, Osuuspankki, Ålandsbanken, Handelsbanken and Nooa Säästöpankki), photography stores, barber's shops, and other small businesses. Public services include the Tapiola health centre, a library, an employment bureau, and the Espoo tax bureau.

Public transportation.

Public transport in Tapiola consists of buses and the metro maintained by the Helsinki Regional Transport Authority. The Tapiola metro station, a station of the Helsinki Metro, opened as a part of Länsimetro (the Western Metro Extension) in November 2017.

Sports services.

The Tapiola centre houses a swimming pool and the Tapiola bowling alley. Near the centre is also the Tapiola tennis park. In the Tuulimäki defense shelter there are premises for wrestling, judo, shooting (air guns and archery), table tennis, gymnastics and fencing. There is also a boxing ring in connection to the Tuulimäki gymnasium. In western Tapiola there is the Tapiola sports park, housing the ice hockey rink, skating rink and the tennis centre. The name Tapiola comes from a competition held by the apartment foundation. The lands originally belonged to the Hagalund mansion.

Buildings.

In the centre of Tapiola, next to the central pool, there is the Tapiola Garden hotel, designed by Aarne Ervi. In autumn 2005, the highest wooden office building in Europe, called the Modular-office, was built in southern Tapiola by next to the Länsiväylä highway. The building is operated by Finnforest. Tapiola is also the name of a Finnish insurance company, presumably from the location of its headquarters. Among other major companies headquartered in Tapiola are Huhtamäki and M-real.  In Otsolahti in eastern Tapiola, there is a small boat harbour for motor boats. The Itäkartano area east of the Tapiola centre is famous for its apartment buildings built in the 1950s, visited by architects from all around the world. The Itäkartano centre operated as the centre of the whole district of Tapiola before the current central area was built. Remnants of this central role include Tapiola's cinema, Kino Tapiola, by the Mäntyviita street, and office apartments. The area belongs to the Finnish museum bureau's list of significant cultural environments. The highest, oldest, and most significant building in the area is the white, 11-storey-high Mäntytorni building.  To the north of Tapiola centre is a central park, Silkkiniitty, a large grass field reaching to Pohjois-Tapiola. It is popular among sportspeople and sunbathers.  According to the Finnish museum bureau, Tapiola is a unique phenomenon in the world. According to the bureau, new proposed changes to the city planning threaten the existence of this cultural heritage.  The WeeGee house, designed by architect Aarno Ruusuvuori and completed in 1964, is the former printing house of the Weilin+Göös publishing house. It currently hosts the Espoo Museum of Modern Art (EMMA), the Espoo City Museum, the Helinä Rautavaara Museum, the Finnish Museum of Horology, the Finnish Toy Museum, Galleria AARNI, and other cultural institutions.  Tapiola has its own metro station, the Tapiola metro station. The station was opened in November 2017.

Controversies.

The founder of the Garden City Tapiola, Heikki von Hertzen, considered suing the insurance company Tapiola in 1981 for stealing the trade name of Tapiola. The Garden City had used substantial resources in advertisement. Herzen was afraid the insurance company might shorten its name by dropping the word, "insurance", and this became also a fact for years in all advertisements in the buildings and newspapers.

Tapiola (; ) is a district of the municipality of Espoo on the south coast of Finland, and is one of the major urban centres of Espoo. It is located in the western part of Greater Helsinki. The name "Tapiola" is derived from "Tapio", who is the forest god of Finnish mythology, especially as expressed in "the Kalevala".

Tapiola ("Hagalund" en suédois) est une cité-jardin qui forme un quartier de Espoo sur la côte sud de Finlande. Tapiola fait partie de la partie ouest du grand Helsinki.


Biography.

Early life.

Yui was born in Fukuoka, Japan. The "Associated Press" has reported that her full name is Yui Yoshioka.  She grew up in a single-parent family, her father leaving her mother when she was three. Growing up, Yui asserted that she had always been close to music, as she would remember the beats from music she heard on the radio, and would be able to sing it. During elementary school, Yui thought she would like to become a singer. Self-described as shy and horrible at talking to others as a child, she would play outside by herself in mountains, rivers, by the sea and in rice paddies.  During her third year in primary school, she was influenced by her mother to begin writing a journal of her feelings and tried to compose them into poems. By the time Yui attended high school, she began to write songs, thinking of that as being able to express herself little by little. While in high school, she worked part-time at a Chinese restaurant to help pay for tuition. Between music, school and work, however, she only had one or two hours of sleep, and believed she no longer had the time to realize her dreams of a music career. She subsequently became ill; however, it was at the hospital that she was overwhelmed with the desire to make music, and finally decided that school and music could not coexist.  Soon after leaving the hospital, she got a chance to see her first live street performance. She expressed a desire to pursue a musical career to the band, Bianco Nero, at the end of the concert. The band advised Yui to join a private music school, "juku". Despite the social norm of finishing school in Japan and discouragement from her teachers, Yui did not hesitate to drop out of high school and began to study guitar and songwriting at the music cram school "Voice" in her hometown of Fukuoka. Aspiring to become a professional, she took to street performing at Fukuoka's Tenjin Station. These street performances helped Yui to overcome her shyness.

