Sufjan Stevens is a singer-songwriter of startling scope, one minute releasing a record dedicated to the state of Illinois, the next a five-disc Christmas box set or an album for the animals of the Chinese Zodiac. Bryce Dessner is the guitarist in indie rock act The National, but also plays semi-improvised avant-folk with Clogs and works with leading classical ensembles like Kronos Quartet and Bang On A Can.Composer Nico Muhly counts among his collaborators both symphony orchestras and the likes of Bjork, Bonnie "Prince" Billy and Antony and the Johnsons. He's written soundtracks and operas and released, under his own name, on Valgeir Sigurdsson's Bedroom Community label.
So the fact that the three musicians have come together – plus drums, string quartet, and seven trombones – shouldn't necessarily set rock-musician-attempts-classical alarm bells ringing. Given Stevens' weakness for concepts, even news that they would present a song cycle inspired by planets didn't necessarily seem cause for concern. It would, in any case, be so predictable to say that tonight's show was less than the sum of its parts. But… tonight's show was less than the sum of it parts.
Enjoyable but slightly underwhelming, then, especially given the calibre and quantity of musicians on stage and critical response to Sufjan's usual shows. He admits, however, that it's a work in progress. And if the show tonight didn't quite live up to the great expectations, let's at least be grateful that there exist musicians with this ludicrously high of musical and conceptual ambition. From individual American states, Sufjan has now progressed to the solar system. Next step: the universe and beyond.
We've seen rather a lot of Nico Muhly recently, as performer, composer, arranger, opera man and general gadabout. And each time he's visited he's come bearing gifts: new music and new chums. Last night he had with him two established names of the indie rock scene, The National guitarist, Bryce Dessner, and sing-songwriter, Sufjan Stevens. And there were world premieres from them all, including a collaborative musical suite on the planetary system for string quartet, trombone septet, guitar, drums, piano, keyboards, celeste and vocalist. Holst, it wasn't. Intriguing, it was.
But before our rock romp through the solar system, we had some delicate chamber music to enjoy. Muhly's string quartet, Diacritical Marks, showed a composer in full and confident control of his medium. Two fabulously twitchy outer movements, virtuosically dispatched by the Navarra Quartet, mark entrance points to a liminal middle world made up of soft, wispy variations on a short, recurring Reichian theme. A moment of real beauty, however, came in Sufjan Stevens's Run Rabbit Run where the string quartet slowed to a crawl and appeared to start to daydream the Heiliger Dankgesang.
Next to these neat and allusive pieces, Dessner three-movement string quintet (two violins, viola, cello and him on guitar) seemed a little too diffuse and untidy both in delivery and construction to hold our interest completely. Nevertheless the Chorale second movement made its enigmatic mark. It was music that was difficult to place but easy to enjoy. Then he lost me in the footling hypnotics of the final movement, Isorhythm, which neither cast a spell nor generated much heat.
It felt like work in progress. As did the second half's musical take on the heavenly bodies, Planetarium. Stevens said as much at the start. Viewed in this way, it seems unfair to be too critical. Besides, they were hamstrung by the thing that has always hamstrung those who've tried to wax lyrically about the planets. Does anyone have feelings about Uranus? Feelings distinct from those you might have for Neptune? Or Pluto? And what are your thoughts on Mercury? You don't have any? Nor me. Surprisingly, Stevens does. And he has thoughts on the others too. Most of them. Sun and moon (introduced by Muhly as "boring old moon") were oddly overlooked.
The major problem was musical and centred around the issue of having too many cooks. It was hard to make out exactly who had done what in this compositional collaboration (Dessner, Muhly and Stevens were all credited as composers), but what was certain was that they all had done too much. There was too much capricious changing of tack and key, and not enough masterplanning and excising. That they allowed every element of their strange circus of instruments to come in at some point during virtually each and every tone poem was also a mistake. It made for conveyor belt music, where we waited politely for each section to say hello and introduce itself as if we were listening to a jazz set.
It might have been ok if any of the music had pressing things to tell us. But most of it didn't, which is odd because it's not like Muhly to let such a colourful collection of instruments go to waste - or to let such foursquare rhythms (that the trombones compounded) dominate. Music like this can often be rescued by a charismatic vocalist. But we got very little of Stevens's natural, characterfully chipped and cracked voice and a lot of sieved vocoder sound instead (possibly to mask intonation worries that were evident at the start).
Still, when they focussed their thoughts, intermittent pleasure could be had. Pluto was an appropriately tight little piece that, from extremely intimate beginnings, span itself out and drew itself back in in satisfying fashion. The final trio, Saturn, Earth and Mercury (the last of which had some lovely solo trombone contributions from members of the New Trombone Collective), all built impressively enough to anthemy like highs. But by then something else had my attention. The projections on a balloon placed planet-like above the band at the back of the stage that had started humbly enough began by the end to work themselves up into things of neo-Constructivist wonder. Only in these spiralling images did we come close to a sense of the extra-terrestrial.
I'm impressed that you managed to review the Barbican gig two whole days before it happened :) The review is currently dated the 7th April, assume that's a typo and it'll be changed. Or maybe you just decided you were going to poo poo it before you'd even seen it? You seem to have had a remarkably less enjoyable experience than the entire audience around me. Universal praise all round. Each to their own I guess.
I'd agree with Marcus the reviewer. There were some outstanding moments which the audience responded to accordingly, but there were also some underwhelming ones. The final comment re 'work in progress' and about being grateful these musicians let us share in it is also fair. I enjoyed the evening but I wish Stevens would cut the electronic processing of his otherwise celestial voice. I'm now looking forward to the finished article.


Abstract: We consider exploration of finite 2D square grid by a metamorphic robotic system consisting of anonymous oblivious modules. The number of possible shapes of a metamorphic robotic system grows as the number of modules increases. The shape of the system serves as its memory and shows its functionality. We consider the effect of global compass on the minimum number of modules necessary to explore a finite 2D square grid. We show that if the modules agree on the directions (north, south, east, and west), three modules are necessary and sufficient for exploration from an arbitrary initial configuration, otherwise five modules are necessary and sufficient for restricted initial configurations.


text:
Q: Why do I get error on flurry when trying to compile to release on Android? when I tried to compile to release using ./gradlew assembleRelease
, I got these error. I didn't signed it yet, but according to http://developer.android.com/tools/building/building-cmdline.html, I can signed it later.
Warning: com.flurry.sdk.hn: can't find referenced class com.google.android.gms.ads.identifier.AdvertisingIdClient
Warning: com.flurry.sdk.hn: can't find referenced class com.google.android.gms.ads.identifier.AdvertisingIdClient$Info
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Warning: com.flurry.sdk.kg: can't find referenced class com.flurry.sdk.i

A: from Flurry integrations with Android App gives an error "Could not find class 'com.flurry.sdk.i', referenced from method com.flurry.sdk.hu.a", if you don't care about FlurryAds, you can ignore it.
in your app/proguard-rules.pro, insert these lines
-dontwarn com.google.android.gms.ads.identifier.AdvertisingIdClient**
-dontwarn com.flurry.sdk.i

redpajama_set_name: RedPajamaStackExchange


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Problems with data in 3DVAR.
We're trying to assimilate radar obs with 3DVAR, but we faced a problem regarding the input format: we don't have 3D (height-included) radar data, only 2D (max dbz for each vertical column) observations, despite the ob.radar format. Is there a way to assimilate radar data without height information?
Follow-up: I contacted the official WRF support, and they said that it's not possible at this moment.


