'Neath Austral Skies, Production
Neath Austral Skies was the name of a popular collection of poetry from E.B. Loughran published in 1894.


'Neath Austral Skies, Production
The film was not widely screened and is not one of Longford's better known movies.


'Neath Austral Skies, Reception
The film was shown at the Melbourne Lyric Theatre in 1913.


'Neath Austral Skies, Reception
One contemporary critic said the film "has many exciting and sensational scenes, relieved with pure Australian comedy to hold the audience. The photography is very true." The Argus wrote about one screening being "well received."


'Neath Brooklyn Bridge
'Neath Brooklyn Bridge is a 1942 film released by Monogram Pictures. It is the eleventh installment in the East Side Kids series and one of the more dramatic films of the series, released at a time when they were making lighter, more humorous fare. The film is now in public domain and can be downloaded legally from numerous web sites.


'Neath Brooklyn Bridge, Plot
This time around, the East Side Kids, a gang of well-meaning young rough-necks in New York, are pulled into a murder mystery. They manage to rescue a young girl by the name of Sylvia from her violent stepfather Morley's abuse. Soon after, the stepfather is killed by a gangster called McGaffey for interfering with his racketeering operation by stealing his money.


'Neath Brooklyn Bridge, Plot
Sylvia has taken refuge in the gang's hideout. One of the Kids, Danny, returns to her stepfather's apartment to bring some clothes for her. He is arrested by the police, suspected of the murder.


'Neath Brooklyn Bridge, Plot
When McGaffey hears about the arrest he makes the gang a proposition. In exchange for the actual chair leg used by Mugs, president of the Kids, to hit Morley when the gang saved Sylvia, with Mugs' fingerprints, he wants them to break into a warehouse for him.


'Neath Brooklyn Bridge, Plot
Danny fails to explain to his policeman brother how the killing of Morley happened. A former member of the Kids, Rusty, who is a sailor, comes to visit the boys in their hour of need. It turns out Sylvia's paralyzed grandfather had been in the apartment and had seen the murder when it happened. He can still communicate with the world through blinking. Rusty discovers that the grandfather blinks morse code, and interprets it, revealing that McGaffey is the killer.


'Neath Brooklyn Bridge, Plot
Mugs comes forward, telling the rest of the gang about McGaffey's proposition. They decide to go to the warehouse, and Rusty takes Sylvia to the police station to tell them who the killer is and to get Danny out of jail. The Kids break into the warehouse by driving a truck through the doors and a brawl ensues. The police arrive at the scene and McGaffey and the rest of the gangsters are arrested.


'Neath Canadian Skies
'Neath Canadian Skies is a 1946 American film about Mounties.


'Neath Canadian Skies
It was directed by B. Reeves Eason from a story by James Oliver Curwood. Filming took place in June 1946 through Golden Gate Pictures, in a studio that used to be a ping pong parlor.


'Neath Canadian Skies
The same team also made North of the Border (1946).


'Neath the Arizona Skies
'Neath the Arizona Skies is a 1934 Western film directed by Harry L. Fraser, produced by Lone Star Productions, released by Monogram Pictures  and starring John Wayne. Wayne's character attempts to locate a little girl's father, so that she may claim a $50,000 Indian oil claim. The film co-stars Sheila Terry and Shirley Jean Rickert.George "Gabby" Hayes played a featured character with a speaking role, but his name was omitted from the cast list in the opening credits.


'Neath the Puke Tree
'Neath the Puke Tree is an EP by Bill Callahan (also known as Smog). It was released on Drag City in 2000.


'Neath the Puke Tree
Recorded by Brent Puncheon and Leah Baker, it includes remakes of previous work ("I Was a Stranger" from Red Apple Falls and "A Jar of Sand" from Sewn to the Sky) as well as three new songs.


'Neath the Puke Tree
Charlie Gansa played guitar on the record; "Sloth" and Jim White played drums. White would return to play drums on Supper and A River Ain't Too Much to Love.


'Need love
'Need love is the fourth studio album by Japanese pop band Deen. It was released on 24 May 2000 under Berg label records. It is their first self-produced album. The album consists of three previously released singles, "Just One", "My Love" and "Power of Love". Just one has received album version under title "-Break 4 Style-"


'Need love
This is the last album where Naoki Uzumoto is providing music for them. In 1999, after the release of single My love he left the band.


'Need love
From this album, their music style slowly start change from original rock style to more mainstream pop sphere.


'Need love
The album reached #10 in its first week and charted for 4 weeks, selling 58,940 copies. This is their last album which entered into Oricon Top 10 rankings.


'Neile Alina 'Mantoa Fanana
'Neile Alina 'Mantoa Fanana (born 1945) is a Lesotho lawyer. She was appointed the ombudsman of Lesotho in 2010, and was the first women lawyer in the country.


'Neile Alina 'Mantoa Fanana, Career
'Neile Alina 'Mantoa Fanana was born in 1945. Fanana was awarded a Bachelor of Arts degree in law by the National University of Lesotho in 1980. She subsequently attended the University of Edinburgh in the United Kingdom where she was awarded Bachelor of Laws and Master of Philosophy degrees. Fanana went on to lecture at the National University and received further training  human rights law, international humanitarian law and the resolution of conflicts. In 1989 she presented a paper on the treatment of women under Lesotho's inheritance law to a regional legal seminar.


'Neile Alina 'Mantoa Fanana, Career
Upon the restoration of democracy to Lesotho in 1993 Fanana worked with the Ministry of Justice, Human Rights and Correctional Services to improve administration and reduce corruption. She also helped to bring new legislation forward to improve the rights of women and children and to restrict money laundering and corruption. Fanana was appointed King's Counsel, a status conferred on senior barristers, in 2009. By 2010 Fanana had become dean and pro-vice chancellor of the National University. She has written for the Lesotho Law Journal on the rights of citizens under the African Charter on Human and Peoples' Rights, women's rights, and legal dualism.


'Neile Alina 'Mantoa Fanana, Career
Fanana was appointed ombudsman to Lesotho by King Letsie III of Lesotho on 14 October 2010, the third person to hold the role. She commenced her four-year term in the role on 30 November, replacing Sekara Mafisa who had served two full terms. Fanana is the first woman to hold the role. Her duties are to investigate complaints made by citizens against members of the government or their agencies.


'Night Fishing Is Good' Tour 2008 in Sapporo
'Night Fishing Is Good' Tour 2008 in Sapporo (stylized as 「NIGHT FISHING IS GOOD」TOUR 2008 in SAPPORO) is a live extended play by Japanese band Sakanaction. It was released on August 5, 2008 through Victor Entertainment sublabel BabeStar exclusively as a paid download.


'Night Fishing Is Good' Tour 2008 in Sapporo, Background and production
Sakanaction was first formed in the summer of 2005 in Sapporo, Hokkaido, and released their debut album Go to the Future in May 2007. In the same month, the band performed a national tour to promote the album, including a solo-billed performance at Bessie Hall in Sapporo as the final performance, on May 27, 2007. For the rest of the year, the band worked on the production of their second album Night Fishing, which was released only half a year after their debut work, in January 2008.


'Night Fishing Is Good' Tour 2008 in Sapporo, Background and production
The concert was recorded on March 8, 2008, at Penny Lane 24 in Sapporo. It was one of the either concerts held by Sakanaction in their Night Fishing Is Good tour, but only one of two dates that were a full-length, solo concert. The extended play compiles live takes of both of the promoted tracks on Go to the Future, "Mikazuki Sunset" and "Shiranami Top Water", as well as two of the three promotional tracks from Night Fishing, "Sample" and "Night Fishing Is Good".


'Night Fishing Is Good' Tour 2008 in Sapporo, Release and reception
The extended play was first announced on July 24, 2008 at Sakanaction's official website. At the band's official MySpace page, footage of "Mikazuki Sunset" from the concert was uploaded. After its release on August 6, the extended play managed to top iTunes Japan's rock chart, surpassing Coldplay's Viva la Vida or Death and All His Friends. In December, Sakanaction released their first physical single release, "Sen to Rei". On the limited edition version of the release, a recording of "Yoru no Higashigawa" from the same concert was added as a bonus track.


'No Way To Prevent This,' Says Only Nation Where This Regularly Happens
'No Way To Prevent This,' Says Only Nation Where This Regularly Happens is the title of a series of satirical articles from The Onion about the frequency of mass shootings in the United States and the lack of action taken in the aftermath of those shootings.


'No Way To Prevent This,' Says Only Nation Where This Regularly Happens
Each article is about 200 words long, detailing the location of the shooting and the number of victims but otherwise remaining essentially the same. A fictitious resident of a state in which the shooting did not take place is quoted as saying that the shooting was "a terrible tragedy", but "there's nothing anyone can do to stop them". The article ends by pointing out that the United States is the "only economically advanced nation in the world where roughly two mass shootings have occurred every month for the past eight years" and that Americans view themselves and the situation as "helpless".


'No Way To Prevent This,' Says Only Nation Where This Regularly Happens, Background
The article was first published on May 27, 2014, following the Isla Vista shooting. Since then, The Onion has republished the same article an additional 18 times as of May 2021, nearly verbatim, with only minor changes to reflect the specifics of each shooting. In 2017, managing editor for The Onion Marnie Shure said, "By re-running the same commentary it strengthens the original commentary tenfold each time. ... In the wake of these really terrible things, we have this comment that really holds up." After The Onion republished the article on February 14, 2018, following the Stoneman Douglas High School shooting, Jason Roeder, the writer of the original 2014 article, tweeted that he "had no idea it would be applied to the high school a mile from [his] house".


'No Way To Prevent This,' Says Only Nation Where This Regularly Happens, List of articles
As of May 2021, The Onion has published the article 19 times.


'No Way To Prevent This,' Says Only Nation Where This Regularly Happens, Reception
The New York Times wrote that "each time The Onion publishes this particular headline, it seems to rocket around the internet with more force" and that the headline "with each use, seemed to turn from cheeky political commentary on gun control into a reverberation of despair." Mashable wrote that "[n]othing captures that feeling of frustration and powerlessness" following major mass shootings as well as these Onion articles, adding that "[t]here's no shortage of brilliant Onion pieces, but none have resonated—or been as tragically prescient—like the 'No Way' post."


'No Way To Prevent This,' Says Only Nation Where This Regularly Happens, Reception
The Washington Post wrote that, with these articles, The Onion "appears to capture the frustration and futility felt by so many people" following mass shootings, noting the increased Internet traffic the articles draw and how popular they are on social media. The Huffington Post cites these articles as "some of the most resonant commentary on the nation's total lack of action on gun violence". It goes on to say that they have become "a staple of the social media response to mass shootings", citing how widely-shared they are on Facebook and Twitter. The Daily Beast mentioned the articles in a piece titled "How 'The Onion' Became One of the Strongest Voices for Gun Control". Similarly, Wired mentioned it in an article discussing the power of The Onion's satire in the face of gun violence, titled "Only The Onion Can Save Us Now".