Initial career.

Yui's professional career began in March 2004 when, at the recommendation of her cram school instructors, she applied for an audition hosted by Sony Music Japan. Although instructed that a participant could only perform two songs, she first sang "Why Me" (a song later included in her debut Sony Records single), followed by "It's Happy Line," and then half of "I Know", performing the unfinished third song because she wanted the judges to hear a song full of hope.  The judges gave her the maximum score. Although "I Know" was incomplete at the time, the judges were able to get a glimpse of what would later be dubbed, or Yui-speak, nonsensical English hummed to a tune during her songwriting process. An example of Yui-go can be found in the film "Song of the Sun."  On December 24, 2004, Yui released her debut single, "It's Happy Line", under the indie label Leaflet Records, coupled with the track "I Know," although the pressing was limited to only 2,000 copies in her home area.

"From Me to You" (2005–2006).

Upon leaving her hometown in Fukuoka for Tokyo, Yui wrote the song "Feel My Soul" as a tribute to her hometown. Although she initially had planned its release on an indie label, Fuji Television producer Yamaguchi was so inspired by Yui's voice that he insisted on having her work on the music for his primetime drama "Fukigen na Gene," prior to releasing a major single. The music in "Fukigen na Gene" was eventually based on her songs "Feel My Soul" and "It's Happy Line."  On February 23, 2005, Yui released her first major debut single "Feel My Soul." With the publicity the drama tie-in drew in, "Feel My Soul" managed to sell over 100,000 copies and managed to chart at number 8 on Oricon Weekly Charts in its first week. Her next three singles, "Tomorrow's Way" (theme song for the movie "Hinokio"), "Life" (5th ending theme for the "Bleach" anime), and "Tokyo" did not chart as high as "Feel My Soul", and were only moderately successful in comparison. Yui released her debut album on February 22, 2006, titled "From Me to You", a moderate success that debuted at number 4 on the Oricon charts, charting for 121 weeks.

"Can't Buy My Love" (2006–2007).

Yui made her acting debut in the full-length feature film "Song of the Sun" (Taiyou no uta, タイヨウのうた), which opened on June 17, 2006. The film was screened at the 2006 Cannes Film Festival. She had a unique way of approaching her role, such as imagining unscripted conversations between other characters and hers as well as staying in her character's room and fitting the aberrant sleeping patterns of her character to give herself a sense of her role. Yui attended the Japan Academy Prize, winning Best Newcomer Award for "Midnight Sun". Prior to the release of the movie, Yui released her fifth single "Good-bye Days," written specifically for the film. The single is her highest selling single, with more than 200,000 copies sold. All three tracks on the single are featured in "Midnight Sun". The single also re-released the track "It's Happy Line," originally released on her debut single.  Yui's next single, "I Remember You", did well in terms of sales, riding on the wave of the popularity of "Good-bye Days". Yui's seventh single "Rolling Star" was chosen as the 5th opening theme for the "Bleach" anime. Her eighth single, "Cherry" was featured in commercials promoting KDDI, a Listen Mobile Service.  She released her second album "Can't Buy My Love" on April 4, 2007. The album spent two weeks at number 1 on the Oricon charts, breaking her entire previous album's record sales in one week. "Can't Buy My Love" managed to sell over 680,000 copies. Due to the success of "Can't Buy My Love", Yui's previous album, "From Me to You" charted once again, adding another 9,000 copies to the Oricon counting.

"I Loved Yesterday" (2007–2008).