text:
Exhibit: The Books That Made Shakespeare
Shakespeare died four hundred years ago, but he is alive and well in our contemporary culture. In the centennial year of 2016 the University of Iowa is joining in the global celebration of Shakespeare's life and works.
As one of the owners of the most successful theater company of his age, Shakespeare devoted his career to writing and performing in plays. His works were given new life in print, and Shakespeare was first defined as an author by the Renaissance book trade. Studying the ways in which his plays and poems were printed and published, bought and sold, and collected and catalogued in his own time can help us understand why he remains so important to us today.
This exhibition explores the books that made Shakespeare: the books he read and used, the books that preserved his works, and the books that shaped and reshaped his reputation and textual afterlife.
Shakespeare's Library
Shakespeare was educated at the grammar school in Stratford, where he received an intense training in classical works of literature and rhetoric which he read in the original Latin. The reading and writing skills he learned in his youth served him well throughout his life. Shakespeare read widely and actively in a remarkable variety of forms, genres, and languages. He then incorporated, adapted, and transformed those texts in his own poems and plays. This case includes examples of the many kinds of books that would have constituted Shakespeare's library.
#1: Richard Bernard, translator, Terence in English (1614) The comedies of the Roman playwright Terence were an important influence on Shakespeare, who read the plays in Latin in grammar school. This book provides the Latin text of the plays with an English translation. Richard Bernard, a clergyman and graduate of Christ's College, Cambridge, produced this popular translation in 1598, and it was reprinted six times during his lifetime. The book was printed by John Legate, the University Printer in Cambridge, a sign that it was intended for a primarily academic audience. This copy was annotated throughout by a seventeenth-century reader who drew in "manicules," or pointing fingers, a sign commonly used to mark important passages.
#2: Ovid, selected works (1502) Ovid was the most important literary influence on Shakespeare, especially early in his career, and he was widely identified as an Ovidian poet by his contemporaries. This volume includes several of Ovid's scandalous, erotic works, including De Arte Amandi ("The Art of Love") and De Remedia Amoris ("The Cure of Love"). The title includes Ovid's full name, Publius Ovidius Naso ("Naso" means "big nose," and reflects the most distinctive physical feature of the poet). This book was printed by the Venetian scholar-printer Aldus Manutius, who was famous for publishing convenient, small-format editions of classical works. This copy was annotated in both brown and red ink by a sixteenth-century reader.
#3: Ovid, Metamorphoses (1545) The Metamorphoses, an epic poem in fifteen books, was Ovid's masterpiece, and it was one of the most influential and widely imitated poems in the English Renaissance. This small, portable edition of the poem was published by Sebastian Gryphius, a humanist printer in Lyon, France. This copy was once owned by two different members of a family whose name was "Maciga," as the inscriptions on the title-page reveal.
#4: Terence, selected plays (1560) This edition of Terence's works was prepared by the Dutch scholar Theodor Pulmannus (or Poelman). The volume includes a brief life of the playwright, marginal notes, and an index of "old and rare words." The book was printed in the internationally renowned shop of Christopher Plantin in Antwerp, whose famous device (the golden compass) can be seen on the title-page. English readers like Shakespeare had to rely on imported books in order to gain access to many important classical works. Plantin, who had agents in London, was a leading figure in the thriving international book trade.
#5: Nicholas Grimald, translator, Cicero's Three Books of Duties (1556) The rhetorical and philosophical works of Cicero were central to the grammar school curriculum in the English Renaissance. Shakespeare would have read works such as the De Officiis ("On Duties") in Latin, but Cicero was also available in English. This book is a translation of the De Officiis produced by the important humanist scholar and poet Nicholas Grimald. It was published by the printer Richard Tottel, who is famous in English literary history for producing the first major anthology of vernacular poetry, the Songs and Sonnets (1557) which featured several poems written or translated by Grimald. In Grimald's preface to the reader in this copy of Cicero, an early reader has made several notes, including a rudimentary "manicule" or pointing finger (see item 1) with the word "nota" ["note this"]. The book was later owned by a woman named Lucy Renshaw, who inscribed her name (dated July 31, 1876) and whose initials appear on the elaborate binding.
#6: New Testament, Geneva Bible (1591) The "Geneva Bible" translation was produced by Protestant exiles during the reign of the Catholic Queen Mary, and was first published in 1560. It became the most popular and influential English bible, and was the translation Shakespeare turned to most often. It was repeatedly reprinted in a variety of formats, and was widely available. This miniature bible was meant to be carried around as an object of devotion, and it shows several signs of use: the clasps have been lost, and the indentations in the binding may derive from the constant handling of the book. An inscription indicates that the bible remained in use into the nineteenth century. Like item 23, this bible was printed by Christopher Barker, the Queen's printer.
#7: A Mirror for Magistrates (1610) This book is a collection of poems written by a number of different authors, each of which recounts the life and tragic end of a famous figure from the English past. The poems were intended to be exemplary and didactic: many of them feature the ghosts of historical figures who relate their deeds and misdeeds. Here, the ghost of the infamous tyrant Richard III tells his own terrible tale, with an illustration showing Richard wielding a dagger. The opening of this story recounts his monstrous birth: he was fabled to have been born with teeth ("I ready toothed came") and he had a misshapen body that was often interpreted as a reflection of his evil nature. Shakespeare transformed and extended the reputation of Richard III, making him into the most notorious villain in English history and the most popular villain on the English stage. A Mirror for Magistrates was first published in 1559; this updated edition dates from 1610, and includes the life of the recently deceased Queen Elizabeth.
#8: John Hayward, The History of Henry IV ("1599" but printed in 1629) The title of this book is somewhat misleading: it is mostly an account of the life and death of King Richard II, detailing his downfall and overthrow by Henry Bolingbroke, who seized the throne and was crowned as King Henry IV. The historian John Hayward unwisely dedicated the book to the earl of Essex, who led an infamous rebellion against Queen Elizabeth in 1601–after a command performance of Shakespeare's play Richard II. Due to the perceived parallels between the reigns of Richard II and Elizabeth, the book was immediately suppressed by the Elizabethan government, and Hayward was locked in the Tower until the Queen died in 1603. It was first published by John Wolfe in 1599, but this copy is one of a number of subsequent reprints that used a false imprint. Bibliographical evidence shows that this edition was printed three decades later, in 1638. The false imprint was a convenient way to avoid any trouble with the authorities, and may also have appealed to readers who wanted to experience the thrill of reading an infamously banned book. Learn more: http://www.adamghooks.net/2011/04/faking-1599.html
#9: Raphael Holinshed, Chronicles of England, Scotland, and Ireland (1587) This monumental history of England was compiled by Raphael Holinshed, who was hired by the printer Reyner Wolfe to carry out the project. The massive and expensive undertaking was part of a broader nationalist movement that sought to elevate England's political and cultural status. It can be considered a secular counterpart to Foxe's Acts and Monuments (item 11). The first edition, in two volumes, was published in 1577; after Holinshed's death, it was revised and expanded to three volumes by the scholar Abraham Fleming, and was finished by a consortium of printers and publishers in 1587. Both editions were censored by government authorities, who were anxious about the chronicle's treatment of recent political events. The 1587 edition of Holinshed's Chronicles was one of the most important sources for Shakespeare. It provided much of the material for the English history plays—such as Richard III, visible here—but Shakespeare also found the narratives that inspired tragic plays such as King Lear and Macbeth. On loan from the collection of Arthur E. Bonfield
#11: John Foxe, Acts and Monuments (1570) This volume is better known as Foxe's "Book of Martyrs." Foxe, a Protestant scholar who had been exiled during the reign of the Catholic Queen Mary, set out to write the history of the church in England, focusing on the persecution of English martyrs from the fourteenth century to the accession of Queen Elizabeth in 1559. Foxe worked closely with the printer John Day, who published the massive and unprecedented book in 1563. Despite its size and expense, it was an immediate success, and it made Foxe famous. He continued his labors, revising and expanding the book for a second edition which appeared in 1570. The printer Day financed the production of additional woodcut images, a key component of the book. The striking image on display here depicts the burning of the Protestant reformers Martin Bucer and Paulus Phagius. Both had already died, but were exhumed during the reign of Queen Mary in order to be burnt, along with copies of their books. The remarkable event captured by this image demonstrates the power accorded to the printed word.
#12 Richard Knolles, The General History of the Turks (1621) The first English history of the Ottoman empire was compiled by Richard Knolles and published in 1603; subsequent reprints appeared, like this 1621 edition that was revised and expanded after Knolles had died. The Turks had long been perceived as a religious and military threat, but interest in the Ottoman state intensified due to an increase in economic and diplomatic relations. The portrait of the Turks provided by Knolles is simultaneously disparaging and admiring: the Turks were feared because of their religion (Islam) yet admired for their strength and military prowess. The General History provides a crucial cultural context for Shakespeare's Othello. The portrait on display here is of Selimus the Second, who captured the Mediterranean island of Cyprus from Venice in 1570, an event recalled by Shakespeare's play, which largely takes place on the island.
#13: Samuel Harsnett, A Declaration of Egregious Popish Impostures (1603) The fascination with witches and devils—so evident in Shakespeare's Macbeth—was a result of changes in the religious and economic environment in England. In the first year of the reign of King James, the Protestant divine Samuel Harsnett was directed by the new government to write this Declaration in order to expose the practices of certain Catholic priests who claimed to be conducting exorcisms. Harsnett described the details of these events, revealing the exorcisms as nothing more than elaborate performances. For example, Harsnett listed the names of various devils uttered by people who claimed to be possessed. Shakespeare drew on these descriptions when writing King Lear, in which the character of Edgar, in the guise of "Poor Tom," goes mad and uses some of these names (such as "Fliberdigibbet," visible here). In his role as a licenser for the press, Harsnett approved the publication of his friend John Hayward's History of Henry IV (item 8) and barely escaped punishment. This copy of the Declaration lacks the preliminary leaves and a few other pages which have been supplied in manuscript by a later owner.
#14: Reginald Scott, The Discovery of Witchcraft (1584) Scott's Discovery was one of the most important and influential treatises on witchcraft in the entire period, familiar to Shakespeare and his contemporaries, as well as to subsequent generations of scholars. Scott's rational, erudite approach demonstrated that the belief in witchcraft was a sociological, rather than a spiritual, problem: the majority of accusations were levelled at poor women seeking charity who may have "cursed" their neighbors if refused charitable offerings. Scott also exposed other forms of superstition, including conjuring tricks that could be used to confuse credulous observers. The diagram on this page demonstrates how to "cut off one's head, and to lay it on a platter," a trick known as "the decollation of John the Baptist."