'Not happy, John!' campaign
The 'Not happy, John!' campaign was an Australian political campaign to oppose the re-election of Prime Minister John Howard as member for Bennelong in the 2004 Australian federal election. The title of the campaign is based on the popular television commercial, Not happy, Jan! and the book Not Happy, John by Margo Kingston.


'Not happy, John!' campaign
The campaign did not promote any specific candidate, but called for votes for any other candidate standing against Howard. The campaign was unsuccessful, in that Howard was returned as member, but had some success in that it reduced Howard's majority by 3% in the face of a 2% swing to Howard's Liberal Party and he did lose the seat as sitting Prime Minister in the subsequent election.


'Not happy, John!' campaign
Supporters of the campaign included Margo Kingston (journalist), John Valder (previous president of Howard's Liberal party), Brian Deegan (former magistrate, who stood against Alexander Downer), Andrew Wilkie (Greens candidate), Alex Broun playwright and Nicole Campbell (Australian Labor Party candidate). The campaign was launched on 22 June 2004 and continued until the election on 9 October.


'Not happy, John!' campaign
There was a small Not Happy John Campaign for the 2007 election based on the philosophy behind the original campaign.


'Nuff Said (Ike & Tina Turner album)
'Nuff Said is a studio album by R&B duo Ike & Tina Turner released on United Artist Records in 1971.


'Nuff Said (Ike & Tina Turner album), Background
'Nuff Said was the third album released by Ike & Tina Turner in 1971; commercially their most successful year. The release of Workin' Together in December 1970 produced their hit single "Proud Mary" which helped propel the album to No. 3 on the Billboard Soul LP chart. In February 1971, Capitol Records reissued their album Get It – Get It and re-titled it Her Man. . . His Woman. Their live album What You Hear Is What You Get was released in July and peaked at No. 7 on the Billboard Soul LP chart. They were also included on the soundtrack Soul To Soul which was released in September and peaked at No. 10 on the Billboard Soul LPs chart.


'Nuff Said (Ike & Tina Turner album), Recording and release
'Nuff Said was recorded at the Turner's own Bolic Sound studio in 1971. It features a two-part instrumental track as the title song. No singles were released from the album in the U.S., but it charted at No. 108 on the Billboard Top LPs and No. 21 on the Soul LPs charts. In 1972, "What You Don't See (Is Better Yet)" was released as a single in Brazil.


'Nuff Said (Ike & Tina Turner album), Critical reception
Record World (November 6, 1971): "Like a book you can't put down, Ike and Tina's new album is one you can't turn off. Once heard, it has to be heard and heard again. No question this will bust blocks and immediately."


'Nuff Said (Ike & Tina Turner album), Critical reception
This husband and wife team has always provided one of the most exciting concert acts possible and it's about time they had a real album winner. This entry will do it. "I Love What You Do To Me" has the feel of "Proud Mary" with Ike's bass voice pouring heavy. Other standouts include "Sweet Flustrations," "Moving Into Hip Style-A Trip Child" and "What You Don't See." Watch it Go!


'Nuff Said (Ike & Tina Turner album), Critical reception
The fact that Ike & Tina can drop "Turner" from their act's name shows how popular they've gotten since touring with the Stones and starring in the "Soul To Soul" movie. The husband-and-wife team aim to please their expanded audience with a new look on the record jacket and a new sound inside. Listen to "Moving Into Hip Style-A Trip Child" and see what we mean, Ike plays organ instead of guitar this time out and his backup band has changed its name from the Kings of Rhythm to Family Vibs [sic] (shades of Sly!). "I Love What You Do To Me," "Can't You Hear Me Callin' "and the title tune are highlights.


'Nuff Said (Ike & Tina Turner album), Reissues
'Nuff Said was digitally remastered and released by BGO Records on the compilation CD Come Together/'Nuff Said in 2010. In 2018, the album was reissued on CD by Universal Music.


'Nuff Said!
’Nuff Said! is an album by jazz singer/pianist/songwriter Nina Simone. It was recorded (excluding tracks (10 and 11) at Westbury Music Fair, April 7, 1968, three days after the murder of Martin Luther King Jr. The whole program that night was dedicated in his memory. The album received an Emmy nomination and featured one of Simone's biggest hits in Europe, "Ain't Got No, I Got Life".


'Nzuddi
'Nzuddi are traditional cookies, typical of the Italian provinces of Messina and Catania. They are spherical, slightly flattened, golden-colored cookies, made of flour, sugar, almonds, cinnamon, egg whites and ammonia.


'Nzuddi
Historically, the cookies were made for the feast of Our Lady of the Letter, Saint Patron of the city of Messina, on June 3. These cakes were originally prepared in the monastery of the Vincentian Sisters, and the name 'nzuddi derives from the abbreviation of the name "Vincenzo" (Vincent) in Sicilian language.


'O Re
’O Re (also known as The King of Naples) is a 1989 Italian historical film written and directed by Luigi Magni. For his performance Carlo Croccolo won the David di Donatello for best supporting actor. The film also won the David di Donatello and the Nastro d'Argento for best costumes.


'O Re, Plot
In 1862, Francis II of Bourbon, the last king of the Two Sicilies, lives in exile in Rome (capital city of the Papal States) with his wife Maria Sophie and the butler Rafele. The king has lost his throne after the conquest of his kingdom by the forces of Giuseppe Garibaldi and the Piedmontese Army. Maria Sophie tries to recover the Kingdom of Naples, supporting the uprising of patriots, rebels and outlaws (named "briganti" by the Piedmontese Government), but Francesco is demoralized and has no intention of fighting. The king in fact closes in himself, expressing interest in religion and the supernatural...


'O pere e 'o musso
'O pere e 'o musso is a typical Neapolitan dish, with its name meaning "the foot and the muzzle" in Italian, which refers to its main ingredients: pig's feet and cow snouts. 'O pere e 'o musso is usually sold as street food from carts, in the cities of Campania. 'O pere e 'o musso is also consumed in the region of Molise and in the province of Foggia, where the dish is regarded as a "party" food.


'O pere e 'o musso, Preparation, Traditional recepie
This Neapolitan culinary speciality is prepared by boiling pig's feet ('O pere) with calf's snouts ('O musso). 'O pere e 'o musso's origins derive from popular tradition and a need to make use of less noble cuts of meat. The ingredients are depilated, boiled, cooled, cut into small pieces and served cold, seasoned with salt and lemon juice.


'O pere e 'o musso, Preparation, Additions
Among the ingredients that make up the dish, in addition to those already mentioned the following ingredients are also often added:


'O pere e 'o musso, Preparation, Additions
The condiment of the 'o pere e 'o musso includes, depending on the customer's preferences, the addition of fennel, lupins, olives and chilli.


'O pere e 'o musso, Street food tradition
'O pere e 'o musso can be found in traditional shops and butcheries; however, it is most popularly sold by street vendors using stalls or carts and motorized vehicles such as apecars.


'O pere e 'o musso, Street food tradition
In the past, the salting of the meat by the street vendors was carried out by using a characteristic instrument, a dispenser consisting of an animal horn with a hole at the end. This tool is still in use by some vendors.


'O sole mio
"’O sole mio" (Neapolitan pronunciation: [o ˈsoːlə ˈmiːə]) is a well-known Neapolitan song written in 1898. Its lyrics were written by Giovanni Capurro and the music was composed by Eduardo di Capua and Alfredo Mazzucchi (1878–1972). There are other versions of "’O sole mio" but it is usually sung in the original Neapolitan language. ’ O sole mio is the Neapolitan equivalent of standard Italian Il mio sole and translates literally as "my sun" or "my sunshine".


'O sole mio, Lyrics
Che bella cosa na jurnata ’e sole,n’aria serena doppo na tempesta! Pe’ ll’aria fresca pare già na festa...Che bella cosa na jurnata ’e sole. Refrain:Ma n’atu sole cchiù bello, oi ne’,  ’o sole mio sta nfronte a te! ’o sole, ’o sole mio  sta nfronte a te, sta nfronte a te! Lùceno ’e llastre d’’a fenesta toia;’na lavannara canta e se ne vantae pe’ tramente torce, spanne e canta,lùceno ’e llastre d’’a fenesta toia. (Refrain)Quanno fa notte e ’o sole se ne scenne,me vene quasi ’na malincunia;sotto ’a fenesta toia restarriaquanno fa notte e ’o sole se ne scenne. (Refrain)


'O sole mio, Lyrics
What a beautiful thing is a sunny day! The air is serene after a storm,The air is so fresh that it already feels like a celebration. What a beautiful thing is a sunny day! But another sun, even more beauteous, oh my sweetheart,  My own sun, shines from your face! This sun, my own sun,  Shines from your face; It shines from your face! Your window panes shine;A laundress is singing and boasting about it;And while she's wringing the clothes, hanging them up to dry, and singing,Your window panes shine. When night comes and the sun has gone down,I almost start feeling melancholy;I'd stay below your windowWhen night comes and the sun has gone down.


'O sole mio, Recordings
"’O sole mio" has been performed and covered by many artists, including Enrico Caruso, Rosa Ponselle and her Sister Carmella, Andrea Bocelli, Beniamino Gigli, and Mario Lanza. Sergio Franchi recorded this song on his 1962 RCA Victor Red Seal debut album Romantic Italian Songs. Luciano Pavarotti won the 1980 Grammy Award for Best Classical Vocal Performance for his rendition of "’O sole mio".


'O sole mio, Authorship and copyright
For nearly 75 years after its publication, the music of ’O sole mio had generally been attributed to Eduardo di Capua alone. According to the traditional account, di Capua had composed it in April 1898 in Odessa, while touring with his father's band. It has turned out, however, that the melody was an elaboration of one of 23 which di Capua had bought from another musician, Alfredo Mazzucchi, in the preceding year.


'O sole mio, Authorship and copyright
In November 1972, shortly after her father's death, Mazzucchi's daughter lodged a declaration with Italy’s Office of Literary, Artistic and Scientific Property, which sought to have her father recognised as a co-composer of 18 of di Capua's songs, including ’O sole mio. In October 2002, Maria Alvau, a judge in Turin, upheld the declaration, ruling that Mazzucchi had indeed been a legitimate co-composer of the 18 songs, because they included melodies he had composed and then sold to di Capua in June 1897, with a written authorisation for the latter to make free use of them.


'O sole mio, Authorship and copyright
At the time of the decision, therefore, the melody of ’O sole mio had not yet—as had been widely supposed—entered into the public domain in any country that was a party to the Berne Convention during the relevant period. In most countries where copyright in a work lasts for 70 years after any of its authors' deaths, the melody will remain under copyright until 2042.


'O sole mio, English versions
In 1915, Charles W. Harrison recorded the first English translation of "’O sole mio". In 1921, William E. Booth-Clibborn wrote lyrics for a hymn using the music, entitled "Down from His Glory."