Yui released her 9th single "My Generation/Understand" on June 13, 2007. It was her first double A-side single. "My Generation" was selected as the ending theme for the TV drama "Seito Shokun!", and "Understand" was chosen as the theme song for the movie "Dog in a Sidecar" (サイドカーに犬), (starring her senpai at Stardust Promotion, Yūko Takeuchi). The single charted at number 1 on the Oricon Weekly Charts the first week of its release.  Her tenth single, "Love & Truth" was released on September 26, 2007. The title track is the theme song to the film "Closed Note" (クローズド・ノート) (starring Erika Sawajiri, also of Stardust). During this time, her previous two albums were re-released as Winter Sleeve Editions in alternative covers taken from her "Love & Truth" photoshoot. Her first live concert DVD "Thank You My Teens" was released on November 14, 2007, which contained footage of her second live concert tour.  On November 19, 2007, Yui opened her first live show at Nippon Budokan, which promptly sold out. The Budokan concert was structured similar to a live performance, which a writer from B-Pass called it fitting considering her beginnings as a street performer on the streets of Fukuoka.  Yui began 2008 with her eleventh single, "Namidairo", released on February 27, 2008. Yui composed the song as a "mysterious and sad sounding" insert for the television drama "4 Shimai Tantei Dan". While writing the song, she attempted to convey a feeling of saying "I'm fine" in order to not worry one's lover, and how during such occasions, we realize little things we don't normally notice. The chorus of the song was incidentally written by Yui during her singing debut.  A week following the release of her 11th single, the promotional video of a new song "Laugh Away", was released. The song was used in Glico's "Watering KissMint" commercial. "Laugh Away" was released as a digital single on March 10, 2008.  Her third studio album was released on April 9, 2008 titled "I Loved Yesterday". It quickly charted at number 1 on the Oricon Weekly Charts and sold more than 400,000 copies, behind her second album. The 10th track on the album, titled "Oh Yeah", was used as the opening theme to "Mezamashi TV", a morning television show. The limited edition version of the album included a DVD which contained music videos of her previous singles and live footage of her Nippon Budokan show. The album was composed mainly of semi-ballads with much of the same themes as her previous releases such as youth.  Yui's third tour, named "Oui: I Loved Yesterday'" started in May 2008 and ran until July.

"My Short Stories/Holidays in the Sun" (2008–2010).

On July 2, 2008, Yui released "Summer Song," again charting at number 1 on the Oricon Weekly Charts. "Summer Song" sold 83,440 copies in a week, making the single the singer's second highest in first week sales after "Love & Truth."  Yui released her B-side compilation album, "My Short Stories", on November 12, 2008, which debuted at number 1 on Oricon. The album included all the B-side tracks of all her singles to date, along with a new song, "I'll Be." Yui is the second female artist whose B-side compilation album topped the charts, after Seiko Matsuda's "Touch Me" in 1984. The last compilation album that reached No. 1 was Mr. Children's "B-Side" in May 2007. On the success of "My Short Stories", sales of her first album "From Me to You" rose again.  In her "Yui Diary" blog entry on August 29, 2008, Yui mentioned that she would put her career on hold, not making any public appearances after the release of the album. She asserted that the break would allow her to fully concentrate on her plans for the next year. During this break, she co-wrote the song "I Do It" with Okinawa girl band Stereopony. It was released as Stereopony's third single on April 22, 2009.  Yui announced her return from her five-month hiatus on March 25, 2009 on her official website. The single celebrating her return was an up-tempo song titled "Again." The track was chosen as the first opening theme of the new season of the "" anime, premiering on April 5, 2009. The single was released on June 3, 2009. "Again" debuted atop the Oricon charts, selling over 110,000 copies in its first week. The single had the highest opening week sales for a female act in 2009.  Her website Yui-net.com announced the release of her second double-A side single named "It's All Too Much/Never Say Die" on July 27, 2009. The two songs were featured in the film adaptation of "Kaiji" as both a theme and an insert song. The single was released on October 7, 2009 and "Kaiji" released on October 10, 2009. The single debuted at number 1, selling 75,000 copies in its first week of sales, becoming her fifth number one single. On January 20, 2010, Yui released "Gloria", selling over 80,000 copies in the first week and again topping the Oricon charts. Her next single, "To Mother," was released on June 2, 2010, yet again topping the charts.  On July 14, 2010, Yui released her fourth studio album "Holidays in the Sun", which included her five singles from "Summer Song" to "To Mother". It became her fourth straight album to top the Oricon charts, eventually selling over 300,000 copies and attaining the certification of Platinum.

"How Crazy Your Love" (2010–2013).

Her single "Rain" was released on the November 24, 2010. Yui's released a double-A side of "It's My Life/Your Heaven," on January 26, 2011. Yui traveled to Sweden for the shooting of the "Your Heaven" music video, also producing a short movie showing her journey to various places and shops in Sweden.  Yui's tour DVD, "Holidays in the Sun" was released on March 9. Her newest single, "Hello (Paradise Kiss)", was released on June 1, 2011, the A-side and B-side being the theme song and ending song, respectively, of the live-action movie "Paradise Kiss." On June 16, 2011, Yui traveled to Hong Kong for her first overseas concert at the AsiaWorld-Expo Arena, performing to a capacity audience of 14,000 people.  Yui visited schools in stricken areas from the 2011 Tōhoku earthquake and tsunami on July 7, 2011, and performed a charity concert. Her single "Green a.Live" uses the emotions and thoughts she felt from the visit, and was released on October 5, 2011. It was previewed on the Tokyo FM radio show "School of Lock" on August 22. "Green a.Live" debuted on top of the charts, and became her first number one single since "To Mother."  On November 2, 2011, Yui released her fifth and final album as a soloist, "How Crazy Your Love". The album debuted at number one on the daily charts, selling just under 50,000 copies on the first day of release, and would go on to reach number one on the weekly charts – making "How Crazy Your Love" her fifth straight album to debut at the weekly number one. She started her fifth major tour on November 11, 2011 to promote her recent album with cruising as its principal thematic element.  Yui's upcoming single was announced through her participation in Ncon (Nコン), a national school music competition where schools compete to provide their best rendition of songs composed by select artists for a specific theme for that year. Yui was selected to compose for the middle school category. The song was eventually revealed as "fight" on "R no Housoku" (Rの法則), and was released on September 5, 2012.  In a video uploaded to Yui's official Vevo channel on December 18, 2012, she announced that she would be taking a break from music. She explained that "...Yui is so precious and special for me, so I want to leave it as is for a while." To her fans, she said, "Actually, part of the reason I'm going into hiatus again is for the sake of my fans. The biggest reason is that I don't want them to see me with a broken-off heart, if that happens."