#15: John Cotta, The Trial of Witchcraft (1616) Cotta's Trial focuses on the faulty methods used by those who attempted to prove the existence of witchcraft. Cotta was a physician, and his goal was not to refute a popular belief in witches, but rather to use the debate as an opportunity to critique contemporary scientific thinking. One early owner annotated a passage that casts suspicion on the "cures" performed by witches, arguing that "learned men" have observed their imperfect and failed treatments. On the opposite page here, he draws a distinction between "impostors"—those who pretend to be truthful, and whose actions are plausible, yet who intend harm—and witches and wizards, who engaged in apparently supernatural behavior. The continuing debates over the relationship between science and religion would have brought new meaning to Shakespeare's references to witchcraft and supernatural phenomena.
#16: John Darrel, A True Narration of the Strange and Grievous Vexation by the Devil (1600)
#17: John Darrel, A Detection of that Sinful Shameful Lying and Ridiculous Discourse of Samuel Harsnett (1600) The most spectacular and successful exorcist in the period was John Darrel, whose notoriety derived from a series of events in 1597-1598. After claiming to exorcize seven demons in a single Lancashire household, he sought to publicize his apparent achievement in print. His fame led to a protracted encounter with William Somers, who later confessed to fraudulently pretending to be possessed. Darrel nevertheless claimed success, but was pursued by the ecclesiastical authorities. His True Narration was an attempt to vindicate himself, while his Detection was likewise aimed at denigrating the credibility of Samuel Harsnett (see item 13) who had exposed his tactics. The imprint of both books states only that they were printed in the year 1600, with no further information; they seem to have been produced by a secret press to avoid detection. Darrel was subsequently imprisoned and convicted of fraud, thereby ending his career. His exploits reveal a popular and profound fascination with the extravagant performances associated with witchcraft.
#18: Robert Farley, Kalender of Man's Life (1638) Shakespeare was an avid reader of poetry, plays, and other literary genres, but he was also inspired by practical everyday texts. The "shepherd's calendar" was a compendium of useful information similar to an almanac, and was an extremely popular genre. Like Edmund Spenser (see item 20) Robert Farley imitated this genre by adapting the almanac form while extending and combining it with the conventions of emblem books. Emblems included a symbolic image, a Latin motto, and a poem explaining the importance of the quality depicted. Farley's book traces the stages of a man's life, beginning in the spring of youth and ending with winter, providing both English and Latin versions of his poems. Imitating Farley's own practice, one early owner of this copy produced his own Latin translation of a few lines of Farley's English verse, writing the lines in the margin. The small format and abundance of illustrations provide an example of the kinds of almanacs and emblem books with which Shakespeare would have been very familiar.
#19: The Shepherd's Kalender (1765) This version of a "shepherd's calendar" is a compendium of useful information, from the practical (signs of the weather, agricultural advice, and health remedies) to the fantastical (discovering lucky and unlucky days, finding hidden treasure). It is the sixth edition of a popular book first published in 1700, but it imitates the format and content of many sixteenth- and seventeenth-century almanacs. These pervasive books were used by gentlemen such as Shakespeare (who was the head of a substantial household in Stratford) and helped inspire Spenser's pastoral poetry. Books like this help to provide a common frame of reference for the knowledge and beliefs of the time.
#20: Edmund Spenser, Works (1617) The most important poet of the Elizabethan period was Edmund Spenser, whose work influenced and was imitated by generations of English writers, including Shakespeare. Spenser modelled his career on the classical poet Virgil, but combined several influences (particularly Chaucer, see item 21) to fashion a distinctly English literary style. His epic poem The Faerie Queene was dedicated to Queen Elizabeth and effectively made him into the national poet, and he was widely mourned at his death in 1599. His first major work was The Shepheard's Calender, a series of twelve poems—one for each month of the year—which combined classical pastoral poetry with the form of common English almanacs. Each poem was accompanied by an image and scholarly notes, thereby making a claim for the value of English poetry. The "October" poem, on display here, praises poetry and argues that poets deserve greater support. This copy of the book has been annotated by a twentieth-century reader in a striking pink ink: visible here is the name of Spenser's friend and collaborator Gabriel Harvey, which has been underlined. Learn more: http://www.adamghooks.net/2011/11/faking-shakespeare-part-2-spenserian.html
Renaissance readers were trained to encounter books with a pen in hand in order to mark them up and take notes. Simply reading a book was not enough: a proper reader should actively use the book, taking the time and expending the effort to fully comprehend its meaning. This form of reading was aimed at a practical or intellectual goal: a used book should be incorporated into one's own writing. The image of the "book wheel" presents an idealized scene of reading in which the diligent scholar consults multiple books at the same time.
However, readers did not always use books for their intended purposes. These three items present examples of books that demonstrate the variety of unexpected and striking ways in which Renaissance books were used.
#21: Geoffrey Chaucer, Works (1598) Chaucer was known to Shakespeare and his contemporaries as the father of English poetry. Although he lived and wrote in the fourteenth-century, he was well-known to Renaissance readers thanks to a series of scholarly editions of his works. Thomas Speght produced an important edition in 1598 in which he provided a biography of the poet and a table of "hard words" that helped readers understand Chaucer's Middle English language. One owner of this copy read it in a scholarly manner, inserting corrections in the text. Another early owner, however, copied out the first two stanzas of the prefatory poem "The Reader to Geffrey Chaucer." This poem reanimates Chaucer in order to authorize Speght's editorial work, and so it is an important part of this book. However, it is likely that the copyist was simply using a blank page to practice handwriting. Learn more: http://www.adamghooks.net/2011/06/emending-and-remembering.html
#22: Geneva Bible (1580) This bible was printed by Christopher Barker, the Queen's printer, who held a patent for the production of all English bibles. Barker's device prominently featured the tiger's head from the crest of his patron, Sir Francis Walsingham (Queen Elizabeth's secretary of state). One early owner was particularly attracted to this device and started to cut it out of the book. The page fortunately survived, perhaps because of the "book curses" written on the reverse, which offer a reward for the return of the book if it were ever lost. The two matching curses were written by Hugh Tanner (dated January 12, 1639) and his son John, on the same day twenty-three years later (in 1662). John notes that he was the youngest son, in what constitutes a respectful display of familial piety. Learn more: http://www.adamghooks.net/2011/03/curses-and-cuttings.html
#23: Conrad Gesner, Bibliotheca (1583) In 1545 the Swiss scholar and bibliographical pioneer Conrad Gesner published Bibliotheca Universalis, the first attempt to provide a "universal library" of books in print. It was organized by author, and provided brief commentaries on each work. Gesner's Protestant sympathies invoked the ire of the Catholic church, which banned the book. Subsequent editions of the work appeared throughout the sixteenth century, including revisions by other scholars that offered a manageable selection of authors and titles. This book is an edition of 1583, printed in Zurich, that offered an updated list of books. It was owned by a Catholic monastery in Buxheim (in what is now the south of Germany). An inscription on the title-page states that the works of prohibited authors ("auctores damnatos") have been expurgated. The volume has been meticulously redacted: often the censors cross out a single word. However, certain entries—such as the one for Martin Luther—have been crossed out in an emphatic manner.
Faking Shakespeare
In the century after his death Shakespeare's reputation depended on performances and adaptations of his plays, as well as the publication and circulation of his works in print. In the eighteenth century interest in Shakespeare intensified. He was canonized as the national poet of England, and was even known as "the god of our idolatry," as the actor David Garrick proclaimed at his spectacular Shakespeare Jubilee. At the same time, scholars began editing Shakespeare's works and grounding his biography in historical research.
There was an insatiable desire to access and acquire more and more Shakespeare, which led to a search for new historical evidence. The potential reward for making a new discovery was so great that a few intrepid individuals simply invented documents, and even entirely new "lost" plays. This began the long tradition of faking and remaking Shakespeare to suit contemporary desires.
#24: William Henry Ireland, Shakespeare papers (c.1800) The most infamous forger of the eighteenth century was William Henry Ireland. In what started as a way to please his father, a Shakespeare enthusiast, young William began "discovering" new biographical documents in the 1790s, including the signatures of Shakespeare and his contemporaries, along with personal correspondence—such as a love letter to his wife Anne Hathaway. He also claimed to have found Shakespeare's original manuscripts, such as a page from Hamlet, consisting of the end of Hamlet's "To be or not to be" speech and his encounter with Ophelia. It was not long before Ireland's forgeries were exposed, in part due to his idiosyncratic and anachronistic spelling—such as "Hamblette."
#25: William Henry Ireland, Vortigern and Henry II (1799) Ireland did not stop at "discovering" lost manuscripts, for he wrote two complete "lost" plays supposedly by Shakespeare, the historical romances Vortigern and Henry II. Vortigern was performed only once in public, and was laughed off the stage. Once exposed as a forger, however, Ireland capitalized on his fame by producing "authentic" forgeries. This copy includes a few forged signatures, as well as several pages of a new play written by Ireland in the style of Vortigern. It also includes a note of authentication from the owner of the book, who states that it was written by Ireland "in my presence" and delivered on February 13, 1800. There is no better demonstration of our cultural investment in Shakespeare than this authentic fake. Learn more: http://www.adamghooks.net/2011/11/faking-shakespeare-part-3-authentic.html
#26: Sonnets to Sundry Notes of Music ("1599" but printed in 1709) Shakespeare's Sonnets were first published in 1609—yet this book claims to be a "lost" edition of the complete sonnet sequence printed a decade earlier in 1599. A book of poetry attributed to "W. Shakespeare" was indeed published in 1599, but it was The Passionate Pilgrim, printed by William Jaggard, and that book contained a page that looks similar to the one shown here. We now know that Shakespeare only wrote a few of the poems included in The Passionate Pilgrim, but it was reprinted as part of the Shakespeare canon through the eighteenth century. The pages in this "1599" volume once formed part of a book that was actually printed in 1709. One early owner broke apart the book, taking the "1599" page from the end of the book, and attaching the sonnets from the beginning of the volume to it. The small hole at the bottom of the page reveals that the page signature has been scratched out, in order to hide the deception. This book is an ingenious attempt to "discover" (that is, to fake) a valuable new addition to the Shakespeare canon. Learn more: http://www.adamghooks.net/2011/10/faking-shakespeare-part-1-passionate.html
Shakespeare in Print
Unlike many of his contemporaries, Shakespeare never expressed a desire to publish his plays. They were nevertheless extraordinarily popular in print, and they remain so to this day. It was the Renaissance book trade—the printers, publishers, and booksellers working in London—that first made Shakespeare into a best-selling author.