'O sole mio, English versions
In 1949 U.S. singer Tony Martin recorded "There's No Tomorrow" with lyrics by Al Hoffman, Leo Corday, and Leon Carr, which used the melody of "’O sole mio". About ten years later, while stationed in West Germany with the U.S. Army, Elvis Presley heard the recording and put to tape a private version of the song. Upon his discharge, he requested that new lyrics be written especially for him, a job that was undertaken by the songwriting duo of Aaron Schroeder and Wally Gold, with a demo by David Hill.


'O sole mio, English versions
The rewritten version was entitled "It's Now or Never" and was a worldwide hit for Presley. When performing it in concert in the mid-1970s, Elvis would explain the origin of "It's Now Or Never" and have singer Sherrill Nielsen perform a few lines of the original Neapolitan version before commencing with his version.


'O sole mio, English versions
Bing Crosby included the song in a medley on his album 101 Gang Songs (1961).


'O surdato 'nnammurato
'O surdato 'nnammurato (pronounced [o surˈdɑːtə nːamːuˈrɑːtə]; in English: "The Soldier in Love") is a famous song written in the Neapolitan language. The song is used as the anthem of S.S.C. Napoli.


'O surdato 'nnammurato
The words were written by Aniello Califano and the music composed by Enrico Cannio in 1915. The song describes the sadness of a soldier who is fighting at the front during World War I, and who pines for his beloved. Originally Cannio's sheet music was published with piano accompaniment, but in recordings, on 78rpm, then LP, Neapolitan standards such as O surdato have usually been orchestrated to suit each tenor.


'O surdato 'nnammurato, Lyrics
The Corrs when performing with Luciano Pavarotti used the following English lyrics for the second varse:


'O' Level
'O' Level were a British punk and indie band, founded in 1976 by Ed Ball with friends John and Gerard Bennett. The group's name refers to the 'O'-Level of the British General Certificate of Education.


'O' Level, History
Along with the early Television Personalities, 'O' Level's singles are synonymous with a late 1970s DIY-indie sound that emanated from West London, mostly because the personnel of both bands were almost identical.


'O' Level, History
Fuelled by punk and the early Beatles, 'O' Level was formed in 1976 by Ed Ball with friends from the London Oratory School, John and Gerard Bennett, on drums and bass guitar respectively. Together they played the usual round of school discos and youth centres, until fellow school chum and sixties enthusiast Daniel Treacy invited Edward to join him in the studio to record a single. Just to be on the safe side, Edward brought John and Gerard as well, resulting in the TV Personalities single, "14th Floor".


'O' Level, History
The following week, Ball, the Bennetts and friend Richard Scully recorded "Pseudo Punk", "O Levels" and "East Sheen" as ‘O' Level, released in November 1977. It took Treacy longer to raise the pre-requisite funds to press "14th floor", which was finally released in 1978. In March of that year, John and Gerard Bennett started their own band Reacta, leaving Ball with the name ‘O' Level.


'O' Level, History
Exactly one year after their debut recording sessions, Daniel and Edward returned to the studio, this time to create the breakthrough Where's Bill Grundy Now EP as the TV Personalities, featuring the song "Part Time Punks" (in which 'O' Level are mentioned). The following week, Ball went back to record - this time by himself – a second and final ‘O' Level single, The Malcolm McLaren Lifestory EP, featuring "We Love Malcolm". Both EPs appeared in late 1978.


'O' Level, History
From here, it was just a name change to the Teenage Filmstars and invitations to Daniel Treacy and Joseph Foster.


'O' Level, Discography, Compilations
CD Rev-Ola (CREV 005CD) 1992"(There's A) Cloud Over Liverpool" / "I Helped Patrick McGoohan Escape" / "The Odd Man Out" / "I Apologise" / "We're Not Sorry" / "Sometimes Good Guys Don't Follow Trends" / "Storybook Beginnings" / "The Sun Never Sets" / "Dressing Up For The Cameras" / "He's A Professional" / "The John Peel March" / "East Sheen Revisited" / "Pseudo Punk" / "O Levels" / "We Love Malcolm" / "Leave Me" / "Everybody's On Revolver Tonight" / "Stairway To Boredom" / "Many Unhappy Returns" / "I Love To Clean My Polaris Missile" / "Don't Play God With My Life" / "East Sheen"


'Obby 'Oss festival
The 'Obby 'Oss festival is a folk custom that takes place each May Day in Padstow, a coastal town in North Cornwall. It involves two separate processions making their way around the town, each containing an eponymous hobby horse known as the 'Obby 'Oss.


'Obby 'Oss festival
The festival starts at midnight on May Eve when townspeople gather outside the Golden Lion Inn to sing the "Night Song". By morning, the town has been dressed with greenery and flowers placed around the maypole. The excitement begins with the appearance of one of the 'Obby 'Osses. Male dancers cavort through the town dressed as one of two 'Obby 'Osses, the "Old" and the "Blue Ribbon" or "Methodist" 'Obby 'Osses; as the name suggests, they are stylised depictions of horses.


'Obby 'Oss festival
Prodded on by assistants known as "Teasers", each wears a mask and black frame-hung cape under which they try to catch young maidens as they pass through the town. Throughout the day, the two parades, led by the "MC" in his top hat and decorated stick, followed by a band of accordions and drums, then the 'Oss and the Teaser, with a host of people, the "Mayers" - all singing the "Morning Song" – pass along the streets of the town. Finally, late in the evening, the two 'osses meet, at the maypole, before returning to their respective stables where the crowd sings of the 'Obby 'Oss death, until its resurrection the following May Eve.


'Obby 'Oss festival
During the twentieth century the existence of the festival was described by a number of folklorists who brought greater attention to it. This helped to make the event a popular tourist attraction and establish it as one of the most famous folk customs in Britain.


'Obby 'Oss festival, Description
The festival takes place on May Day every year. It entails two separate processions that make their way around Padstow on circuits that take twelve hours to traverse. Each procession represents a different half of the town's community. Only those whose families have lived in Lowenac Padstow for at least two generations are permitted to take part in the processions. Each procession contains by an 'Obby 'Oss, a hobby horse consisting of an oval frame covered in black oilskin, which has a small horse's head in the front with a snapping jaw. This is led by an individual known as the Teaser, who is dressed in white and carries a painted club. The procession also contains a retinue of white-clad individuals, some playing accordions, melodeons and drums.


'Obby 'Oss festival, Description
This retinue sings a local version of a Mayers' song. At times this tune becomes a dirge, at which the 'Obby 'Oss sinks to the ground and lies flat. When the chorus becomes triumphant again the 'Oss rises and continues along the procession.


'Obby 'Oss festival, History, Origins
The origins of the celebrations in Padstow are unknown. There is extensive documentary evidence of British community May Day celebrations in the 16th century and earlier, although the earliest mention of the Obby 'Oss at Padstow dates from 1803. An earlier hobby horse is mentioned in the Cornish language drama Beunans Meriasek, a life of the Camborne saint, where it is associated with a troupe, or "companions." There is no evidence to suggest that the 'Obby 'Oss festival is older than the eighteenth century.


'Obby 'Oss festival, History, Origins
It has been speculated that such festivals have pre-Christian origins, such as in the Celtic festival of Beltane in the Celtic nations, and the Germanic celebrations during the Þrimilci-mōnaþ (literally Three-Milking Month or Month of Three Milkings) in England.


'Obby 'Oss festival, History, Origins
The custom attracted little attention outside of the town until 1907, when the folklorist Francis Etherington drew attention to it. In 1913 the folklorist Thurstan Peter wrote about it; influenced by the ideas of the anthropologist James Frazer, Peter argued that the 'Obby 'Oss custom might have once been a pre-Christian religious ritual designed to secure fertility. The idea that the custom had pre-Christian roots helped to convert it into a tourist attraction.


'Obby 'Oss festival, History, Origins
This idea of the custom as a pre-Christian one percolated into the Padstow community, for when the historian Ronald Hutton visited the town in 1985 he found locals describing it to him as an ancient pagan fertility rite. In the 1950s Alan Lomax, then in London and working for the BBC, and his collaborator Peter Kennedy of the English Folk Dance and Song Society, decided to document the unique May Eve and May Day Festivals at Padstow, they selected George Pickow to be their cameraman. The result was the 16-minute colour film Oss Oss Wee Oss (1953).


'Obby 'Oss festival, History, Modern developments
By the 1990s, the 'Obby 'Oss festival was a major attraction that drew large numbers of visitors to Lowennac/Padstow. By that point, Hutton referred to it as "one of the most famous and most dramatic folk customs of modern Britain", adding that it constituted "a tremendous reaffirmation of communal pride and solidarity in this small and normally quiet settlement". The folklorist Doc Rowe, who has attended and documented the custom every year since 1963, goes further - describing 'Obby 'Oss Day as "a united proclamation - almost a 'clenched fist' in the face of time and outside influences... [ it] can be seen as a communal pace-maker and, on Mayday, it recharges the community and the good fellowship of the people of Padstow."


'Obby 'Oss festival, History, Modern developments
The festival was not held in 2020 due to the COVID-19 pandemic.


'Obby 'Oss festival, Celebration practice
The celebration itself starts at midnight on 30 April with unaccompanied singing around the town starting at the Golden Lion Inn. By the morning of 1 May, the town is dressed with greenery, flowers and flags, with the focus being the maypole. The climax arrives when two groups of dancers progress through the town, one of each team wearing a stylised recreation of a 'horse.' The two 'osses are known as the "Old" and the "Blue Ribbon" 'osses. During the day a number of "Junior" or "colt" 'osses appear, operated by children.


'Obby 'Oss festival, Celebration practice
Accompanied by drums and accordions and led by acolytes known as "Teasers", each 'oss is adorned by a gruesome mask and black, oilskin cape on a circular frame under which they try to catch young maidens as they pass through the town. The Blue ribbon 'oss is apparently of more recent origin. In the late 19th century, Blue 'Oss was supported by members of the Temperance movement who were trying to discourage the consumption of alcohol associated with the "old" 'oss followers.


'Obby 'Oss festival, Celebration practice
After the first world war the imperative of temperance was lost, and the 'oss became known as the Peace 'Oss. Each 'oss has a "stable" (in the case of the Old 'Oss, the Golden Lion Inn and the Blue Ribbon 'Oss, the institute, from which they emerge at the start of the day's proceedings and retire at the end. Sometimes in the late afternoon, the 'osses may meet at the maypole and dance together.


'Obby 'Oss festival, Celebration practice, Night Song
Unite and unite and let us all unite,For summer is acome unto day,And whither we are going we will all unite,In the merry morning of May. I warn you young men everyone,For summer is acome unto day,To go to the green-wood and fetch your May home,In the merry morning of May. Arise up Mr. ..... and joy you betide,For summer is acome unto day,And bright is your bride that lies by your side,In the merry morning of May.


'Obby 'Oss festival, Celebration practice, Night Song
Arise up Mrs. ..... and gold be your ring,For summer is acome unto day,And give to us a cup of ale the merrier we shall sing,In the merry morning of May. Arise up Miss ..... all in your gown of green,For summer is acome unto day,You are as fine a lady as wait upon the Queen,In the merry morning of May. Now fare you well, and we bid you all good cheer,For summer is acome unto day,We call once more unto your house before another year,In the merry morning of May.