Flower Flower (2013–present).

Yui returned from hiatus shortly thereafter with a new band called Flower Flower, which performed incognito throughout Japan. The band has since released four digital and Japan-only singles; "Tsuki (月)," "Kamisama (神様)," "Natsu/Aki (夏/秋)" and "Subarashii Sekai (素晴らしい世界)". On March 27, 2014, Yui revealed in her band blog that she had been diagnosed with a panic disorder, which resulted in the cancellation of some presentations. The band, however, would release its first studio album "Mi (実)" on November 26, 2014. The album would go on to debut at number 5 on the weekly Oricon, charting for 11 weeks.  On April 17, 2015, the singer announced via the official blog of her band Flower Flower that she had married a man outside of the industry and that she was pregnant. In August 2015, it was announced that Yui had given birth to healthy twin boys.  Flower Flower released the band's first physical single, "Takaramono (宝物)," on September 9, 2016, which debuted at number ten and charted for five weeks. While talking about the release of the single, almost a year and a half after her previous project, Yui would state: "I did not think I could release songs again, and to be honest I am quite happy that I can."  In the summer of 2017, Flower Flower appeared in various festivals, including at Rock in Japan Festival 2017 and Summer Sonic 2017, leading to speculation that the band would release a second physical single. In a series of concerts in Osaka and Tokyo, the group announced that they would release "Mannequin (マネキン)" on August 2, 2017. In an interview released on the band's website, Yui would state that despite the song's initial composition as a "summer" pop rock song, reflected in the pop-like promotion material, during pre-production and recording the song eventually gravitated towards hard rock. When comparing the single with its B-side, "Drama (ドラマ)," Yui believed that placing a strong, western-like arranged single in "Mannequin" in juxtaposition with the more graceful song "Drama" would provide a nice balance.  On November 11, 2017, Yui confirmed reports from the media that the singer had divorced her husband at the end of August 2017. She has custody of the twin boys they had together.  Flower Flower released the band's second studio album, "Spotlight (スポットライト)," on March 14, 2018. Spotlight was released two and a half years after Flower Flower's previous album, "Mi", but included songs that were produced and played live during Flower Flower's early live performances. YURI

Yui (born March 26, 1987), stylized as YUI or yui, is a Japanese singer-songwriter, multi-instrumentalist, and actress. Born and raised in Fukuoka prefecture, she played live at various locations in her hometown before being noticed by Sony Music Japan when she was 17 years old, and released her debut single months later. Her singles, however, were only met with moderate success until the breakout "Good-bye Days", which charted for 44 weeks on Oricon and marked her as one of the Japanese music industry's rising stars.

YUI, nom de scène de, née le à Fukuoka, au Japon, est une chanteuse de rock et de J-pop, musicienne et auteur, qui débute en 2004. Elle a également joué le rôle principal du film "Taiyō no Uta" en 2006. En 2013, elle met sa carrière solo en pause pour chanter au sein d'un groupe, Flower-Flower.


Design.

Nail clippers are usually made of stainless steel but can also be made of plastic and aluminium. Two common varieties are the plier type and the compound lever type. Many nail clippers usually come with a miniature file fixed to it to allow rough edges of nails to be manicured. Nail clippers occasionally come with a nail catcher. The multi-purpose nail clipper was invented by Hungarian inventor David Gestetner. The nail clipper consists of a head which may be concave or convex. Specialized nail clippers which have convex clipping ends are intended for trimming toenails, while concave clipping ends are for fingernails. The cutting head may be manufactured to be parallel or perpendicular to the principal axis of the cutter. Cutting heads which are parallel to the principal axis are made to address accessibility issues involved with cutting toenails.

History.