The book we now call the "First Folio"—the large format collection of thirty-six plays published in 1623—was a commemorative volume compiled by Shakespeare's colleagues in the theater. It was printed by William Jaggard, who had a long history of selling Shakespeare. Jaggard's involvement with Shakespeare must be contextualized within his business as a printer and publisher, and these items represent several of the books that were important to him. Other items include some of the books that reshaped Shakespeare's reputation in the century after his death.
Shakespeare's Printer
#27: Helkiah Crooke, Mikrokosmographia, or a Description of the Body of Man (1615)
#28: Somatographia Anthropine, or a Description of the Body of Man (1634) In 1615, William Jaggard partnered with Helkiah Crooke to publish Mikrokosmographia, the first anatomy book in English to be compiled by a physician. In a letter to the reader Jaggard explained his interest in the book, writing that anatomy was "a matter much affected by me," and that he had expended "no mean care and cost" in producing it. Jaggard also published an epitome of Crooke's book that included only the woodcut illustrations in a smaller, cheaper, and more accessible format. The first edition was attributed to "W.J. Printer." Taken together, the two books demonstrate Jaggard's intellectual commitment to and financial investment in the works he chose to publish. This is the first edition of Mikrokosmographia. An early owner, Arthur Champernowne, has inscribed his name, while a later owner, one Thomas Jones, has inserted his address, "51 Strand" in London. This is the second edition of the Somatographia Anthropine, printed by Thomas Cotes in 1634. Cotes had previously reprinted Mikrokosmographia in 1631, so the two books remained companion volumes. One of the early owners of this copy was a woman, who inscribed her name on the title-page ("Anne Hodgson booke") demonstrating a wider audience for anatomy books beyond physicians. On loan from the John Martin Rare Book Room, Hardin Library for the Health Sciences
#29: Thomas Wilson, A Christian Dictionary (1622) In the Renaissance books were not simply printed from beginning to end. Printers usually had several books and other small jobs in production at the same time (see items 31 and 32). When work on the First Folio began in Jaggard's shop early in 1622, the third edition of Thomas Wilson's Christian Dictionary was just being finished. A detailed bibliographical analysis of the two books reveals that the same pieces of type (distinctive because they were damaged) appear in both books. Wilson's substantive work was the first dictionary of the bible in English, and was intended to help readers understand the scriptures. One early owner, however, used the blank space on the title-page to work out a math problem and to practice handwriting.
#30: Thomas Milles, The Catalogue of Honor (1610) Jaggard maintained working relationships with a number of authors, including Thomas Milles. Jaggard published nine books written by Milles, including the Catalogue of Honor, an important treatise on heraldry. This copy has been censored: a note on the illegitimate children of Charles Blount has been excised with a knife. Heraldry was important to Jaggard because he would later become embroiled in a controversy with the irascible Ralph Brooke. Jaggard published Brooke's book of heraldry in 1619, but it was filled with errors. Brooke tried to blame Jaggard, and financed his own revised edition. Meanwhile Jaggard hired his friend Augustine Vincent to quickly produce a scathing critique of Brooke's work, which was rushed into print in 1622 in order to save the printer's reputation. The Shakespeare First Folio, in press at the same time, was far less important (not least because the aged printer, who had been blind for a decade, would not live to see it published). Isaac Jaggard, William's son, gave Vincent a copy of the First Folio to express his gratitude.
#31: Anthony Munday, A Brief Chronicle (1611) William Jaggard became the City Printer of London in 1610, and he proudly displayed his new title in the imprint of Anthony Munday's Brief Chronicle. This imprint also lists the location of Jaggard's shop in the Barbican, just outside the city walls of London. The City Printer was responsible for producing official proclamations of various kinds. These usually took the form of "broadsides," single sheets printed on only one side so that they could be easily displayed. Jaggard also held monopolies for the printing of the Ten Commandments, and for the production of playbills. These small jobs provided Jaggard with the consistent work and dependable income necessary to finance larger projects.
#32: Andre Favyn, The Theater of Honour (1623) Jaggard's interest in history and heraldry is further demonstrated by this translation of Favyn's Theater of Honour. Jaggard himself signed the dedication, in which he praises the "reading of Chronicles and Authentic Histories" because they are filled with wisdom and virtue. This elaborate and beautiful book includes many images and is printed in both red and black ink—it is a far more sophisticated production than the First Folio. Jaggard started production on the Theater at about the same time as work on the First Folio commenced, early in 1622. The two books shared a similar schedule: bibliographical analysis shows that work was interrupted on both at about the same time, and they were finished late in 1623, just after William Jaggard had died. On loan from the collection of Arthur E. Bonfield
Remaking Shakespeare
#33: Robert Burton, The Anatomy of Melancholy (1624) This encyclopedic work was a significant and popular study of human psychology. This is the second of eight editions published in the seventeenth century. Burton's book is the result of an exhaustive search for sources that could illuminate the condition of "melancholy," a condition of fear or sadness that could result from medical, intellectual, or religious reasons. Melancholy was also a fashionable condition, since artists and students (like Hamlet) were particularly affected by it. Burton depended on his own library, which included nearly 2000 volumes—including Shakespeare's early narrative poems, Venus and Adonis and Lucrece. To illustrate the condition of madness and melancholy derived from love, Burton quoted from a variety of literary sources, including the well-known final couplet from Romeo and Juliet. Burton's inclusion of this couplet is a demonstration of Shakespeare's reputation as a love poet, as well as the increasingly common practice of quoting memorable lines from contemporary poems and plays. On loan from the John Martin Rare Book Room, Hardin Library for the Health Sciences
#34: William Shakespeare, Othello (1695) Some of Shakespeare's plays were initially published individually as small, slim pamphlets, as opposed to the larger format of the collected plays. Editions of individual plays remained popular throughout the seventeenth century. This edition of Othello was advertised as both an "old" and a "new" play: the title-page mentions performances at the Globe and the Blackfriars theatres (where they were first performed by Shakespeare's company) as well as recent performances at the Theatre Royal in late-seventeenth-century London. Unlike the earliest editions, this book includes a "Dramatis Personae," a list of characters that identifies the actors and actresses who played each principal part. At some point this copy was interleaved with blank pages which were used to take notes: opposite the first page of the play a reader has identified the first instance in which the villain Iago purports to reveal his motivation, his "professional jealousy" of Cassio. This copy was once owned by Marsden J. Perry, an important early-twentieth century Shakespeare collector.
#35: Nahum Tate, The History of King Richard the Second (1681) Due to the English Civil War, the theatres were closed from 1642-1660. When they reopened, Shakespeare's plays were often adapted in order to suit contemporary needs and desires. Nahum Tate produced the most notorious adaptation of a Shakespeare play, giving King Lear a happy ending. (In fairness, Shakespeare's version of the Lear story is the only one that ends in such a bleak manner). Tate also adapted Richard II, which was immediately banned from the stage due to its commentary on sensitive political topics (see item 8). Tate altered his adaptation by changing the names of the characters and the setting, renaming it "The Sicilian Usurper." The authorities were not fooled, and the production was shut down once again. In the printed edition of the play, Tate defends himself by claiming that his adaptation "still retains the immortal Spirit of its first-Father" Shakespeare, and that he was merely "charmed with the many Beauties I discovered" in the original version. Even though it was "forbid to tread the Stage," it will nevertheless "survive in Print." This copy bears the name of an early owner, John Genet, who has dated his inscription 1817; the number "4" at the top of the title-page may indicate that this copy was once bound into a larger volume of plays (see item 39).
#36: John Dryden and William Davenant The Tempest, or the Enchanted Island (1690) This adaptation of Shakespeare's play The Tempest was a collaboration between John Dryden, the poet laureate of England, and William Davenant, a playwright and theatre manager. Dryden adapted several Shakespeare plays, and was an important figure in the development of English literary criticism. Davenant also adapted a few Shakespeare plays, and his devotion was such that at times he implied that he was Shakespeare's illegitimate son. Even though the prologue states that Shakespeare's power is as "sacred" as a King, and that his "magic could not be copied," new characters are introduced to alter the plot and enhance the play's comedy. The Tempest is a play filled with music, and the two adapters further developed this aspect by turning the production into a kind of comic opera. The Dryden-Davenant production proved to be immensely popular on stage and in print, demonstrating the ways in which Shakespeare's works continued to inspire new creations. First published in 1670, this copy is one of several reprints.
#37: George Lillo, Marina (1738) One of Shakespeare's most popular plays was Pericles, an episodic romance that centers on the separation and reunion of Pericles, his wife Thaisa, and their daughter Marina. The play was not included in the First Folio collection, perhaps because it was written in collaboration with George Wilkins. The text of the play also seems to be corrupted, and so it has long been considered as a marginal work in the Shakespeare canon, despite its initial popularity. This adaptation of the play includes a prologue written by the playwright George Lillo which praises Shakespeare's "matchless wit" while also justifying his alteration of the work by claiming that "some mean scenes" in the original play are "injurious" to Shakespeare's fame. Lillo's play focuses only on Marina's story, and he ends the prologue by claiming that his adaptation will "charm the sense" and "improve the mind" of the audience.
Bound Together
#38: Benjamin Jonson, Works (1640) England's first literary celebrity was Ben Jonson, an ambitious and learned poet, playwright, and scholar who was widely acknowledged as one of the greatest writers of his generation. In 1616, the year Shakespeare died, the first edition of Jonson's Works was published. Jonson himself designed the book as a monument to his own achievement and success. The engraved title-page claims the authority of the classics: figures that represent the genres of Comedy and Tragedy flank the title, with Tragicomedy, Satire, and Pastoral above, while a Greek amphitheatre and a Roman coliseum are also visible. Jonson thus sought to raise the status of English poetry and drama. (He was not entirely successful, since he was sometimes mocked for including plays in his "works"). Jonson knew and admired Shakespeare, and contributed two prefatory poems in praise of him to the First Folio. Jonson wanted to publish a second, expanded edition of his Works but died before it was completed in 1640. The publication history of this second edition is extremely complicated: copies exist in varying states (of one, two, or three volumes) and some have even been completely disbound. Learn more: http://www.adamghooks.net/2012/07/breaking-jonson-apart.html
#39: A collection of plays, published separately (1697-1709) Individual copies of Shakespeare's plays were first published as small, unbound pamphlets (about the size of items 34-37) that were held together by stitching a thread through the pages. Once a customer had collected a sufficient number of printed plays, they could be bound into a single volume, thereby becoming an actual book. The Shakespeare First Folio simply imitated this common practice by providing customers with a convenient collection of plays all in one volume. This item is a collection of plays published around the turn of the eighteenth century by different publishers in different years. The owner of these plays then had them bound into this volume. One early owner has provided a table of contents of the book at the back; a similar list, likely written by a later bibliographer or bookseller, is also visible. The collection is coherent both chronologically and generically—all the plays are comedies. The first play is Sir George Etherege's The Comical Revenge. The hero of the play, Sir Frederick Frollick, is a transgressive young libertine and man about town, which explains the suggestive subtitle "Love in a Tub." First performed and published in 1664, it was phenomenally successful and influential; this copy, published in 1697, was one of many reprints. Learn more: http://www.adamghooks.net/2012/07/collection-of-plays-published.html