'Obby 'Oss festival, Celebration practice, Day Song
Unite and unite and let us all unite,For summer is acome unto day,And whither we are going we will all unite,In the merry morning of May. Arise up Mr. ..... I know you well afine,For summer is acome unto day,You have a shilling in your purse and I wish it were in mine,In the merry morning of May. All out of your beds,For summer is acome unto day,Your chamber shall be strewed with the white rose and the redIn the merry morning of May.


'Obby 'Oss festival, Celebration practice, Day Song
Where are the young men that here now should dance,For summer is acome unto day,Some they are in England some they are in France,In the merry morning of May. Where are the maidens that here now should sing,For summer is acome unto day,They are in the meadows the flowers gathering,In the merry morning of May. Arise up Mr. ..... with your sword by your side,For summer is acome unto day,Your steed is in the stable awaiting for to ride,In the merry morning of May.


'Obby 'Oss festival, Celebration practice, Day Song
Arise up Miss ..... and strew all your flowers,For summer is acome unto day,It is but a while ago since we have strewn ours,In the merry morning of May. O! where is St. George,O!, where is he O,He is out in his long boat on the salt sea O. Up flies the kite and down tails the lark O.Aunt Ursula Birdhood she had an old eweAnd she died in her own Park O. With the merry ring, adieu the merry spring,For summer is acome unto day,How happy is the little bird that merrily doth sing,In the merry morning of May.


'Obby 'Oss festival, Celebration practice, Day Song
The young men of Padstow they might if they would,For summer is acome unto day,They might have built a ship and gilded her with gold,In the merry morning of May. The young women of Padstow might if they would,For summer is acome unto day,They might have made a garland with the white rose and the red,In the merry morning of May. Arise up Mr. ..... and reach me your hand,For summer is acome unto day,And you shall have a lively lass with a thousand pounds in hand. In the merry morning of May.


'Obby 'Oss festival, Celebration practice, Day Song
Arise up Miss ..... all in your cloak of silk,For summer is acome unto day,And all your body under as white as any milk,In the merry morning of May. O!


'Obby 'Oss festival, Celebration practice, Day Song
where is St. George,O!, where is he O,He is out in his long boat on the salt sea O. Up flies the kite and down tails the lark O.Aunt Ursula Birdhood she had an old eweAnd she died in her own Park O. Now fare you well and bid you all good cheer,For summer is acome unto day,We call no more unto your house before another year,In the merry morning of May.


'Obby 'Oss festival, Similar hobby horses elsewhere
(See also: Hobby horse)'Obby 'Oss traditions also exist in nearby Barnstaple and Combe Martin.


'Obby 'Oss festival, Similar hobby horses elsewhere
Minehead in Somerset also has two large hobby horses, the Sailors' Horse and the Town Horse. Although more pointed or boat-shaped than the Padstow 'Osses, they are similar in that the dancer within the costume wears a tall, conical hat with a grotesque mask over their face; the horse framework is suspended from the dancer's shoulders and a long skirt hangs down to partly hide their body; the animal's heads are small and wooden with snapping jaws. They also capture bystanders.


'Obby 'Oss festival, Similar hobby horses elsewhere
There is documentary evidence of an 'Oss at Penzance in the late 19th century, made with a caped stick and skull, which has formed the basis of the Penglaz 'Obby 'Oss that appears during the Golowan festival and the Montol Festival, both modern revivals; the skull 'oss is strikingly similar to the Mari Lwyd in Wales associated with the pre-Christian deity Rhiannon, known as Epona the horse goddess in continental Celtic cultures, passing into festive folklore as 'the Old Grey Mare' in neighbouring parts of Britain e.g. Dartmoor (Widecombe Fair), Dorset (The Grey Mare and her Colts), as well as the Soultide mummers' horses of Cheshire.


'Obby 'Oss festival, Similar hobby horses elsewhere
Similar Corpus Christi (May–June) folk tradition exists in Galicia in Spain and Portugal where St George fights a dragon in the manner of the Cornish Mummers Plays. Tinsel-cloaked street entertainers dress similarly to the Welsh Mari Llywd but the snapping animal skull might be a goat or fox rather than horse and depicts the Coco or the Peluda.


'Obby 'Oss festival, Similar hobby horses elsewhere
The Tarasque procession from southern France has direct pre-Roman Celtic antecedents and a terrifying ancient Celtic sculpture at the Musée lapidaire d'Avignon depicts the monster hoarding severed human heads (French Wikipedia with images).


'Obby 'Oss festival, Similar hobby horses elsewhere
There are some similarities between this festival and the Lajkonik hobby-horse festival in Kraków, Poland. In particular the idea that young women may be captured or struck with a stick to bring them "luck" or fertility suggests a pagan, or at least medieval origin. Lajkonik is 700 years old.


'Obby 'Oss festival, Similar hobby horses elsewhere
Rather more recent is the Banbury Hobby-Horse festival, which started in 2000, and features ritual animals from all parts of the British Isles, some old, some more modern.


'Obby 'Oss festival, Cultural references
A May-Day procession including a Teaser and Hobby Horse that tries to capture women under its skirts features in the climactic scenes of the 1973 British cult-horror flick The Wicker Man.


'Oh, Whistle, and I'll Come to You, My Lad'
"'Oh, Whistle, and I'll Come to You, My Lad'" is a ghost story by British writer M. R. James, included in his collection Ghost Stories of an Antiquary (1904). The story is named after a 1793 poem of the same name penned by Robert Burns.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Discovery
Parkins, the protagonist, is a young Cambridge University professor on holiday in the town of Burnstow (a fictionalized version of Felixstowe, Suffolk), on the southeast coast of England. He resides at The Globe Inn for the duration of his stay, and has promised to investigate the grounds of a nearby preceptory for a colleague during his stay, with view to his colleague further exploring the site the following summer.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Discovery
While investigating a cavity within what he believes to be the base of a ruined Templar platform or altar for his colleague, Parkins finds an ancient bronze whistle with two Latin inscriptions. On one side, the Latin inscription reads "Quis est iste, qui venit?". On the other side are inscribed the letters "FLA BIS FLE FUR" in the pattern of a plus sign. Parkins pockets his find and returns to the inn, noting as he walks along the desolate beach that a "shape of indistinct personage" appears to be making great efforts to catch up with him in the distance, to no avail.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Inspection and calling
After an evening meal at the inn, Parkins inspects the whistle while alone in his room. He first clears the hard-packed soil from the item before reading the inscriptions, discovering the Latin inscription is Biblical; Parkins translates this as "Who is this who is coming?". He is unable to read the inscriptions on the other side of the whistle, which he then blows twice. Upon blowing the whistle, Parkins becomes aware of a sudden surge of wind outside his window as a vision of a "wide, dark expanse at night with a fresh wind blowing" enters his mind. In the middle of this vision is a solitary figure.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, First night
That night, Parkins dreams of a man desperately fleeing from a "bobbing, black object" along a shoreline in a state of extreme fear. In the distance, the pursuing apparition moves in a strange manner and with incredible speed. The man repeatedly clambers over high groynes in desperation before collapsing to the ground in sheer exhaustion as the object the man had been fleeing reveals itself as a figure in "pale, fluttering draperies". Each time Parkins closes his eyes, the scenario progresses, although the vision immediately vanishes when he opens his eyes.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, First night
Realising he is unable to dispel the visions, Parkins decides to read himself to sleep, although when he attempts to light a match, he hears the sound of scurrying on his floor in the direction away from his bed, which he believes may be the sound of rats fleeing. Parkins then reads himself to a sound sleep, with the candle beside his bed still burning when he is woken by staff at the inn the following morning.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Second day
As he prepares to leave the inn, Parkins is informed by a maid that both beds in his room appeared to have been slept in. The maid had already made both beds, explaining the sheets on the bed he had not slept in were "crumpled and thrown about all ways". Parkins theorises he may have disturbed the quilt and sheets while unpacking. He then leaves the inn to play golf with an acquaintance, whom he informs of the whistle he had found at the preceptory the previous day. This acquaintance informs Parkins of his belief the whistle—which he had left in his inn room—may have belonged to Papists, and he should be wary of keeping and using the object.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Second day
Returning to the inn, both encounter a terrified, hyperventilating boy running from the inn who explains he has just seen a white, faceless figure behind an unlit window of a room at the inn. Both placate the boy, and resolve to investigate the matter, believing initially the child may have been the victim of a cruel prank. Upon returning to his locked room, Parkins realises that the description of the windows of the room given by the boy could only mean the child had seen the apparition in his room. He then notices that the sheets upon the room's second, unused bed are again twisted and contorted.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Second night
Inside Parkins's room that evening, he shows the whistle to his golfing partner, asking if he can decipher the second inscription, although his acquaintance is unable to do so. This acquaintance then leaves the room. Parkins then realises that the night ahead may be moonlit and that, as no curtains cover the windows of his room, his sleep may be disturbed by moonlight. To prevent this, he fashions a partition between his bed and the window using a rug, a stick and his umbrella. Parkins then reads for a short while before blowing out the candle beside his bed and falling asleep.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Second night
Approximately one hour later, Parkins is woken by the sound of his improvised device collapsing to the floor and moonlight shining on his face. He then hears a movement in the empty bed across his room. As he ponders the possibility of rats or other vermin being the source of this sound, he realises the "rattling and shaking" sounds could not be caused by rodents. Parkins then sees a figure sit up on the bed, causing him to jump from his own bed in the direction of the window, to retrieve his cane.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Second night
As he does so, the "personage in the empty bed" moves into a position above the door, with arms outspread. This apparition remains stationary in the shadows for several moments as Parkins's fear escalates. The apparition then moves in a stooping posture in his direction as the draped arms feel about the room, leading Parkins to quickly determine the spectre may be blind.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Second night
The apparition then darts towards Parkins's bed, feeling about the pillow and sheets for his body. Realising he is no longer in the bed, the apparition moves towards the window, into the moonlight, allowing Parkins to see the veiled form clearly. The distorted face and the arms of the apparition are wrapped inside linen, with the arms outstretched, and the apparition continues to search the room for him.


'Oh, Whistle, and I'll Come to You, My Lad', Plot, Second night
One corner of the draperies veiling the form brushes across Parkins's face, causing Parkins to elicit a cry of fear. This cry reveals his general location to the apparition, which moves rapidly in his direction. Parkins backs against the open window of his room, screaming repeatedly as the face of the apparition is "thrust close into his own". At this moment, Parkins's friend kicks the door to his room open, just in time to see the apparition advancing towards Parkins. As he advances, the apparition disappears, and the linens which had veiled the form crumple to the floor. The following day, the whistle is thrown far into the sea.