Prior to the invention of the modern nail clipper, people would use small knives to trim or pare their nails. Descriptions of nail trimming in literature date as far back as the 8th century BC. The Book of Deuteronomy exhorts in 21:12 that a man, should he wish to take a captive as a wife, "shall bring her home to [his] house, and she shall shave her head and trim her nails". A reference is made in Horace's "Epistles", written circa 20 BC, to "A close-shaven man, it's said, in an empty barber's booth, penknife in hand, quietly cleaning his nails."  The first United States patent for an improvement in a finger-nail clipper was filed in 1875 by Valentine Fogerty and in the United Kingdom, Hungarian inventor David Gestetner. Other subsequent patents for an improvement in finger-nail clippers are those in 1876 by William C. Edge, and in 1878 by John H. Hollman. Filings for finger-nail clippers include, in 1881, those of Eugene Heim and Celestin Matz, in 1885 by George H. Coates (for a finger-nail "cutter"), and in 1905 by Chapel S. Carter with a later patent in 1922. Around 1913, Carter was secretary of the H. C. Cook Company in Ansonia, Connecticut, which was incorporated in 1903 as the H. C. Cook Machine Company by Henry C. Cook, Lewis I. Cook, and Chapel S. Carter. Around 1928, Carter was president of the company when, he claimed, about 1896, the "Gem"-brand finger nail clipper was introduced.  In 1947, William E. Bassett (who started the W. E. Bassett Company in 1939) developed the "Trim"-brand nail clipper, using the superior jaw-style design that had been around since the 19th century, but adding two nibs near the base of the file to prevent lateral movement, replacing the pinned rivet with a notched rivet, and adding a thumb-swerve in the lever.

A nail clipper (also called nail clippers, a nail trimmer, a nail cutter or nipper type) is a hand tool used to trim fingernails, toenails and hangnails.

Un coupe-ongles ou coupe-ongle (orthographe recommandée de 1990) est un outil de soin du corps permettant de couper les ongles des pieds et des mains. Un coupe-ongles est fait généralement de métal.


"Beasts of England".

"Beasts of England", the original anthem of the "Animal Farm" corresponds to the famous socialist anthem, "The Internationale", but also alludes to Shelley's "Men of England".  In the book, the pig Old Major explains his dream of an animal-controlled society three nights before his death. The song's tune is described in the novel as sounding like a combination of "La Cucaracha" and "Oh My Darling Clementine".  Alternate melodies: "Ode to Joy" or "Joyful, Joyful, we adore Thee" or "Come Thou Fount of every Blessing" or "Ebenezer", or "Anthem of the Soviet Republics".  The animals sing "Beasts of England" frequently after the rebellion, especially after meetings. At one point when Clover the horse questions the direction of Animal Farm, she sings "Beasts of England" which causes the other animals to join in.  After "Beasts of England" has been used to express criticism of the direction of Animal Farm, Napoleon tries to supplant the song, arguing that such an anthem is antiquated and no longer needed after the rebellion has been completed. The anthem is first replaced by the short "Animal Farm!" and later by "Comrade Napoleon", while "Beasts of England" is eventually outlawed. The phasing out of "Beasts of England" as the anthem of Animal Farm corresponds to the Soviet Union's 1944 replacement of "The Internationale" with the National Anthem of the Soviet Union. However, while "Beasts of England" was banned in Animal Farm, "The Internationale" was not in the Soviet Union at any time and remained the anthem of the Communist Party.  Suzanne Gulbin compares the role of "Beasts of England" to that of the conch in William Golding's "Lord of the Flies": it serves to create enthusiasm and unity, and its banning represents the loss of hope for a better life. Florence and William Boos read the fact that the animals continue to sing "Beasts of England" after it is banned as a testimony to the power of the memory of Old Major.

"Animal Farm!".

"Animal Farm!" is the anthem first replacing "Beasts of England" after Squealer manages to convince the other animals that the original anthem is not required. Its purpose is to inspire loyalty to the farm, and also to the new leadership. Minimus the poet composes a short, new anthem which starts:  But it is noted that it does not inspire the animals as much as "Beasts of England."  Paul Kirschner writes that the switch from "Beasts of England" to "Animal Farm!" is a parody of the transition from Lenin's proletarian internationalism to Stalin's "Socialism in One Country". The song itself is most likely a reference to the State Anthem of the Soviet Union.

"Comrade Napoleon".

As Napoleon became more powerful, he replaced "Beasts of England!" with another anthem, again written by Minimus. The anthem praised and glorified Napoleon, attributing many of the successes on the farm to him, even though he had little or no role in them. The poem marked the general happy feeling towards the rule of Napoleon at the time in the book and was painted on the wall of the big barn opposite the Seven Commandments. It was capped by a portrait of Napoleon drawn by Squealer in white paint.

1999 film adaptation.

In the 1999 film adaptation, "Beasts of England" is retitled "Beasts of the World" and given different lyrics:  There is a reprise of the song but the second verse is changed, but it's a bit difficult to understand:  "Comrade Napoleon" is replaced by a song titled "Glorious Leader Napoleon", put to the tune of the Russian song "V Put":  In the same film, a new song was written for Napoleon by a "grateful duck", called "Napoleon, Mighty Leader".