The Shakespeare Second Folio
#40: Mr. William Shakespeares Comedies, Histories, and Tragedies (1632) The second edition of Shakespeare's collected plays was published in 1632. The First Folio was the first book that consisted only and entirely of English plays from the professional theater. The fact that the book was reprinted after only nine years demonstrates that the risky enterprise was a success. The Second Folio was produced by a consortium of publishers and was printed by Thomas Cotes, who was once an apprentice to William Jaggard. Cotes inherited the Jaggard printing house after William and his son Isaac died. The Second Folio includes additional memorial tributes to Shakespeare, including the first published poem by John Milton. This copy was once severely damaged: several of the preliminary leaves, including the title-page, are later facsimiles, and the remaining pages have been cleaned. It was once owned by a man named William Coles, who inscribed his name, dating it April 28, 1709. Another owner, whose name has been washed away, dated his inscription 1806. This book was donated to the University in 1975 by Beatrice Beck Fahnestock.
Learn more: http://www.adamghooks.net/2011/04/breaking-shakespeare.html
#41: William Prynne, Histriomastix (1633) In this massive anti-theatrical treatise the puritan polemicist William Prynne charged that plays were mere "vanities or idle recreations." Because they possessed no ethical worth or value, he argued that "no price ought to be taken for them." Unfortunately for Prynne, this is not how the book trade worked, for printed plays were indeed "vendible" commodities that were eagerly bought by customers (see item 43). In a footnote Prynne objected to the fact that more than 40,000 plays had been published and sold in the previous two years (a figure that scholars have found to be accurate) and he complained that some playbooks had "grown from Quarto into Folio," a reference to the larger format of the Shakespeare and Jonson folio collections. He also lamented that "playbooks" were "now more vendible than the choicest sermons," and protested (in another note) that Shakespeare's plays were printed on better quality paper than most bibles. Once again Prynne was correct, and his note here likely refers to the Second Folio (see item 40) which was published the previous year.
#42: King John, fragment from Second Folio (1632) This fragment consists of the entire play King John which at some point was removed from a copy of the Second Folio. There was—and remains—a thriving trade in fragments of Shakespeare folios. It was once common to repair incomplete or damaged copies of the First Folio with pages from a subsequent folio edition (there were four folio editions of Shakespeare's plays published in the seventeenth century). In this instance, however, it is likely that these pages were removed in order to sell an incomplete copy of the Second Folio as separate fragments, in order to maximize profit. This fragment thus becomes a kind of relic, the remains of a secular scripture. It also demonstrates the fundamental instability of the material object. A "Shakespeare Folio" is only a book when the pages are bound together in a way that resembles what we define as a book. The scene that begins on page twelve features the defiant and moving lament of Constance for her son Arthur, who has been imprisoned by King John. The act and scene numbers (in Latin) are incorrect—such divisions were not standardized until the eighteenth century. Learn more: http://www.adamghooks.net/2012/06/breaking-shakespeare-apart.html
Selling Shakespeare
Shakespeare's life was defined by his afterlife in print. The interests and investments of members of the book trade defined Shakespeare's identity as an author. Booksellers began to collect, classify, and catalogue his plays, and so the first biographical accounts of Shakespeare were based on the bibliography of his works. Shakespeare's plays were not considered great books, but they were recognized as good business. It was the buying and selling of Shakespeare's books that made Shakespeare.
#43: William London, A Catalogue of the Most Vendible Books in England (1658) The bookseller William London included "Mr. Shakespeare's Plays" (one of the Folio collections) along with copies of King Lear and Richard II in his catalogue of "vendible" books. (A "vendible" book is one that is easily sold). However, London listed them in the section of "Romances, Poems, and Plays" which in a lengthy introduction he derides as "least useful of any" books. His catalogue thus demonstrates the conflicted status of printed plays. London was attempting to reverse the meaning of "vendible"—he prized ethical, not economic, profit—by utilizing the marketing strategies of the book trade. Most of London's book lists the titles of important religious and academic books. In order to accomplish his goal of making knowledge more accessible, he embraced the world of commerce. Yet in doing so, he helped to consolidate the very genres he criticized. This copy was inscribed by three different owners—in the years 1684, 1749, and 1843—demonstrating the remarkable longevity and usefulness of London's book.
#44: Gerard Langbaine, An Account of the English Dramatic Poets (1691) In the 1650s booksellers began to produce catalogues of all the plays that had ever been printed. Because Shakespeare's plays had been conveniently collected in one volume, he was granted a position of prominence in these catalogues. Other plays that had been attributed to him in print (but which scholars now know he did not write) were also counted as part of the Shakespeare canon, such as The Birth of Merlin, which was attributed to Shakespeare on the title-page. The bookseller Gerard Langbaine transformed the genre of the dramatic catalogue, extending it beyond the enumeration of printed plays by providing an analysis of the sources on which the authors had relied. His biographical account of Shakespeare begins with a brief outline of Shakespeare's life (in part derived from Thomas Fuller—see item 45) but is mostly made up of a systematic examination of the plays attributed to him in print. Langbaine's Account defined the criteria for a kind of criticism that first defined the practices of Shakespearean biography and dramatic history. Booksellers listed the books that—quite literally—made Shakespeare.
#45: Thomas Fuller, The History of the Worthies of England (1662) The first formal biographical notice of Shakespeare was written fifty years after his death by Thomas Fuller, a clergyman whose most important work was The Church History of Britain. His final work, published posthumously, was the first biographical dictionary in English. Fuller's History of the Worthies of England catalogued the significant features of every county in England, relying on comprehensive research (he was known as a "walking library"). He sought to enliven the entries of writers by naming and numbering their books. Fuller included Shakespeare among the notable authors of his native Warwickshire. This brief passage outlines Shakespeare's contemporary reputation. He is compared to classical poets, including that "fine wag" Ovid (see items 2 and 3). In a notable nautical metaphor, he repeats an anecdote about the "wit combats" between Shakespeare and Ben Jonson (see item 38). While the more learned and laborious Jonson is characterized as "solid, but slow," Shakespeare is praised for the "quickness of his wit and invention" which can "turn with all tides." The myth that Shakespeare lacked learning derives from Jonson's memorial poem in the First Folio, where he refers to Shakespeare's "small Latin, and less Greek"—although it is important to note that in Jonson's estimation, no other writer could approach his own authoritative knowledge of the classics. On loan from the collection of Arthur E. Bonfield
Remembering Shakespeare
William Shakespeare died on April 23, 1616, and was buried inside Holy Trinity Church in Stratford-upon-Avon. The simple gravestone is inscribed with an epitaph that takes the form of a curse: "Blest be the man that spares these stones, and curst be he that moves my bones." Seven years after his death, a group of actors and publishers produced the book we now call the First Folio, a collection of his plays. Just as Shakespeare's tomb offers both a blessing and a curse, Shakespeare's tome is presented as preserving and perfecting his literary corpus. As Ben Jonson declared in his poetic tribute, "Thou art a monument without a tomb, and art alive still while thy book doth live."
#46: John Weever, Ancient Funeral Monuments (1631) In 1599 the young Cambridge graduate John Weever published a book of epigrams, including one in praise of Shakespeare written in the form of a Shakespearean sonnet. It reflects Shakespeare's reputation as a love poet: it alludes to the first encounter between Romeo and Juliet in which their playful banter about saints and pilgrims leads to a kiss. (This passage also inspired the title of The Passionate Pilgrim—see item 26). Weever soon abandoned poetry, however, and became an antiquarian, traveling around England researching funeral monuments. After three decades of study, he published his work in 1631—fittingly, the year before he died. Weever visited Stratford and recorded the inscriptions on Shakespeare's gravestone and funeral monument in his manuscript notes, although they are not included in the published volume. The remarkable title-page engraving, which is modeled on a funeral monument, features the skeleton of the "first Adam" (still holding the forbidden apple from the Garden of Eden) and the "second Adam," Christ holding a cross with his foot on the serpent. At the bottom there is an illustration of a churchyard of the kind that Weever spent years visiting. The title-page states that the book was "Composed by the Travels and Study of John Weever," and includes the fitting motto "Spe labor levis," which can be translated as "hope lightens labor."
#47: William Dugdale, The Antiquities of Warwickshire (1656) After nearly twenty-five years of research, William Dugdale published his history of Warwickshire in 1656. It provides the history of the towns within the county, including Stratford-upon-Avon, Shakespeare's hometown. Dugdale's main concern was to record the genealogy and heraldry of notable residents, with a particular focus on funeral monuments and churches. He notes that Stratford is where "our late famous poet William Shakespeare" was born, and is buried. He also includes an illustration of Shakespeare's monument in Holy Trinity Church. The inscription praises his skill as poet: "all that he hath writ leaves living art but page to serve his wit." Although the monument refers to a tomb, Shakespeare is buried nearby under a simple gravestone, with an epitaph that curses those who would disturb his bones. Dugdale himself financed the publication of his book. This copy is inscribed and dated by Dugdale, noting that the book is a gift from the author on the seventh day of May in 1656. On loan from the collection of Arthur E. Bonfield
EXHIBITION CREDITS
The Books That Made Shakespeare is an exhibition drawn from the holdings of The University of Iowa Libraries Special Collections, the John Martin Rare Book Room at the Hardin Health Sciences Library, and the collection of Arthur E. Bonfield.
Curated by Adam G. Hooks, Associate Professor, UI Department of English.
Assisted by Greg Prickman and Margaret Gamm, UI Libraries Special Collections.
Prepared & Installed by Giselle Simon and Bill Voss, UI Libraries Conservation Lab.
Designed by Heidi Wiren Bartlett, Creative Coordinator for the UI Libraries.
Shakespeare at Iowa is a commemoration of the 400th anniversary of William Shakespeare's death. Public programs, education materials, and community events have been prepared by the University of Iowa Libraries with the support and participation of many partners throughout the State of Iowa.
University of Iowa — UI Alumni Association, Center for the Book, Department of Cinematic Arts, Department of English, School of Library and Information Science, School of Music, Obermann Center for Advanced Studies, and the Theater Arts Department.
Community — Brucemore, Iowa City Public Library, Iowa City UNESCO City of Literature, Salisbury House, and Riverside Theatre.
Higher education — Coe College, Cornell College, and Grinnell College.
Public programming coordination: Jennifer Masada, UI Libraries Communications and Colleen Theisen, UI Libraries Special Collections.
Financial support for Shakespeare at Iowa provided by the Friends of the UI Libraries.
Adam G. Hooks is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

