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9 posts categorized "Comedy"
Michael Palin: Writer, Actor and Comedian
By Greg Buzwell, Curator of Contemporary Literary Archives, and Silvia Gallotti, Manuscripts Cataloguer. The Michael Palin Archive, generously donated to the British Library by Michael Palin in 2017, is now available for consultation in the Manuscripts Reading Room. A display – Michael Palin: Writer, Actor and Comedian – featuring items from the archive can be seen in the Sir John Ritblat Gallery: Treasures of the British Library until 11th November 2018.
Attempting to curate a small display featuring material from the archive of Michael Palin was rather like attempting to select a small number of iconic songs written by The Beatles. The sheer volume of fascinating material available to choose from rapidly made the task of deciding what to leave out the stuff of nightmares. Diaries, letters, photographs, notebooks, annotated scripts and publicity material all jostled for attention. About fifty of the notebooks date from Palin's time with Monty Python's Flying Circus and provide a fascinating insight into how comedy routines such as 'Spam' and 'Spanish Inquisition' developed through different versions into those we know – and can't help but recite using all the different voices – today. Finding iconic material to exhibit was clearly not going to be a problem.
The Michael Palin display in Treasures Gallery at the British Library.
The display follows Palin's career from the mid-1960s up to the late 1980s. The first case opens with the script for a mock theatrical documentary about attitudes towards sex through the ages called 'The Love Show' which Palin worked on with Terry Jones in 1965. Although never produced 'The Love Show', for which Palin received his first payment as a professional writer, shows early signs of the surreal humour that would come to define Monty Python. Other highlights in the first case include handwritten scripts by Palin and Jones for The Frost Report – a show which proved to be a meeting ground for future Pythons Palin, Jones, John Cleese, Graham Chapman and Eric Idle – and from Do Not Adjust Your Set where Palin, Jones and Idle met another future Python, Terry Gilliam. The item on display relating to Do Not Adjust Your Set is a sketch, written by Palin, called 'Captain Fantastic's Christmas'. David Jason played the hapless Captain Fantastic, a bumbling bowler-hatted superhero endlessly battling Mrs Black – 'the most evil woman in the world' – played by Denise Coffey. Although intended for children the anarchic humour of Do Not Adjust Your Set rapidly gained a cult following among adults.
'Captain Fantastic's Christmas', a sketch written by Palin and starring David Jason as Captain Fantastic and Denise Coffey as Mrs Black. 1968. Add. MS 89284/2/11. © Michael Palin.
The following section is dedicated to Palin's career with Monty Python's Flying Circus, and to his subsequent work on Ripping Yarns, and on films such as The Missionary, A Private Function and A Fish Called Wanda. Included in the display is an early scene from The Holy Grail in which a surreal explanation for the absence of horses and the use of coconut shells to mimic the sound of their hooves is provided ('Our horses grew weary, unable to carry us further. We were forced to leave them by the mountain and continue with coconuts …'). Also included is an early draft of the 'Biggus Dickus' scene from Life of Brian and one of Palin's notebooks in which he has written a potential running order for various Python routines including 'Spanish Inquisition', 'Fish Licence', 'Scott of the Sahara' and 'Semaphore Version of Wuthering Heights'.
One of Michael Palin's notebooks, listing potential running orders for sketches including 'Spanish Inquisition', 'Scott of the Sahara', 'Communist Quiz', 'Semaphore Version of Wuthering Heights' and many others. Add. MS 89284/2/15. © Michael Palin
Ripping Yarns, which Palin worked on with Terry Jones in the mid-1970s is represented by an annotated script from the pilot episode 'Tomkinson's Schooldays'. The episode is a brilliant satire on public school life and the adventure stories found in magazines such as The Boys Own Paper. Tomkinson's trials at the school include being nailed to a wall on St Tadger's Day, fighting the school grizzly bear, being hunted down by a leopard while attempting to escape and, as seen here, having to take part in the 'Thirty Mile Hop'.