George Orwell's 1945 allegorical novel "Animal Farm" contains various anthems adopted by the eponymous farm, most notably the original anthem "Beasts of England" and its later replacement "Comrade Napoleon".

Bêtes d'Angleterre ("" dans la version anglaise) est dans le livre "La Ferme des animaux" de George Orwell le chant révolutionnaire des animaux.


Arguments for reform.

In languages written with alphabetic or syllabary scripts, one might expect that there would be a close match of the script or spelling with the spoken sound. However, even if they match at one time and place for some speakers, over time they often do not match well for the majority: one sound may be represented by various combinations of letters and one letter or group of letters pronounced differently. In cases where spelling takes account of grammatical features, these too may become inconsistent.  People who use non-standard spelling often suffer from adverse opinions, as a person's mastery of standard spelling is often equated to his or her level of formal education or intelligence. Spelling is easier in languages with more or less consistent spelling systems such as Finnish, Serbian, Italian and Spanish, owing to the fact that, either, pronunciation in these languages has changed relatively little since the establishment of their spelling-systems, or else that "non-phonemic etymological" spellings have been replaced with "phonemic unetymological" spellings as pronunciation changes. Guessing the spelling of a word is more difficult after pronunciation changes significantly, thus yielding a "non-phonetic etymological" spelling system such as Irish or French. These spelling systems are still 'phonemic' (rather than 'phonetic') since pronunciation can be systematically derived from spelling, although the converse (i.e. spelling from pronunciation) may not be possible. English is an extreme example of a defective orthography in which spelling cannot be systematically derived from pronunciation, but it also has the more unusual problem that pronunciation cannot be systematically derived from spelling.  Spelling reforms have been proposed for various languages over the years; these have ranged from modest attempts to eliminate particular irregularities (such as SR1 or Initial Teaching Alphabet) through more far-reaching reforms (such as Cut Spelling) to attempts to introduce a full phonemic orthography, like the Shavian alphabet or its revised version, Quikscript, the latest DevaGreek alphabet, the Latinization of Turkish or hangul in Korea.  Redundancy of letters is often an issue in spelling reform, which prompts the "Economic Argument"—significant cost savings in the production materials over time—as promulgated by George Bernard Shaw.  The idea of phonemic spelling has also been criticized as it would hide morphological similarities between words with differing pronunciations, thus obscuring their meanings. It is also argued that when people read, they do not try to work out the series of sounds composing each word, but instead they recognize words either as a whole or as a short series of meaningful units (for example "morphology" might be read as "morph"+"ology", rather than as a longer series of phonemes). In a system of phonetic spelling, these morphemes become less distinct, due to the various pronunciations of allomorphs. For example, in English spelling, most past participles are spelled with "-ed", even though its pronunciation can vary (compare "raised" and "lifted").  One of the difficulties in introducing a spelling reform is how to reflect different pronunciations, often linked to regions or classes. If the reform seeks to be totally phonemic in a model dialect, speakers of other dialects will find conflicts with their own usage.

By language.

English.

English spelling contains many irregularities for various reasons. English has generally preserved the original spelling when borrowing words; and even more importantly, English began to be widely written and printed during the Middle English period: the later development of modern English included a Great Vowel Shift and many other changes in phonology, yet the older spellings, which are no longer phonetic, have been kept. On the other hand, many words were refashioned to reflect their Latin or Greek etymology. For example, for "debt" early Middle English wrote "det/dette", with the "b" being standardized in spelling in the 16th century, after its Latin etymon "debitum"; similarly for "quer/quere", which was respelled as "choir" in the 17th century, modelled on Greek χορός "chorus"; in both cases, the pronunciation was not changed. Modern English has anywhere from 14 to 22 vowel and diphthong phonemes, depending on dialect, and 26 or 27 consonant phonemes. A simple phoneme-letter representation of this language within the 26 letters of the English alphabet is impossible. Therefore, most spelling reform proposals include multi-letter graphemes, as does current English spelling (for example the first two phonemes of "sheep" are represented by the digraphs,, and,, respectively.) Diacritic marks have also formed part of spelling reform proposals.  Critics have claimed that a consistent phonemically based system would be impractical: for example, phoneme distribution differs between British English and American English; furthermore, while English Received Pronunciation features about 20 vowels, some non-native dialects of English have 10 or even fewer. A phonemic system would therefore not be universal.  A number of proposals have been made to reform English spelling. Some were proposed by Noah Webster early in the 19th century. He was in part concerned to distinguish American from British usage. Some of his suggestions resulted in the differences between American and British spelling.

Chinese (romanization).