redpajama_set_name: RedPajamaCommonCrawl


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text:
HBO grows its 'Game of Thrones' franchise, gives spin-off 'House of the Dragon' a second season
Lauren Forristal 5 months
Days after HBO's "House of the Dragon" became the most-watched premiere for a new HBO original series, the "Game of Thrones" prequel series is renewed for a second season. Now that the rumor is confirmed, fans can rest in knowing the Dance of the Dragons is just beginning to unfold.
The company also announced today that the audience has doubled with over 20 million viewers across linear, on-demand and HBO Max in the U.S, per Nielsen data combined with HBO's own data. When the first episode premiered on Sunday, August 21, the show had 10 million viewers. HBO and HBO Max have only aired one episode so far.
Based on the huge audience as well as the many positive reviews and an 86% audience score on Rotten Tomatoes, it's no wonder a second season is now guaranteed.
Eager to gain revenue and subscribers ahead of the merger between Warner Bros. Discovery-owned streaming services HBO Max and Discovery+, it appears the company is banking on "House of the Dragon" to succeed. The company reported 91.2 million subscribers across HBO, HBO Max and Discovery+ in the second quarter, with a loss of 300,000 domestic subscribers. Warner Bros. Discovery had a net loss of $3.4 million.
'House of the Dragon' series premiere is the biggest in HBO's history, with almost 10 million viewers
Despite the HBO Max app crashing on Sunday, data from data.ai shows that app downloads jumped from 47,300 on August 15 to 131,000 downloads on the day of the premiere. On August 21, HBO Max secured the No. 1 spot for streaming app downloads, beating rivals Netflix, Hulu and Disney+.
We previously reported that HBO Max had 21% U.S. download market share in the first quarter of 2022, per Sensor Tower's "Store Intelligence Data Digest" report.
HBO embraces the impressively large "Game of Thrones" fanbase. The company has done a lot to promote the show. In an email to staff, Warner Bros. Discovery CEO David Zaslav called it "the largest marketing campaign in HBO's history," reported The Hollywood Reporter. Zaslav noted that the campaign reached nearly 130 million people in the United States.
When promoting "House of Dragon," HBO released a companion AR app DracARys that lets fans raise their own virtual dragon, an official podcast that provides commentary, and a partnership with Snapchat that gives users a fire-breathing dragon Lens. It also scored a high-profile ad slot on Roku devices — directly in Roku's main navigation, just below the "Home" menu.
"House of the Dragon" has taken years to make, with each episode costing approximately less than $20 million, sources told Variety. In total, Season 1 is 10 episodes long.
It is rumored that HBO is making six more spin-offs — a move that Disney+ continues to do with its "Star Wars" franchise. Netflix is pulling a similar strategy, creating an IP universe for "The Gray Man" and giving "Stranger Things" a spin-off series. The "Lord of the Rings" movie franchise is getting a prequel series on Amazon Prime Video premiering on September 2.
HBO's new 'House of the Dragon' trailer offers a peek at the 'Game of Thrones' prequel