'Oh, Whistle, and I'll Come to You, My Lad', Adaptations
The BBC has filmed the story twice as Whistle and I'll Come to You, firstly in 1968 in a version directed by Jonathan Miller and starring Michael Hordern, and again in 2010 starring John Hurt and Sophie Thompson.


'Omar Ellison
'Omar Ryan Ellison (born October 8, 1971) is a former American football wide receiver in the National Football League who played for the San Diego Chargers. He played college football for the Florida State Seminoles.


'Op o' Me Thumb
'Op o' Me Thumb is a 1904 one-act play by the English authors Frederick Fenn and Richard Pryce. It was produced at the Court Theatre, London, on 13 March 1904, in a double bill with Robert Browning's A Soul's Tragedy. It transferred to the St James's Theatre on 24 April 1904. The leading role of Amanda was played by Hilda Trevelyan. The play was staged in New York in 1905 with Maude Adams as Amanda. It was filmed in 1920 as Suds, starring Mary Pickford in the role created by Trevelyan.


'Op o' Me Thumb, Plot
The play is set in a London laundry. One of the workers, Amanda, fantasises about being the sweetheart of a handsome client, Horace, and tells her colleagues tall stories of their supposed romance. Horace arrives to collect his laundry; she confesses her deceit to him. Out of kindness he kisses her, and then goes, leaving Amanda alone, with her fantasies shattered but with the consolation of the kiss and his gold, diamond and ruby tie pin that he has given her.


'Orfi Shirazi
His name is given as Jamāl-al-Din Moḥammad Sidi (or Sayyedi) in the early sources. He lived from 963 AH-999 AH; c. 1556-1590 CE; known by his pen-name Urfi, or Orfi or Urfi Shirazi (Persian: عرفی شیرازی), was a 16th-century Persian poet.


'Orfi Shirazi
He was born in Shiraz and in his youth, he migrated to India and became one of the poets of the court of Akbar the Great. He is one of the most prominent Persian poets of Indian style.


'Oro
'Oro is a god of the Polynesian pantheon. The veneration of Oro, although practiced in varying intensity among the islands, was a major religion of the Society Islands in the 17th and 18th centuries, especially Tahiti, Tahaa, Moorea, and Raiatea. On Tahiti, 'Oro was the main deity and the god of war. The secret society of Arioi was closely linked because of its rites. On the Marquesas Islands, 'Oro bore the name Mahui.


'Oro, Origins
Four main gods were venerated on the Society Islands: Ta'aroa, originally the god of the sea and fishing, Tane, god of the forest and handicrafts, Tu, the old god of war and Ro'o, god of agricultural products and the weather. These main gods were also venerated on the other Polynesian islands.


'Oro, Origins
The colonists who settled as part of the Polynesian expansion spread their religion amongst the various islands. Over the centuries the continual movement and developments of the original society groups brought about local differences and adaptations of the cult within the Polynesian Triangle.


'Oro, Origins
On the island of Raiatea the priests elevated the god Ta'aroa from the role of sea god - already an important function in a maritime society - to the god responsible for creating the world. A possible explanation for this is that the ariki, the hereditary chiefs and members of the highest noble ranks on Raiatea, could trace their lineage directly to Ta'aroa. A further development of this cult was the veneration of Oro, the son of Ta'aroa and Hina tu a uta, to whom the marae Taputapuatea in the Opoa valley on Raiatea is dedicated.


'Oro, Origins
According to tradition, Taputapuatea is the mythical birthplace of Oro. The cult of Ta'aroa also spread to the Cook Islands, the Tuamotu Archipelago and Mangareva. Large islands, such as New Zealand and Hawaii, remained unaffected by the cult and its developments and Ta'aroa retains his original function there as god of the sea. Similarly, on many of the other islands of the south Pacific Oro did not have the same superior function as on Tahiti and Raiatea.


'Oro, Origins
Due to the growing influence of Taputapuatea - one can characterize it as a type of central pilgrimage site - Oro gained more political power and religious influence within the Polynesian pantheon. On the neighboring island of Tahiti the veneration of Oro grew in importance during the late proto-historical or early historical period and can be seen as a clear step from Polytheism to Monotheism. This development was substantially driven by the influential secret society of Arioi, who were of great religious and political importance. From within their ranks came the upper echelons of the nobility and the priesthood. The Arioi could trace the foundation of their order back to the god Oro himself.


'Oro, Origins
On Tahiti Oro was the god of war, who in times of peace became the god of the fine arts. Not only pigs but also humans were sacrificed to him. During his third voyage in 1777 James Cook was witness to such a human sacrifice. The prisoner was held securely on a platform whilst a priest smashed his skull with a holy mace.


'Oro, Legends
According to legend Oro lived with his sisters Teouri and Oaaoa on Mount Pahia on the island of Bora Bora. He asked his sisters for help in finding a suitable wife and descended to earth on a rainbow in the guise of a warrior. His search of the various islands at first proved futile, which also saddened his sisters. In the course of their journey home to Pahia the sisters arrived in the village of Vaitape, near Vai'otaha marae on Bora Bora. There they spotted Vairaumati, a beautiful young woman bathing in a pool of water.


'Oro, Legends
The sisters told Oro of their encounter and he decided to make Vairaumati his wife. Vairaumati found this young, strong warrior attractive. Every morning Oro would descend to earth to meet Vairaumati and then leave again in the evening to return to Pahia. ' Oro's brothers 'Oro-tetefa and Uru-tetefa, transformed themselves into a bunch of red feathers and a pregnant sow as wedding gifts.


'Oro, Legends
Vairumati gave birth to a son, who one day would become a powerful chieftain. Oro flew across the sky in the shape of a flame and made Vairaumati into a goddess.


'Oro, Legends
The rainbow is also a symbol in Hawaiian mythology, even though the cult of Oro is a relatively late creation, coming about sometime after the settlement of the Hawaiian Archipelago by Polynesians from the Society Islands. In Hawaii the god Lono also descended to earth on a rainbow. The motif of the marriage of a human woman with a god descended from the sky is recurrent in Polynesian mythology, as well as being evident in numerous other mythologies from various cultures.


'Oro, Manifestations
Polynesian gods manifest themselves in two different ways: as "Ata" and as "To'o".


'Oro, Manifestations
Ata was a natural object or artefact sought after by humans that would symbolise the incarnation of the gods. For the god Oro this was as either:


'Oro, Manifestations
To'o was a man-made object, for example a figure made of wood or stone, that presented a figurative image of the god. On Tahiti the god Oro was presented in an effigy wrapped in coconut fibers with a mace-shaped wooden "soul" in the middle. Red and yellow feathers—the symbols of the god—were placed within the layers of coconut fiber. The To'o was stored and kept safe on the ceremonial platform and would be regularly re-clothed in tapa fiber during a complicated ceremony. This ritual possibly has to do with the local burial cult where the body would be swathed in tapa.


'Orrible
'Orrible is a British television sitcom produced by the BBC. Broadcast in 2001, it was written by and starred Johnny Vaughan. Vaughan stars as a cheeky chappy taxi-cab driver and wannabe small-time criminal in Acton (west London). Despite the BBC being confident and heavily promoting the series, it was panned by critics for the script and Vaughan's acting ability. It achieved very low viewing figures and ran for one series, and has never been repeated by the BBC. "Ultimately, it was shit" said Vaughan in a 2004 interview in The Stage. James Buckley made his acting debut playing Sean's son (and Paul's godson) in the sixth episode, Two Men and a Bastard.


'Orrible
In 2017, Vaughan approached the BBC with prospect to repeat the series either via BBC Four or on-line channel BBC Three to mark its 15th Anniversary, both with a sense of irony but also to potentially gain it new recognition. The BBC did not pursue Vaughan's suggestion.


'Ot 'n' Sweaty
'Ot 'n' Sweaty is the fourth album by the American rock band Cactus. It was released in 1972. Original members Jim McCarty and Rusty Day had left the group, so bass guitarist Tim Bogert and drummer Carmine Appice were joined by Werner Fritzschings on guitar, Duane Hitchings on keyboards and Peter French (ex-Leaf Hound and Atomic Rooster) on vocals. This was the band's final album before their long hiatus that lasted until 2006.


'Ot 'n' Sweaty
The first three songs (filled up the first side of the original LP) were recorded live on April 3, 1972, in Puerto Rico at the Mar Y Sol Pop Festival, and the rest (the second side of the LP) were recorded in studio (so on the album's front cover is pointed after the band's name: On Stage In Puerto Rico And In The Studio). The pinnacle tracks for this album are "Bad Stuff", "Bringing Me Down", "Bedroom Mazurka", "Telling You" and a live recording of "Let Me Swim", which was a song by the original Cactus on their 1970 debut album.


'Ota 'ika
Ota ika is a Polynesian dish consisting of raw fish marinated in citrus juice and coconut milk. The Tongan, Tahitian, and Samoan variants are essentially identical in that the raw fish is briefly marinated in lemon or lime juice until the surface of the flesh becomes opaque. The fish is then mixed with coconut milk and diced vegetables (most commonly cucumber, tomato, onion, green onion, and spicy peppers). This is the national dish of Tonga.


'Ota 'ika
The dish is known as kokoda in Fiji, oka in Samoa, ika mata in the Cook Islands and New Zealand, and simply poisson cru on the French islands. The word "ota" means "raw" in Samoan, Tongan, and Tahitian, although the more common term for the dish in French Polynesia is its French equivalent, "poisson cru" (literally, "raw fish"). Any type of seafood can be used to make "ota," the word "ika" means fish ("i'a" in Samoan language), but the dish is often prepared with mussels ("ota pipi/maso"), prawns ("ota ulavai"), crab ("ota pa'a/paka"), lobster ("ota ula"), octopus/squid ("ota fe'e/feke"), sea urchin ("ota vana/tuitui"), and eel ("ota pusi").


'Ota 'ika
A very similar dish is the kinilaw of the Philippines, and its descendant dish, the kelaguen of the Marianas Islands. The poke of Hawaii is also similar though it does not use citrus juices or coconut milk. It is also similar to the Latin American ceviche, though the latter is relatively recent and may be a derivative dish, as citruses are not native to the Americas.


'Pataphysics
'Pataphysics (French: pataphysique) is a difficult-to-define "philosophy" of science invented by French writer Alfred Jarry (1873–1907) intended to be a parody of science.


'Pataphysics, Introduction
Pataphysics was a concept expressed by Jarry in a mock-scientific manner, with undertones of spoofing and quackery, as expounded in his novel Exploits and Opinions of Dr. Faustroll, Pataphysician. Here, Jarry toyed with conventional concepts and interpretations of reality. Another attempt at a definition interprets 'pataphysics as an idea that "the virtual or imaginary nature of things as glimpsed by the heightened vision of poetry or science or love can be seized and lived as real". Jarry defines 'pataphysics in a number of statements and examples, including that it is "the science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments". A practitioner of 'pataphysics is a pataphysician or a pataphysicist.


'Pataphysics, Definitions
One definition of 'pataphysics is that it's "a branch of philosophy or science that examines imaginary phenomena that exist in a world beyond metaphysics; it is the science of imaginary solutions."