In the 1950s, the Language Reform Committee of the People's Republic of China devised the Hanyu Pinyin orthography and promulgated it as the official romanization system of mainland China. Since pinyin became the international standard for Chinese romanization in 1982, other romanizations (including the Wade-Giles system, Gwoyeu Romatzyh developed by Yuen Ren Chao, and Latinxua Sin Wenz) have become rarely used.  The Republic of China on Taiwan continued to use Wade-Giles romanization until the turn of the 21st century, when the Tongyong Pinyin romanization was introduced. Tongyong Pinyin has been sporadically adopted throughout the island, and criticized for inconsistency. Hanyu Pinyin, the same system used in the mainland, was formally adopted in 2009.

Dutch.

Dutch has undergone a series of major spelling reforms beginning in 1804 - with varying levels of official backing and popular acceptance across Dutch-speaking areas.  The Dutch Language Union, founded in 1980 by the Netherlands and Belgium, is now the source of official reforms. In 1995 it issued the "Green Booklet" reform, and in 2005 the spelling changed again.

French.

In 1990, a substantial reform ordered by the French prime minister changed the spelling of about 2000 words as well as some grammar rules. After much delay, the new recommended orthography received official support in France, Belgium, and Quebec in 2004, but it has not yet been widely adopted. The 2012 version of "Larousse" incorporates all of the changes. The 2009 version of "Le Petit Robert" incorporates most of the changes. There are 6000 words, including words which were not part of the 1990 reform, for example, "charrette" or "charette", based on chariot. As of 16 March 2009, several major Belgian publishing groups have begun to apply the new spellings in their online publications.

German.

German spelling was officially reformed in 1901 and certain older spelling patterns were updated: for instance some occurrences of "th" were changed to "t", the use of hyphens changed, and some instances of "c" were changed to "z". In 1944 another spelling reform was due to be introduced, but it ultimately came to nothing because of World War II.  Even though German spelling was already more consistent than English or French spelling, the German-speaking countries signed an agreement on spelling reforms in 1996; these were planned to be gradually introduced beginning in 1998 and fully in force by 2005.  The so-called was subject to dispute, and polls consistently showed a majority against the new spelling. In summer 2004, various newspapers and magazines returned to the old spelling, and in March 2006, the most controversial changes of Rechtschreibreform were reverted. Therefore German media outlets which had formerly opposed the changes began to use the new spelling.

Greek.

The classical, medieval, and early modern polytonic orthography inherited archaisms from Ancient Greek, which have been eliminated or simplified in the modern monotonic orthography. See also Katharevousa.

Indonesian.

Indonesian underwent spelling reforms in 1947 and 1972, after which its spelling was more consistent with the form of the language spoken in Malaysia (i.e. Malaysian). The first of these changes ("oe" to "u") occurred around the time of independence in 1947; all of the others were a part of an officially mandated spelling reform in 1972. Some of the old spellings, which were more closely derived from the Dutch language, still survive in proper names.

Japanese.

The original Japanese kana syllabaries were a purely phonetic representation used for writing the Japanese language when they were invented around 800 AD as a simplification of Chinese-derived kanji characters. However, the syllabaries were not completely codified and alternate letterforms, or hentaigana, existed for many sounds until standardization in 1900. In addition, due to linguistic drift the pronunciation of many Japanese words changed, mostly in a systematic way, from the classical Japanese language as spoken when the kana syllabaries were invented. Despite this, words continued to be spelled in kana as they were in classical Japanese, reflecting the classic rather than the modern pronunciation, until a Cabinet order in 1946 officially adopted spelling reform, making the spelling of words purely phonetic (with only 3 sets of exceptions) and dropping characters that represented sounds no longer used in the language.

Malay.

Malay underwent spelling reforms in 1972, after which its spelling was more consistent with the form of the language spoken in Indonesia (i.e. Indonesian). These changes were a part of an officially mandated spelling reform in 1972. Some of the old spellings, which were more closely derived from the English language, still survive in proper names.

Norwegian.

Before Norway became independent in 1905, the Norwegian language was written in Danish with minor characteristic regionalisms and idioms. After independence, there were spelling reforms in 1907, 1917, 1938, 1941, 1981 and 2005, reflecting the tug-of-war between the spelling preferred by traditionalists and reformers, depending on social class, urbanization, ideology, education and dialect. The 2005 reform reintroduced traditional spellings which had been abolished by earlier spelling reforms. Seldom-used spellings were also excluded.

Portuguese.