text:
From neuroscientists to engineers, USC researchers delve into what happens during slumber—and how to help us get more of it.
by Esther Landhuis, Illustrations by Oscar Bolton Green
In the classic fairy tale, Snow White bites into an apple and slips into a state of suspended animation. For her fellow figment of fiction, man-about-the-Catskills character Rip Van Winkle, a sip of moonshine affords the luxury of sleeping through the American Revolutionary War. Sleep has long featured in our collective storybook as an enigmatic netherworld, a far away place where strange things happen and then are forgotten upon our return to reality.
Turns out there's a reason for the mythology. Left to investigate why humans spend nearly a third of our lives in slumber—and what sleep is—scientists don't have a simple answer.
Why we sleep is still one of the greatest unsolved mysteries of science.
Terese Hammond
"Why we sleep is still one of the greatest unsolved mysteries of science," says Terese Hammond, Keck Medicine of USC pulmonary critical care physician and director of the USC Sleep Disorders Center. "No one yet knows the true purpose and nature of the state of sleep."
We may not know the reasons behind it, but here's what's clear: Many of us don't get enough of it.
More than a third of Americans get less than the needed seven hours of snoozing a day, according to the U.S. Centers for Disease Control and Prevention. Over time, lack of sleep takes a toll on our well-being—so much so that the CDC calls it a public health epidemic. That makes the field a formidable frontier for scientists and physicians.
"This is a very exciting time for sleep research," says Steve Kay, dean of the USC Dornsife College of Letters, Arts and Sciences and a biologist who has long studied the sleep-wake cycle. It's also a growing area for USC physicians and other health care professionals who see the wider effects of poor sleep among the patients in their clinics and exam rooms.
Understanding Sleep
What happens to us in those wee hours as we lie unconscious in our beds? Quite a lot.
After drifting off, we go through several cycles of what's called non-rapid eye movement (non-REM) sleep, followed by cycles of rapid eye movement (REM) sleep. During non-REM sleep, the body repairs and restores itself—building bone and muscle, healing wounds and bolstering immune defenses. In REM sleep, body temperature drops and blood thickens. Blood pressure and pulse become erratic. Muscles turn off.
The brain, however, buzzes with activity. Cholinergic neurons, which help store memories, fire during REM, says Julie Dopheide, a professor of clinical pharmacy, psychiatry and the behavioral sciences at the USC School of Pharmacy and Keck School of Medicine. REM is when dreams occur. And it may be during this time that the brain tries to interpret and organize information.
USC Dornsife neuroscientists and USC Viterbi engineers are trying to uncover what happens in the brain during sleep. Thanks to leaps in imaging technology and a $9.7 million National Institutes of Health grant, the USC research team is mapping neurons in the brains of live zebra fish to see how their activity patterns change as the animals sleep or form new memories. "Brain circuitry underlies the complexity of human consciousness," Kay says, so breaking through imaging barriers will be critical to "seeing" sleep.
Research by Kay and others has improved our understanding of the natural timing system that regulates when we fall asleep and when we wake. Known as the circadian system, this internal clock maintains 24-hour sleep-wake cycles through signals from the brain's hypothalamus. Our circadian system responds to environmental cues such as darkness and light, using hormones to spur drowsiness or wake us up. If circadian rhythms fall out of sync with day-night cycles—after an overseas flight or a graveyard shift, for example— the system usually realigns in a few days. Sometimes life gets in the way of biology, though, and systems go awry.
Too Busy to Sleep
With mobile devices that allow 24/7 communication and unlimited movies and shows available digitally at the touch of a button, it's easy to stay up late binge watching a series or updating a report for the boss. It's no wonder that so many of us fail to get the recommended seven to nine hours of sleep a night. Among teens, snooze time dropped steadily between 1991 and 2012, with 10 percent of high school students claiming they get only five hours of sleep per night.
We wear our lack of sleep like a badge of honor.
Raj Dasgupta
"We wear our lack of sleep like a badge of honor," says Keck Medicine sleep specialist Raj Dasgupta.
As a nation, we're not just losing sleeptime—we're missing the health benefits that sleep brings. Inadequate sleep is linked to nearly a fifth of serious car crashes. It also seems to weaken a person's willpower to eat normal portions and choose healthful food instead of junk, according to research.
If scant sleep becomes the norm, consequences can mount. Long-term sleep-wake cycle troubles can disrupt the activity of genes that govern metabolism and immunity, leading to potential trouble by spurring diseases like Type 2 diabetes.
Several years ago, Kay and his colleagues found a key biochemical link between circadian rhythms and diabetes. In their studies with mice, they discovered that the same protein that regulates the circadian clock also controls the liver's production of glucose. Too much glucose in the blood is a serious complication of diabetes. Kay's team found a way to harness that clock protein to slow glucose production, making diabetic mice healthier.
But there's more to it than diabetes. "Chronic disruption of sleep patterns is strongly linked to cardiovascular disease and to a sharp increase in the incidence of breast cancer," Kay says, citing findings from large studies in the United States and Japan.
Other studies done in the lab suggest that staying awake too long can kill brain cells and impair clearance of toxic proteins—including amyloid beta, which builds up in the brains of people with Alzheimer's disease.
Sleep, Interrupted
Many people come to the USC Sleep Disorders Center after years, often decades, of struggle, Hammond says. Indeed, about 50 million to 70 million U.S. adults suffer chronic sleep disorders.
One of the first things to go wrong when you're having a psychological or or physical problem is your sleep.
Typically, it should take less than 15 minutes to fall asleep. "If it takes longer than a half hour and impairs your function the next day, it's considered insomnia," Dopheide explains. People with insomnia not only struggle to drift off, but also wake up repeatedly.
If tossing and turning is part of your nightly routine, don't just dismiss it, Dopheide warns. Causes range from simple factors like room temperature to serious issues like sleep apnea or depression. "One of the first things to go wrong when you're having a psychological or physical problem is your sleep," she says. "Insomnia is a marker for poor health."
Just ask Jennifer Ailshire, a sociologist at the USC Davis School of Gerontology and Ethel Percy Andrus Gerontology Center. She studies how family relationships affect health, including sleep quality. In a 2012 study, she found that demanding relationships with family members can hurt sleep—and it's about more than just having a fight with your spouse before bed. Even regular contact with a challenging parent or child living outside the home can cause sleep trouble.
There's a modern-day culprit for sleeplessness: artificial light.
There's another modern-day culprit for sleeplessness: artificial light. Nighttime light suppresses the body's production of melatonin, a hormone that promotes sleep, and the blue light emanating from computers and other electronic devices is particularly harmful.
A recent study conducted at Brigham and Women's Hospital in Boston bore this out. It showed that young adults who read on a tablet for four hours before bedtime took longer to fall asleep, spent less time in REM cycles and woke the next day feeling groggier than those who read a printed book. Scientists who analyzed the volunteers' blood samples found that the tablet group had lower levels of melatonin.
"This work is really solid," Kay says. "My kids aren't allowed to use iPads after 6 p.m. now."
Some 20 million U.S. adults can blame another problem for their sleeplessness: sleep apnea. Every night, they snore, wake up and gasp for air over and over again, notes Eric Kezirian, an otolaryngologist with Keck Medicine and an international expert intreating snoring and obstructive sleep apnea.
"Your throat is basically a tube surrounded by muscle," Kezirian says. "It can collapse during deep sleep and block your breathing." People with severe sleep apnea may wake 30 or more times per hour, increasing their risk for heart attack and stroke.
Snooze Solutions
Fortunately, innovations are helping doctors like Kezirian treat sleep apnea. While many patients breathe better by using what's called a continuous positive airway pressure device, or CPAP, others can't sleep comfortably while wearing one. Some have found relief from a new sleep apnea treatment approved by the Food and Drug Administration last year. Called the Inspire Upper Airway Stimulation System, this surgically implantable device keeps the airway open by electrically stimulating thenerve that controls tongue movement. Keck Medicine was the first group in Los Angeles (and one of the relatively few around the world) to offer the Inspire treatment.
Sometimes apnea is mysterious. Kezirian is an international leader in a test called drug-induced sleep endoscopy, which allows him to use a tiny camera to observe nasal cavity positioning during sleep. "If we can figure out what's causing the blockage of breathing, we can hopefully give more targeted and effective treatment," he says.
That's also why a trio of USC investigators recently developed a new imaging tool for children with sleep apnea. Patients undergo specialized MRI scans that produce a real-time video of the airway opening and closing during natural sleep, and that can help doctors pinpoint the source of breathing problems, says Krishna Nayak, a professor in USC Viterbi's Ming Hsieh Department of Electrical Engineering. He worked with Children's Hospital Los Angeles and Keck Medicine pediatric pulmonologist Sally Ward and USC Viterbi biomedical engineer Michael Khoo to develop and test the new technique. About 50 people have received the procedure so far, Nayak says.
Khoo and others are also studying how a tool called electroencephalography (EEG) can illuminate the quality of sleep. Electrodes placed on the head can record brain wave patterns, while other sensors detect eye movements, limb movements, heart rate and breathing patterns while a person sleeps. These measurements reveal sleep patterns and arousals, which can help clinicians diagnose sleep disorders and gain insight into potential causes.
The USC Sleep Disorders Center treats rare conditions as well, including narcolepsy, sleep walking, sleep talking and sleep-associated movement disorders such as restless legs syndrome. "A thorough sleep evaluation can be very good for patients, especially those with long standing sleep complaints, because it may well identify targets for therapy that will improve daytime functioning and well-being," Hammond says.
The USC Sleep Disorders Center treats rare conditions like narcolepsy, sleep walking, sleep talking and sleep-associated movement disorders.
Outside the sleep clinic, there may be a much cheaper, albeit lower-resolution, way to measure sleep: using off-the-shelf wearable monitors and mobile health apps you can download on your smartphone. "We're going to go through a 'big data' era for collecting sleep-wake patterns," Kay says. He notes, however, that "while this allows us to go 'wide' on understanding sleep behaviors, it does not go 'deep' in the same way an EEG collects interesting data on much smaller numbers of individuals. So one does not replace the other."
Ultimately, you don't need the latest wearables or phone apps to prioritize sleep. "Treat it like you treat exercise and diet," Kezirian says. "It's important for your health and for getting the most out of life."
Illustrations by Oscar Bolton Green.
HealthScience/TechnologyHealth CarePublic HealthPulmonary
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Keck Medicine Doctors Keep Singers, Musicians and Actors in Peak Shape
Specialists keep performing artists in the spotlight.
8 min readArts, Health, Dramatic Arts, Music, Performing Arts	 December 11, 2019
(Photograph/Darren Braun)	Vision for Vitality
Researchers at USC are untangling the biological processes of aging so we can enjoy longer, healthier lives.
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(Photograph/Darren Braun)	(Re)New and Improved
How Trash Turns into Treasure in Labs at USC
Waste salvaged from dumpsters, airplane graveyards and more finds a sustainable second life thanks to some creative ideas.
10 min readScience/Technology, Social Impact, Chemistry, Engineering, Environment, Innovation, Research, Sustainability	 December 11, 2019