'Pataphysics, Definitions
There are over one hundred definitions of 'pataphysics. Some examples are shown below.


'Pataphysics, Definitions
'Pataphysics is the science of that which is superinduced upon metaphysics, whether within or beyond the latter's limitations, extending as far beyond metaphysics as the latter extends beyond physics. ... 'Pataphysics will be, above all, the science of the particular, despite the common opinion that the only science is that of the general. ' Pataphysics will examine the laws governing exceptions, and will explain the universe supplementary to this one.


'Pataphysics, Definitions
'Pataphysics is patient; 'Pataphysics is benign; 'Pataphysics envies nothing, is never distracted, never puffed up, it has neither aspirations nor seeks not its own, it is even-tempered, and thinks not evil; it mocks not iniquity: it is enraptured with scientific truth; it supports everything, believes everything, has faith in everything and upholds everything that is. as cited in (A humorous allusion to First Corinthians 13 about the virtues of love.)


'Pataphysics, Definitions
Pataphysics passes easily from one state of apparent definition to another. Thus it can present itself under the aspect of a gas, a liquid or a solid. as cited in


'Pataphysics, Definitions
Pataphysics "the science of the particular" does not, therefore, study the rules governing the general recurrence of a periodic incident (the expected case) so much as study the games governing the special occurrence of a sporadic accident (the excepted case). [ ...] Jarry performs humorously on behalf of literature what Nietzsche performs seriously on behalf of philosophy. Both thinkers in effect attempt to dream up a "gay science" whose joie de vivre thrives wherever the tyranny of truth has increased our esteem for the lie and wherever the tyranny of reason has increased our esteem for the mad.


'Pataphysics, Etymology
The word 'pataphysics is a contracted formation, derived from the Greek τὰ ἐπὶ τὰ μεταφυσικά (tà epì tà metàphusiká), a phrase or expression meaning "that which is above metaphysics", and is itself a sly variation on the title of Aristotle's Metaphysics, which in Greek is "τὰ μετὰ τὰ φυσικά" (ta meta ta physika).


'Pataphysics, Etymology
Jarry mandated the inclusion of the apostrophe in the orthography, 'pataphysique and 'pataphysics, "...to avoid a simple pun". The words pataphysician or pataphysicist and the adjective pataphysical should not include the apostrophe. Only when consciously referring to Jarry's science itself should the word 'pataphysics carry the apostrophe. The term pataphysics is a paronym (considered a kind of pun in French) of metaphysics. Since the apostrophe in no way affects the meaning or pronunciation of pataphysics, this spelling of the term is a sly notation, to the reader, suggesting a variety of puns that listeners may hear, or be aware of. These puns include patte à physique ("physics paw"), as interpreted by Jarry scholars Keith Beaumont and Roger Shattuck, pas ta physique ("not your physics"), and pâte à physique ("physics paste").


'Pataphysics, History
The term first appeared in print in the text of Alfred Jarry's play Guignol in the 28 April 1893 issue of L'Écho de Paris littéraire illustré, but it has been suggested that the word has its origins in the same school pranks at the lycée in Rennes that led Jarry to write Ubu Roi. Jarry considered Ibicrates and Sophrotatos the Armenian as the fathers of this "science".


'Pataphysics, History, The Collège de 'Pataphysique
The Collège de 'Pataphysique, founded in 1948 in Paris, France, is "a society committed to learned and inutilious research". (The word 'inutilious' is synonymous with 'useless'.) The motto of the college is Latin: Eadem mutata resurgo ("I arise again the same though changed").


'Pataphysics, History, The Collège de 'Pataphysique
The permanent head of the college is the Inamovable Curator, Dr. Faustroll, assisted by Bosse-de-Nage (Starosta): both are fictional.


'Pataphysics, History, The Collège de 'Pataphysique
The Vice-Curator is the "first and most senior living entity" in the college's hierarchy. The current Vice-Curatrice is Tanya Peixoto of the London Institute of 'Pataphysics and Bookartbookshop. She was elected in 2014 to succeed Her Magnificence Lutembi – a crocodile who succeeded Opach, The Baron Mollet and Doctor Sandomir.


'Pataphysics, History, The Collège de 'Pataphysique
Publications of the college, generally called Latin: Viridis Candela ("green candle"), include the Cahiers, Dossiers and the Subsidia Pataphysica.


'Pataphysics, History, The Collège de 'Pataphysique
Notable members have included Marcel Duchamp, Joan Miró, Eugène Ionesco, Noël Arnaud, Jean-Christophe Averty, René Daumal, Luc Étienne, Latis, François Le Lionnais, Jean Lescure, Raymond Queneau, Boris Vian,  Jacques Carelman,  Man Ray, Max Ernst, Julien Torma, Roger Shattuck, Groucho, Chico and Harpo Marx, Baron Jean Mollet, Philippe de Chérisey, Irénée Louis Sandomir, Opach, Rolando Villazón, Fernando Arrabal and Gavin Bryars. The Oulipo began as a subcommittee of the college.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique
Although France had been always the centre of the pataphysical globe, there are followers up in different cities around the world. In 1966 Juan Esteban Fassio was commissioned to draw the map of the Collège de 'Pataphysique and its institutes abroad.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique
The college stopped its public activities between 1975 and 2000, referred to as its occultation. However through that time, Germany, Sweden, Switzerland, Canada, The Netherlands, and many other countries showed that the internationalization of 'pataphysics was irreversible.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique
In the 1950s, Buenos Aires in the Western Hemisphere and Milan in Europe were the first cities to have pataphysical institutes. London, Edinburgh, Budapest, and Liège, as well as many other European cities, caught up in the sixties.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique, Czechoslovakia
During the communist era, a small group of 'pataphysicists in Czechoslovakia started a journal called PAKO, or Pataphysical Collegium. Jarry's plays had a lasting impression on the country's underground philosophical scene.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique, London Institute of 'Pataphysics
The London Institute of 'Pataphysics was established in September 2000 to promote 'pataphysics in the English-speaking world. The institute has various publications, including a journal, and has six departments: Bureau for the Investigation of Subliminal Images, Committee for Hirsutism and Pogonotrophy, Department of Dogma and Theory, Department of Potassons, Department of Reconstructive Archaeology, and The Office of Patentry.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique, London Institute of 'Pataphysics
The institute also contains a pataphysical museum and archive and organised the Anthony Hancock Paintings and Sculptures exhibition in 2002.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique, London Institute of 'Pataphysics
The official orchestra of the London Institute of 'Pataphysics is the London Snorkelling Team.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique, Musée Patamécanique
Musée Patamécanique is a private museum located in Bristol, Rhode Island. Founded in 2006, it is open by appointment only to friends, colleagues, and occasionally to outside observers. The museum is presented as a hybrid between an automaton theater and a cabinet of curiosities and contains works representing the field of Patamechanics, an artistic practice and area of study chiefly inspired by 'Pataphysics.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique, Musée Patamécanique
Examples of exhibits include a troupe of singing animatronic Chipmunks, a time machine the museum claims is the world's largest automated phenakistoscope, an olfactory clock, a chandelier of singing animatronic nightingales, an Undigestulator (a device that purportedly reconstitutes digested foods), a peanuts enlarger, a syzygistic oracle, the earolin (a 24-inch tall holographic ear that plays the violin), and a machine for capturing the dreams of bumble bees.


'Pataphysics, History, Offshoots of the Collège de 'Pataphysique, 'Pataphysics Institute in Vilnius
A 'Pataphysics Institute opened in Vilnius, Lithuania in May 2013.


'Pataphysics, Pataphysical calendar
The pataphysical calendar is a variation of the Gregorian calendar. The Collège de 'Pataphysique created the calendar in 1949. The pataphysical era (E.P.) started on Jarry's birthday, 8 September 1873 vulg. When converting pataphysical dates to Gregorian dates, the appendage (vulg.) for vulgate ("common") is added.


'Pataphysics, Pataphysical calendar
The week starts on a Sunday. Every 1st, 8th, 15th and 22nd is a Sunday and every 13th day of a month falls on a Friday (see Friday the 13th). Each day is assigned a specific name or saint. For example, the 27 Haha (1 November vulg.) is called French: Occultation d'Alfred Jarry or the 14 Sable (14 December vulg.) is the day of French: Don Quichote, champion du monde.


'Pataphysics, Pataphysical calendar
The year has a total of 13 months each with 29 days. The 29th day of each month is imaginary with two exceptions:


'Pataphysics, Pataphysical calendar
The table below shows the names and order of months in a pataphysical year with their corresponding Gregorian dates and approximate translations or meanings by Hugill.


'Pataphysics, Works influenced by 'Pataphysics
In the 1960s 'pataphysics was used as a conceptual principle within various fine art forms, especially pop art and popular culture. Works within the pataphysical tradition tend to focus on the processes of their creation, and elements of chance or arbitrary choices are frequently key in those processes. Select pieces from the artist Marcel Duchamp and the composer John Cage characterize this. At around this time, Asger Jorn, a pataphysician and member of the Situationist International, referred to 'pataphysics as a new religion.


'Pataphysics, Works influenced by 'Pataphysics, In literature
In 1948 Raymond Queneau, Jean Genet, and Eugène Ionesco founded Collège de pataphysique and published OULIPO, which influenced the following writers:


'Pataphysics, Pataphor
The pataphor (Spanish: patáfora, French: pataphore), is a term coined by writer and musician Pablo Lopez, for an unusually extended metaphor based on Alfred Jarry's "science" of 'pataphysics'.


'Pataphysics, Pataphor
As Jarry claimed that 'pataphysics existed "...as far from metaphysics as metaphysics extends from regular reality", a pataphor attempts to create a figure of speech that exists as far from metaphor as metaphor exists from non-figurative language. Whereas a metaphor compares a real object or event to a seemingly unrelated subject to emphasize their similarities, the pataphor uses the newly created metaphorical similarity as a reality on which to base itself. In going beyond mere ornamentation of the original idea, the pataphor seeks to describe a new and separate world, in which an idea or aspect has taken on a life of its own.


'Pataphysics, Pataphor
Like 'pataphysics itself, pataphors essentially describe two degrees of separation from reality (rather than merely one degree of separation, which is the world of metaphors and metaphysics). The pataphor may also be said to function as a critical tool, describing the world of "assumptions based on assumptions"—such as belief systems or rhetoric run amok. The following is an example.


'Pataphysics, Pataphor
Thus, the pataphor has created a world where the chessboard exists, including the characters who live in that world, entirely abandoning the original context.


'Pataphysics, Pataphor
The pataphor has been subject to commercial interpretations, usage in speculative computer applications, applied to highly imaginative problem solving methods and even politics on the international level or theatre The Firesign Theatre (a comedy troupe whose jokes often rely on pataphors). There is a band called Pataphor and an interactive fiction in the Interactive Fiction Database called "PataNoir", based on pataphors. Pataphor is used by the Writer's Program at the University of North Florida. and has appeared in works affiliated with the Maria Curie-Skłodowska University.