The medieval spelling of Portuguese was mostly phonemic, but, from the Renaissance on, many authors who admired classical culture began to use an etymological orthography. In the early 20th century, however, spelling reforms in Portugal and Brazil reverted the orthography to phonemic principles. Later reforms (Brazil, 1943 and 1971; Portugal, 1945 and 1973) have aimed mainly at three goals: to eliminate the few remnants of redundant etymological spelling, to reduce the number of words marked with diacritics and hyphens, and to bring the Brazilian spelling standard and the Portuguese spelling standard (used in all the Portuguese speaking countries, except Brazil) closer to each other.  The goal of unifying the spelling was finally achieved with a multi-lateral agreement in 1990, signed by every Portuguese-speaking country, but not ratified by Angola as of 2014. The implementation of the new rules in Brazil and Portugal began only in 2009, with a transition period of six years. The agreement is used by the government and the teaching realms, as well as many of the press and publishing houses of both countries, and by state-related institutions. Because Portuguese in Portugal differs from Brazilian Portuguese, the reform has led to new differences in spellings which were formerly the same.  None of the other Portuguese speaking countries that have signed the agreement have implemented it as of 2014. In Portugal there is still some resistance to it and in 2013 the Portuguese Parliament formed a workgroup to analyse the situation and propose solutions.  During the transition period, four spellings will coexist: the official Portuguese spelling before the reform (used in all Portuguese speaking countries in Africa, Asia and Oceania, as used in Portugal by the people), the official Brazilian spelling before the reform (used in Brazil only), the Portuguese spelling after the reform (used by the government and its institutions, some media and publishers in translated books), and the Brazilian spelling after the reform (used by the government, media and publishers in translated books). The latter two systems are regulated by the same agreement, but differ somewhat because of differing pronunciation of the same words in Portugal and Brazil.

Russian.

Over time, there have been a number of changes in spelling. They mostly involved the elimination of the (purely etymological) Greek letters that had been retained in the Cyrillic script by reason of ecclesiastical tradition, and those rendered obsolete by changes in phonetics.  When Peter I introduced his "civil script" (гражданский шрифт, "graždanskij šrift") in 1708, based on more Western-looking letter shapes, spelling was simplified as well.  The most recent major reform of Russian spelling was carried out shortly after the Russian Revolution. The Russian orthography was simplified by eliminating four obsolete letters ("ѣ", "і", "ѵ", and "ѳ") and the archaic usage of the letter "ъ" (called "yer", or "hard sign") at the ends of words, which had originally represented a vowel with a sound similar to schwa, but had become silent by the Middle Ages.

Bulgarian.

Bulgarian underwent a spelling reform in 1945, following the Russian model. Several Cyrillic alphabets with 28 to 44 letters were used in the beginning and middle of the 19th century during the effort to codify Modern Bulgarian until an alphabet with 32 letters, proposed by Marin Drinov, gained prominence in the 1870s. The alphabet of Marin Drinov was used until the orthographic reform of 1945, when the letters yat (uppercase Ѣ, lowercase ѣ) and yus (uppercase Ѫ, lowercase ѫ) were removed from the alphabet, reducing the number of letters to 30.

South Slavic languages.

Within the South Slavic languages, which form a dialect continuum, the Serbo-Croatian language itself consists of four literary standards: Serbian, Croatian, Bosnian and Montenegrin. It went through a series of major spelling reforms in the early to middle 19th century. Before then, two distinct writing traditions had evolved. Western dialects had been written using the Latin alphabet, while eastern (Serbian) had been using an archaic form of the Cyrillic script. Despite many attempts, there was no universally agreed-upon spelling standard employing the Latin alphabet, and the Cyrillic version was considered outdated.  A series of reforms have been undertaken to set the standards, in order to bring the writing system to parity with spoken language. The reform movement was spearheaded by Croatian linguist Ljudevit Gaj for the Latin-based writing system, and Serbian reformer Vuk Stefanović Karadžić for the Cyrillic version.  The reform efforts were coordinated in order to correlate the two writing systems, culminating in the Vienna Literary Agreement which has remained in service since. The Slovene language, not part of the Serbo-Croatian dialect continuum, was also covered by the same reform movement. After World War II and the codification of literary Macedonian, the same system has been extended with some modifications.  All of these writing systems exhibit a high degree of correspondence between language sounds and letters, making them highly phonetic and very consistent.

Spanish.

The Spanish Royal Academy (RAE) reformed the orthographical rules of Spanish from 1726 to 1815, resulting in most of the modern conventions. There have been initiatives since then to further reform the spelling of Spanish: Andrés Bello succeeded in making his proposal official in several South American countries, but they later returned to the standard of the Spanish Royal Academy.  Another initiative, the Rational Phonetic Hispanoamerican Orthography ("Ortografía Fonética Rasional Ispanoamericana"), remained a curiosity. Juan Ramón Jiménez proposed changing "-ge-" and "-gi" to "-je-" and "-ji", but this is applied only in editions of his works or his wife's. Gabriel García Márquez raised the issue of reform during a congress at Zacatecas, and drew attention to the issue, but no changes were made. However, the academies continue to update the reform.

A spelling reform is a deliberate, often authoritatively sanctioned or mandated change to spelling rules. Proposals for such reform are fairly common, and over the years, many languages have undergone such reforms. Recent high-profile examples are the German orthography reform of 1996 and the on-off Portuguese spelling reform of 1990, which is still being ratified by the different countries.

Une réforme de l'orthographe est un texte visant à modifier officiellement les normes qui définissent l'écriture d'une langue dans un pays.