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Home » Nazi Germany » The Reichstag Fire of 1933
The Reichstag Fire of 1933
Citation: C N Trueman "The Reichstag Fire of 1933"
The Reichstag was the heart of German politics. Debates, political struggles, political scheming etc. all took place in the Reichstag. It was no different from many national government buildings in Europe and its destruction would have had great symbolic significance for many.The Reichstag fire took place on February 27th1933. The Reichstag building was where Germany's parliament sat and the fire that destroyed it has to be seen as one of the defining moments in the early days of Nazi Germany.
Hitler had made it clear in the days immediately prior to January 30th1933 that he would not be able to work with the Reichstag that had been elected in the November 1932 election. While the Nazi Party was the largest single party in it, this did not give Hitler a working majority as the two largest parties after the Nazis were both on the left – the Social Democrat Party and the Communist. New elections for the Reichstag had been called for March 5th 1933. The danger for Hitler was that he might not get as much support in the new election as in the previous one. He was playing a dangerous political game that could have ended his political career
On the night of February 27th Hitler and Goebbels were having dinner at Goebbel's Berlin home. Just after 21.00, Goebbels received a phone call from Dr. Hansfstaengl that the Reichstag building was on fire. Goebbels later claimed that he felt the news was so fanciful that he did not inform Hitler even though he was in the same house. It was only when he received another phone call that confirmed the news, that Goebbels informed Hitler. They immediately left for the Reichstag where they met Goering. All three declared that the fire was the work of the Communists and Socialists and the SA was put on alert to maintain order if and when the communist insurrection started.
Rudolf Diels, head of the Prussian Political Police, arrived after Hitler, Goebbels and Goering. Diels later claimed that Goering told him that the fire was the start of a communist revolt and that "not a moment must be lost." Diels claimed that Hitler completely lost his temper and shouted "as I have never seen him do before" that he would show no mercy to those responsible. Diels claimed that Hitler ordered that every communist official should be "shot where he is found" and that "communist deputies must be hanged this very night". It is said that Hitler also ordered no leniency for the Social Democrats. ('Lucifer ante Portas' by Diels published in 1950).
The SA did what was required of it and rounded up as many communists as they could find – nearly 4000 people. "Arrests upon arrests. Now the Red pest is being thoroughly rooted out." (Goebbels) As with nearly all that they did, the Nazis tried to put a legal gloss over what was being done. The public was told that the communists had burned down the seat of government in Germany and that the police and the SA were doing all that they could to save the nation from unrest and catastrophe.
The Nazis also captured the alleged perpetrator of the crime – a Dutch communist called Marius van der Lubbe. He, along with four other communists, was charged with arson. The four others were later acquitted but van der Lubbe had to stand trial.
Curiously during his interrogation by the Prussian Political Police in the immediate aftermath of the fire, van der Lubbe offered a free and full confession that Rudolf Diels found so fanciful that he refused to accept it, describing van der Lubbe as a "maniac". Diels claimed that when he reported his views to Hitler, he was told that they were "childish" and wrong. It was Hitler's way of telling Diels that van der Lubbe's confession had to stand. Van der Lubbe claimed that he was angry with the way communists were being treated in Germany.
"I had to do something myself. I considered arson a suitable method. I did not wish to harm private people but something belonging to the system itself. I decided on the Reichstag. As to the question of whether I acted alone, I declare emphatically that this was the case." He was accused of starting at least twelve fires in the Reichstag and put on trial in late November. At his trial, van der Lubbe again said:
"I can only repeat that I set fire to the Reichstag all by myself. There is nothing complicated about this fire. It has quite a simple explanation. What was made of it may be complicated, but the fire itself was very simple." Van der Lubbe was found guilty and executed in January 1934.
However, some believe that van der Lubbe did not start the fire. At the Nuremburg War Trials, General Franz Halder claimed that in 1942, he had been invited to attend a birthday lunch for Hitler. The lunch invite was also extended to senior Nazi Party members, one of whom was Hermann Goering. Halder claimed that he clearly heard Goering boasting that he had been responsible for the fire. However, if this is true it may have been done by the ever vain Goering to impress Hitler. Martin Sommerfeldt, who worked in the Ministry of the Interior in Berlin, believed it was carried out by men of the SA on the orders of Goebbels to boost the party's election chances in March 1933. Men from the SS then killed the SA men involved to ensure that no witnesses survived. Sommerfeldt claimed that his story was backed by Berlin Gestapo chief, Rudolf Diels who even knew where the bodies were.
The Reichstag ceased to have any form of function after the fire and it most certainly could not be used as a base for the seat of government in Germany. The nearest large building that could accommodate all the deputies was the Kroll Opera House. The March 5th election went ahead as planned but now in the shadow of the 'attempted communist revolt'. Even so, the Nazis only polled 288 seats and in the unlikely event that all the other parties voted as one against the Nazis, they would have lost the vote. It was a situation that Hitler was not prepared to tolerate or risk. He had already decided that the Reichstag as a properly working entity should cease to exist and be replaced by himself – all 'legally' done via the Enabling Act of March 1933.


Welcome to the website of the Hostinův Důl Horse Riding Hotel in Tršice with equestrian premises and breeding of the Hungarian Kisberi horse.
This project came into existence because of a great love for horses, as a private initiative of the owners of the premises, unsupported by subsidy programmes.
The hotel and the premises are located in the small town of Tršice, not far from the historic towns of Olomouc, Přerov and Lipník nad Bečvou, in a scenic valley surrounded by pastures, forests, and fruit orchards with a total area of 30 hectares.Both the hotel and the premises are open since1 October 2010.
The Hostinův Důl site is mentioned in a ground-plot record of 1830; further information come from 17 July 1887, which was the date of a big national festival that took place here.
Tršice are known for several historic monuments, e.g. a medieval stronghold, the Church of Assumption of the Virgin, and St. Kunhuta Chapel.The first written information about Tršice is from as early as 1282 and is related with the name of Oneš of Tršice.
While staying with us you may enjoy the following sports activities: horse riding, walking, cycling, in-line skating - about 100m from the lodging house; in winter down-hill skiing in the Hlubočky village ca 13km distant from our hotel.
MOTTO: IF YOU LOVE HORSES, IT´S FOR LIFETIME.
IT IS A DISEASE NO MEDICINE CAN CURE.
ČT Sport, ČT4, NOVA Sport, Slovak Sport, Sport 1, Sport 2, Sport 5, Eurosport, Eurosport 2, Extreme Sports, Auto Moto Sport and Golf Channel.
The Czech Kisberi Breeder Association has issued a limited edition of picture-postcards of Kisberi halfblood.
Edition of 10 picture postcards –priced CZK80+ postal charge.
The picture postcards can also be purchasedindividually - 1 pc for CZK8+ postal charge.
Postcards No 1, 2, 5, 6 issued also as self-adhesive. 1 pc for CZK8+ postal charge.
and start for a trip.


If a person can' t make it to London, NYC or Dubai this summer, you can knowledge them via the gorgeous aerial views thanks to be able to drone footage captured by typically the video-makers below. These forward-thinking photographers use their remote-controlled drone along with HD cameras attached and capture the world you could only get if an individual pay a lot regarding money to hire a new real helicopter. Here will be list of the Top 10 Best Drone Video Video footage of Cities – 2015.
Shot with F450 + Zenmuse H3-3D + GoPro Hero 3 Black.


The Ultimate Food and Water Travel Waistband Belt is perfect for Dog Walkers and Pet Travelers. This Dog Belt can be worn across the waist area or over the shoulder. Comes with 2 Rubberized collapsible Dog Bowls in each pocket. This Waistband features a large pouch on the front great for carrying food, water or all other types of Pet Accessories or personal belongings. Additionally this Belt features additional side pouches and features Reflective lining for safe night dog walks. Perfect for hikers or those in need of a Hands Free Dog Walking experience.


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Q: Select an Object to add into an Observable in Angular with a service I have a search engine, where the user is able to search for Drugs via multiple labels.

                {{result.slot.number}}
                {{result.tradingName}}

{{subs.dose}}{{subs.entity}},
                        {{subs.substance.substanceName}}

                {{result.type}}, {{result.quantity}}
                {{birthdayToString(result.expire)}}
                {{result.entryDate}}
                <button (click)="addToCard()" class="btn btn-success ml-1">Add</button>

At the point Add the user should have the option to add this object in a list and then work with this object that is stored in an Observable in an other Component.
ts file of this html:
constructor(private http: HttpClient, private drugService: DrugsService, private router: Router, private cardService: CardService) {
this.searchTerm.pipe(
  map((e: any) => e.target.value),
  debounceTime(700),
  distinctUntilChanged(),
  filter(term => term.length >= 1)
).subscribe(searchTerm => {
  this.loading = true;
  this._searchEntries(searchTerm);
});
}

ngOnInit() {
  this.fetchDrugs();
}

searchEntries(term: any): Observable<any> {
return this.http.get(this.drugSearch + term).pipe(
  map(response => {
    this.searchResults = response;
    //  console.log(response);
  })
)
}

  addToCard() {
  this.cardService.addDrug(({
    tradingName: "Depon",
    type: "Pill",
    quantity: 22,
    expire: new Date(),
    entryDate: new Date(),
    slot: 5
  }));
}

Right now in my ts file i am hardcoding a Drug in addToCard().
But i would like to pass the Object the user is clicking and not a hardcoded one.
How can i do this ?
Card Service:
export class CardService {
drugs: Drugs = [];

public objObservable: any;
private objObserver: any;

constructor() {
    this.objObservable = new Observable((localObserver) => {
        this.objObserver = localObserver; // Convert this.objObserver from any to an observer object
        this.objObserver.next(this.drugs); // Connect this.drugs to observable object by observer
    });
}

getDrugs(): Observable<Drugs> {
    return this.objObservable;
}

addDrug(newDrug: Drug) {
    this.drugs = [...this.drugs, newDrug];
    return this.objObserver.next(this.drugs);
}

removeDrug(neo4jId: string) {
    this.drugs = this.drugs.filter((item: Drug) => item.neo4jId !== neo4jId);
    return this.objObserver.next(this.drugs);
}

clear() {
    this.drugs = [];
    this.objObserver.next.this.drugs;
}
}

i Would like to use this service and the addDrug function to pass the Object and put it into the Observable, but how ?
This is my Drug model in case you need it to understand:
export interface Drug {
neo4jId?: string;
drugId?: string;
tradingName: string;
type: string;
quantity: number;
expire: Date;
entryDate: Date;
lastModified?: Date;
slot: number;
substances?: Substance[]
};

export interface Drugs extends Array<Drug> { }

A: Send the result into the event handler. Try the following
Template
<button (click)="addToCard(result)" class="btn btn-success ml-1">Add</button>

Component
addToCard(drug: Drug) {
  this.cardService.addDrug(drug);
}