'Pataphysics, Pataphor
Pataphors have been the subject of art exhibits, as in Tara Strickstein's 2010 "Pataphor" exhibit at Next Art Fair/Art Chicago, other artworks, and architectural works. Pataphors have also been used in literary criticism, and mentioned in Art in America.


'Pataphysics, Pataphor
There is also a book of pataphorical art called Pataphor by Dutch artist Hidde van Schie.


'Pataphysics, Pataphor
It is worth noting that a pataphor is not the traditional metaphorical conceit but rather a set of metaphors built upon an initial metaphor, obscuring its own origin rather than reiterating the same analogy in myriad ways.


'Pataphysics, Pataphor
In The Disappearance of Literature: Blanchot, Agamben, and the Writers of the No, Aaron Hillyer writes: "While metaphysics and metaphors attain one degree of separation from reality, pataphors and pataphysics move beyond by two degrees. This allows an idea to assume its own life, a sort of plasticity freed from the harness of rigid representation. In other words, metaphors operate on the level of the same. They juxtapose apparently unrelated material in order to draw out subtle identities.


'Pataphysics, Pataphor
Pataphors unsettle this mechanism; they use the facade of metaphorical similarity as a basis for establishing an entirely new range of references and outlandish articulations: a new world in the midst of the old, the novel taking to the streets. Just as Kafka sought to forge a new form of life on the basis of absolute separation from historical progress, on cultural 'intransmissibility', and just as Blanchot pursued the 'pure novel' that exists in a relationship of absolute refusal of the established world, so the pataphysician seeks to initiate a new world on the grounds of a tenuous unreality."


'Prosperous' British India
'Prosperous' British India, more completely titled Prosperous' British India: A Revelation from Official Records, was a book published in 1901 by British author William Digby that described the economic conditions prevailing in British India in the latter half of the nineteenth century under British rule. It used official government statistics to illuminate the falling incomes and increasing impoverishment in India under British administration during that period. The book was influential and, at the time, attracted attention due to the imprinting of the actual falling per-capita income statistics in gold on the spine of the book itself. The book also used government statistics to demonstrate that the death-toll and frequency of catastrophic economic disasters in India, such as famines, was growing systematically under British rule.


'R Xmas
'R Xmas is a 2001 American crime film directed by Abel Ferrara. It was screened in the Un Certain Regard section at the 2001 Cannes Film Festival. Its release was delayed by StudioCanal but it was eventually released on DVD.


'R Xmas, Plot
A New York drug dealer is kidnapped and his wife must come up with the money and drugs to free him from his kidnappers before Christmas.


'Round About Midnight
'Round About Midnight is an album by jazz composer and trumpet player Miles Davis that was released by Columbia Records in March 1957.


'Round About Midnight, Background
At the Newport Jazz Festival in 1955, Davis performed the song "'Round Midnight" as part of an all-star jam session, with the song's composer Thelonious Monk, along with Connie Kay and Percy Heath of the Modern Jazz Quartet, Zoot Sims, and Gerry Mulligan. Davis's solo received a positive reception from many jazz fans and critics. His response to this performance was typically laconic: "What are they talking about? I just played the way I always play." George Avakian of Columbia Records was in the audience, and his brother Aram persuaded him that he ought to sign Davis to the label.


'Round About Midnight, Background
Davis signed with Columbia and formed his "first great quintet" with John Coltrane on saxophone. ' Round About Midnight was his first album for the label. He was still under contract to Prestige, but he had an agreement that he could record material for Columbia to release after the expiration of his Prestige contract. Recording took place at Columbia studios; the first session was on October 26, 1955 at Studio D, during which the track "Ah-Leu-Cha" was recorded with three numbers that did not appear on the album. This is the first studio recording of the quintet.


'Round About Midnight, Background
The remainder of the album was recorded during sessions on June 5, 1956 ("Dear Old Stockholm", "Bye Bye Blackbird" and "Tadd's Delight") and September 10, 1956 ("All of You" and the titular "'Round Midnight") at Columbia's 30th Street Studio. During the same period, the Miles Davis Quintet was also recording sessions to fulfill its contract with Prestige.


'Round About Midnight, Reissues
On April 17, 2001, Sony reissued the album on compact disc for its Columbia/Legacy label with 24-bit audio remastering and four previously released bonus tracks from the initial sessions. "Budo" had been released as part of the 1957 anthology album on Columbia, Jazz Omnibus, and "Sweet Sue, Just You" had appeared on the 1956 album by Leonard Bernstein explaining jazz to the classical audience, What Is Jazz.


'Round About Midnight, Reissues
A two-disc reissue of June 14, 2005, included the 2001 reissue with a second disc containing Davis' 1955 Newport Jazz Festival performance of "'Round Midnight", along with a recording of the quintet's set from the 1956 Pacific Jazz Festival. The Newport track had been released for the first time the previous year on the Legacy compilation Happy Birthday Newport: 50 Swinging Years!


'Round About Midnight, Reception
In his five-star review in the May 16, 1957 issue of DownBeat magazine, Ralph J. Gleason called the album "modern jazz conceived and executed in the very best style." Ralph Berton of The Record Changer called the album "orthodox, middle-of-the-road conservative progressive jazz." The Penguin Guide to Jazz said it "sounds like a footnote" to the Prestige contractual obligation sessions (Miles, Relaxin', Workin', Steamin', and Cookin') and that "the material is fine but somehow fails to cast quite the consistent spell which the Prestige recordings do."


'Round About Midnight, Reception
Bob Rusch of Cadence wrote, "everything about this date, from the black-and-white cover photo, washed in red, of Miles Davis, removed in thought behind dark glasses, to the performances, is classic. Not surprisingly, careful packaging and exquisite artistry have created a legend and, in this case, one of the essential recordings in the history of recorded music."


'Round About Midnight at the Cafe Bohemia
'Round About Midnight at the Cafe Bohemia is a live album by American jazz trumpeter Kenny Dorham. The album was recorded in 1956 at the Café Bohemia and released in 1957 on the Blue Note label. The original release featured 6 tracks; another 11 tracks, including some alternate takes was released in 1984 on the Japanese Blue Note label, as BNJ 61003/61004. A complete edition was released as a double-CD set in 2002.


'Round About Midnight at the Cafe Bohemia, Reception
The Allmusic review awarded the album 41⁄2 stars and stated: "This music is designed for relaxing and grooving out. It will greatly assist anyone who is traveling by night or trying to make it through to the end of another day". The Penguin Guide to Jazz has selected this album as part of its suggested Core Collection, and gives the album a four-star rating (of a possible four).


'Round About Midnight at the Cafe Bohemia, Track listing
All tracks are written by Kenny Dorham, except where indicated.


'Round Here
"'Round Here" is a song written by Mark Miller, Gregg Hubbard and Scotty Emerick, and recorded by American country music group Sawyer Brown. It was released in November 1995 as the second single from the album This Thing Called Wantin' and Havin' It All. The song reached number 19 on the Billboard Hot Country Singles & Tracks chart. It also peaked at number 19 on the Canadian RPM Country Tracks chart.


'Round Here, Music video
The video for the song premiered in late 1995 and features former Major League Baseball player John Kruk.


'Round Here, Chart performance
"'Round Here" debuted at number 73 on the U.S. Billboard Hot Country Singles & Tracks for the week of November 25, 1995.


'Round Midnight (1963 Betty Carter album)
'Round Midnight is a 1963 studio album by the American jazz singer Betty Carter that was arranged by Claus Ogerman and Oliver Nelson.


'Round Midnight (1963 Betty Carter album), Reception
Scott Yanow, writing on Allmusic.com gave 'Round Midnight two and a half stars out of five. Yanow commented of Carter in this period: "Her chance-taking style and unusual voice were mostly ignored and it would not be until the late '70s that she was finally 'discovered.' ... Her style was a lot freer than it had been in her earlier records but was still more accessible than it would be. Her repertoire" at the time "was already becoming eclectic."


'Round Midnight (1963 Betty Carter album), Reception
Billboard gave 'Round Midnight its "4-star rating" in March 1963. The rating was given for "new albums with sufficient commercial potential."


'Round Midnight (Kenny Burrell album)
'Round Midnight is an album by guitarist Kenny Burrell recorded in 1972 and released on the Fantasy label.


'Round Midnight (Kenny Burrell album), Reception
Allmusic awarded the album 21⁄2 stars with its review by Scott Yanow stating, "Although the music overall is well-played, no real sparks fly and the results often border on being sleepy".


'Round Midnight (song)
"'Round Midnight" is a 1944 composition by pianist Thelonious Monk that quickly became a jazz standard and has been recorded by a wide variety of artists. A version recorded by Monk's quintet was added to the Grammy Hall of Fame in 1993. It is one of the most recorded jazz standards composed by a jazz musician.


'Round Midnight (song), Composition and Monk's first recording
It is thought that Monk composed the song sometime in 1940 or 1941. However, Harry Colomby claims that Monk may have written an early version around 1936 (at the age of 19). The song was copyrighted September 24, 1943 in C minor under the title "I Need You So", with lyrics by a friend of Monk's named Thelma Murray. The first recording was made by Cootie Williams on August 22, 1944, after the pianist Bud Powell persuaded Williams to record the tune. Monk first recorded the song on November 21, 1947, and later appeared on the Blue Note album Genius of Modern Music: Volume 1, and recorded it several times after that. His first version was transcribed by Lionel Grigson in A Thelonious Monk Study Album (Novello, 1993).


'Round Midnight (song), Composition and Monk's first recording
Jazz trumpeters Cootie Williams and Dizzy Gillespie further embellished the song, with songwriter Bernie Hanighen adding his own lyrics. Williams composed an eight bar interlude, played by the ensemble on his recording. This interlude is not included on any of Monk's recordings and is rarely if ever played. The lyrics were copyrighted November 27, 1944 under the title "Grand Finale". Both Williams and Hanighen received co-credits for their contributions.


'Round Midnight (song), Composition and Monk's first recording
The commonly played intro to "'Round Midnight" was originally composed by Dizzy Gillespie for the end of his arrangement for "I Can't Get Started", but later adopted it to the intro for "'Round Midnight". Gillespie later reused the arrangement for "I Can't Get Started", and recorded it for Birks' Works and Something Old, Something New.


'Round Midnight (song), Later versions
The song is sometimes incorrectly called "'Round About Midnight", as Miles Davis used this as the title of his 1957 Columbia Records album 'Round About Midnight that included a version based on Dizzy Gillespie's arrangement. It became a signature song for Davis; his performance of it with Monk at the 1955 Newport Jazz Festival, which was heard by producer George Avakian, was crucial in securing him a recording contract with Columbia Records. He had previously recorded the song in the studio two other times, once for Prestige in 1953 and again in 1956 as released on Miles Davis and the Modern Jazz Giants.


'Round Midnight (song), Later versions
A recording by Jimmy McGriff was used as the 6pm closedown theme in the early days of Radio Caroline in 1964.


'Round Midnight (song), Later versions
In 1971, Ron Grainer used a down-tempo variation by Cootie Williams to accompany a memorable scene from The Omega Man. The song later appeared on a 2004 Gotan Project CD, Inspiración Espiración, featuring Chet Baker.


'Round Midnight (song), Later versions
In 1986, the song was used as the title for the film Round Midnight which starred veteran saxophonist Dexter Gordon in a fictional story about an expatriate American jazz musician living in Paris. The soundtrack by Herbie Hancock prominently features the song "'Round Midnight" along with a number of other jazz standards and a handful of original pieces written by Hancock.


'Round Midnight (song), Later versions
In 2002, Italian pianist Emanuele Arciuli commissioned a number of composers to create the Round Midnight Variations. The composers included Roberto Andreoni, Milton Babbitt, Alberto Barbero, Carlo Boccadoro, William Bolcom, David Crumb, George Crumb, Michael Daugherty, Filippo Del Corno, John Harbison, Joel Hoffman, Aaron Jay Kernis, Gerald Levinson, Tobias Picker, Matthew Quayle, Frederic Rzewski, Augusta Read Thomas and Michael Torke.


'Round Springfield
"'Round Springfield" is the twenty-second episode of the sixth season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on April 30, 1995. In the episode, Bart is hospitalized after eating a piece of jagged metal in his Krusty-O's cereal and sues Krusty the Clown. While visiting Bart, Lisa discovers her old mentor, jazz musician Bleeding Gums Murphy, is also in the hospital. When he dies suddenly, she resolves to honor his memory. Steve Allen (as himself) and Ron Taylor (as Bleeding Gums Murphy) guest star, each in their second appearance on the show. Dan Higgins also returns as the writer and performer of all of Lisa and Bleeding Gums' saxophone solos.


'Round Springfield
The episode was written by Joshua Sternin and Jeffrey Ventimilia – based on a story idea by Al Jean and Mike Reiss – and was the first episode directed by Steven Dean Moore. Jean and Reiss, who were previously the series' showrunners, returned to produce this episode (as well as "A Star Is Burns") to ease the workload of the show's regular staff. They worked on it alongside the staff of The Critic, the series they had left The Simpsons to create. The episode marks the series' first time that a recurring character was killed off, something the staff had considered for a while. The episode features numerous cultural references, including Carole King's song "Jazzman", the actor James Earl Jones and the Kimba the White Lion/The Lion King controversy.


'Round Springfield
The episode also features the phrase "cheese-eating surrender monkeys", used by Groundskeeper Willie to describe the French. The phrase has since entered the public lexicon. It has been used and referenced by journalists and academics, and it appears in two Oxford quotation dictionaries.


'Round Springfield, Plot
Bart gets a stomach ache after accidentally eating a jagged metal Krusty-O prize packed in his breakfast cereal. Thinking Bart is feigning illness to avoid a history test, Homer and Marge send him to school anyway. After Bart struggles through the test, Mrs. Krabappel allows him to visit the school nurse once she sees he actually may be ill. Bart collapses in the nurse's office and is taken to Springfield General Hospital, where he undergoes appendicitis surgery from Dr. Hibbert and Dr. Nick. While visiting Bart in the hospital, Lisa discovers her hero, jazzman Bleeding Gums Murphy, is a patient in another ward. He is destitute after spending all the royalties from his only album, Sax on the Beach, on a $1500-a-day Fabergé egg habit.


'Round Springfield, Plot
Bart's classmates admire his scar and demand to have appendectomies of their own. Lisa spends time with Murphy, who lends her his saxophone for a school recital. With most of the orchestra absent while recovering from appendix surgery, the remaining trio perform and Lisa is a hit with the crowd. She is saddened to learn that Bleeding Gums has died when she returns to the hospital the next day. Lisa is the only person who attends his funeral, where Reverend Lovejoy misidentifies him as a sousaphone player. Lisa vows to make sure that everyone in Springfield appreciates Bleeding Gums' musical legacy. Bart sues Krusty the Clown and is given a $100,000 settlement. After Bart's attorney Lionel Hutz deducts his legal fees, Bart is left with only $500.


'Round Springfield, Plot
Still stricken with grief, Lisa decides that the best way to honor Bleeding Gums' memory is by having his album played on the local jazz station. Lisa spots it at the Android's Dungeon for $250; after hearing that Bleeding Gums is dead, Comic Book Guy doubles the price to $500. As she leaves, Bart arrives with his $500 settlement to buy a pog with Steve Allen's face. After seeing his sister's sad face through the shop window, Bart buys Lisa the album because she was the only one who believed his stomach ache was real. When she says he will never again see $500, Bart shows her a box of new Krusty-Os with flesh-eating bacteria which he intends to eat and sue Krusty again with.


'Round Springfield, Plot
When the radio station plays one of Bleeding Gums' songs, Lisa is disappointed because the station's tiny range prevents anyone from hearing it. Lightning strikes the antenna, giving it extra power and projecting it into every radio in Springfield. She is satisfied and turns to leave, but Bleeding Gums appears from the heavens to tell Lisa that she has made "an old jazz man happy". Mufasa from The Lion King, Darth Vader from the Star Wars film series, and James Earl Jones then appear in the clouds alongside Bleeding Gums, who tells them to keep quiet. After saying their final goodbyes, Lisa and Bleeding Gums perform "Jazzman" one last time.


'Round Springfield, Production
"'Round Springfield" was written by Joshua Sternin and Jeffrey Ventimilia, based on a story idea by Al Jean and Mike Reiss. It was the first episode directed by Steven Dean Moore. Due to Fox's demand for 24 to 25 episodes per season, which the production staff found impossible to meet, two episodes of each season were written and produced by former showrunners, to relieve the stress on The Simpsons' writing staff.


'Round Springfield, Production
Jean and Reiss, who were showrunners for the show's third and fourth seasons, returned to produce this episode, as well as "A Star Is Burns", instead of the season's main showrunner David Mirkin. On both episodes, they were aided by the staff of The Critic, the show the two left The Simpsons to create. Sternin and Ventimilia were writers on The Critic and were big fans of The Simpsons, so were thrilled to be able to write an episode.


'Round Springfield, Production
This episode marked the first time a recurring character has been killed off on the show. The writers and production team felt that it would be a good, emotional storyline, which, through Lisa, could focus on the theme of grief. They decided that it could not be one of the main characters; Jean joked that "we wouldn't want it to be someone like Mr. Burns, that we'd obviously want to see in the show again".


'Round Springfield, Production
Eventually, Jean decided on Bleeding Gums Murphy, a character introduced in the season one episode "Moaning Lisa"; a flashback to "Moaning Lisa" is featured in the episode. Murphy was a fairly minor character, only appearing in a couple of episodes, but he appeared in the show's opening sequence and remained there after this episode, until the opening was re-designed in season 20. Moore's first ever job on the show was in the animation department for "Moaning Lisa" so he "appreciated" being able to direct this episode. Reiss stated, "I had been polling for years to kill Marge's mom but this was a better idea". Actor Ron Taylor returned to guest star as Murphy in the episode. Comedian Steve Allen also made his second guest appearance on the show, having previously appeared in the episode "Separate Vocations".


'Round Springfield, Production
The main story of the episode's first act sees Bart get appendicitis from eating a jagged metal Krusty-O. Mike Reiss's father, being a doctor, "sort of" acted as the medical consultant on this episode. He stated that "you can't get" appendicitis from eating a piece of metal, but the writers decided to do it anyway.


'Round Springfield, Production
In his flashback, Murphy is shown as having a "$1,500 a day Fabergé egg habit". Al Jean "didn't realize just how expensive" Fabergé eggs actually were (in 2013, a collector revealed he spent just over $100 million to purchase nine Fabergé eggs), so the joke does not make much sense.


'Round Springfield, Cultural references
The episode contains numerous references to popular culture. The title is a play on both the jazz standard 'Round Midnight by Thelonious Monk and the similarly named film also about an unappreciated jazz musician. When a deceased Bleeding Gums Murphy appears to Lisa in a cloud towards the end of the episode, he is joined by Darth Vader, Mufasa, and James Earl Jones. Although all three roles were originally portrayed by Jones, the characters in this scene were impersonated by cast member Harry Shearer; Jones himself guest starred twice previously.


'Round Springfield, Cultural references
Additionally, Mufasa accidentally mentions "Kimba" and corrects himself by saying "Simba". This is a reference to the debate regarding The Lion King's resemblance to the anime Kimba the White Lion. Lisa and Bleeding Gums play Carole King's song "Jazzman" in this scene and in the hospital earlier in the episode. Bleeding Gums has to leave at the end of the scene because he has a date with the jazz singer Billie Holiday.


'Round Springfield, Cultural references
Additionally, Homer has a Starland Vocal Band tattoo on his arm, Bart considers buying a Steve Allen "ultimate pog", and the music heard just before Bart's operation is a parody of the theme music of ER. Bleeding Gums appears on an episode of The Cosby Show, a reference to Bill Cosby often getting jazz musicians he liked to appear on the show; in the episode, Cosby is voiced by The Simpsons regular Dan Castellaneta.


'Round Springfield, Cultural references
Lionel Hutz's "crack team of lawyers", Robert Shaporo and Albert Dershman, are parodies of Robert Shapiro and Alan Dershowitz, two of the defense attorneys at the O. J. Simpson murder case. The three drive away in a white pickup truck, similar to the Ford Bronco that Al Cowlings and O. J. Simpson drove in their televised low-speed pursuit before Simpson's arrest.


'Round Springfield, Reception
In its original broadcast, "'Round Springfield" finished 60th in the ratings for the week of April 24 to April 30, 1995, with a Nielsen rating of 8.2. The episode was the fourth highest rated show on the Fox network that week.


'Round Springfield, Reception
Mike Reiss and Al Jean thought that the episode would "get a ton of awards", and joked that this was why they opted to receive a story credit, which they usually would not. Ultimately it did not win any awards.


'Round Springfield, Reception
Warren Martyn and Adrian Wood, the authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, found that it was "a real tear-jerker" and praised Grampa believing everything he saw was death. In a DVD review of the sixth season, Ryan Keefer of DVD Verdict rated the episode a "B".


'Round Springfield, Reception
Adam Finley of TV Squad praised the episode, noting its many "great moments" including "Steve Allen pimping his books on TV: How to Make Love to Steve Allen; Happiness is a Naked Steve Allen; Journey to the Center of Steve Allen; The Joy of Cooking Steve Allen" and "Moe running a "retox" clinic right next to a detox clinic".


'Round Springfield, Reception
The podcast Put it in H - A Die Hard Simpsons Podcast praised the episode for its "high number of laughs per minute while still being full of heart".


'Round Springfield, Reception
However, Colin Jacobson of DVD Movie Guide called the episode "dull", stating that "some of the moments connected to Bart's illness are funny", but that he "really hate[s] that "Jazzman" song" and dislikes "the Bleeding Gums parts".