Annotated script for 'Tomkinson's Schooldays', the first episode of Ripping Yarns broadcast in January 1976. Add. MS 89284/1/75. © Michael Palin
The last part of the display looks at some of the less widely known aspects of Palin's career including his books for children, and the brilliantly disturbing Bert Fegg's Nasty Book for Boys & Girls (a humorous book satirising popular encyclopaedias for children and presented as though written by the most unsuitable and disturbed person imaginable for the job). This part of the display also includes two of Palin's diaries, one of which is open at an entry for 27 March 1970, in which Palin recollects the beginnings of his career just a few years earlier, when he was 'finishing 'The Love Show' with Terry', 'still unmarried', with 'no immediate prospects'. He concludes: 'A little bit of nostalgia, but I like sometimes to get my bearings right, just to convince myself that I haven't wasted the 1960s'.
Michael Palin's diary entry for 27th March 1970, reflecting upon the 1960s and writing the second series of Monty Python's Flying Circus. © Michael Palin
The display represents only a very small portion of the archive, but hopefully it provides a glimpse into the riches it contains. The large amount of material included in the collection relating to the production, publicity and distribution of Palin's TV shows and films makes the archive a wonderful resource for those interested in the history of comedy, TV and filmmaking. The wealth of notebooks and annotated scripts meanwhile provides a unique insight into one of the nation's most popular entertainers, and into the genesis and development of comedy sketches and films that are now part of the very fabric of our cultural history.
Posted by Callum McKean at 12:00 PM
Comedy, Contemporary Britain, Diaries, Drama, Exhibitions, Film, Manuscripts, New collection items
Dan Leno: the original Pantomime Dame
by Helen Peden, Curator, Printed Heritage Collections 1601-1900 and British Library curator of exhibition Victorian Entertainments: There Will Be Fun.
When Dan Leno performed as the Pantomime Dame in the 1880s he transformed a previously minor role into the main part and shaped pantomime into the Christmas show we know today.
Illustrated cover of the score of My Old Man (1889) H.1260.m.(43
The great clown Joseph Grimaldi (1778-1837) had been the star of Regency pantomime and brought the subtle arts of mime and gesture to this popular entertainment. In Grimaldi's performances the clown was always the main character but after his death these clever skills were lost and soon replaced by the much less finely drawn charms of Principal Boys and Pantomime Dames. Clowns no longer played a pivotal role in the production and returned to the circus leaving pantomime without a main character and in need of a new direction. This was provided through the comic genius of Dan Leno.
Foresters' Music Hall playbill (1885) Evan.611
On Monday, October 5th, 1885, Leno made his first appearance in London at the Foresters' Music Hall. Playbills in the Evanion Collection document Leno's early London success (Evan.611, Evan.1063) and list him as a champion dancer – he had won a world clog dancing competition in Leeds in 1880. His champion clog dance was the main part of his turn at the Foresters' but his comic song – I'm Going to buy Milk for the Twins – proved more popular with London audiences. Although the words have not survived, we know that Leno rushed on stage in the guise of an ordinary, harassed, yet spirited and resilient woman, and immediately grabbed the attention of the audience with his rapid comic patter in which he revealed the many small injustices of everyday life. Although Leno performed alone on stage the characters he embodied were so well drawn that his stage always seemed to be fully peopled.
Oxford Music Hall playbill (1886) Evan.1063
George Conquest, manager of the Surrey Theatre in Lambeth, South London was so impressed by Leno's performances that he was quickly engaged to play Dame Durden in the 1886-7 pantomime Jack and the Beanstalk. Leno's Dame stole the show and he subsequently appeared in every spectacular pantomime at the Theatre Royal Drury Lane until the end of the 1904 season.
Illustration of Dan Leno as Mother Goose. Jay Hickory Wood: Dan Leno. London, 1905 10827.f.24.
The Good Old Original Mother Goose
Leno became the pantomime star of the late Victorian era. The main part of Mother Goose was written for him by the writer J. Hickory Wood for the 1902-3 Christmas season at the Theatre Royal Drury Lane. The character went through a number of phases – from poor to wealthy, humble to haughty, plain to beautiful and young to a final incarnation as the good old original Mother Goose, complete with top-knot and bunion.
Mother Goose was Leno's favourite pantomime role and was considered to be the greatest triumph of his pantomime career.
Visit There Will Be Fun – a free British Library exhibition on Victorian popular entertainments, open until March 2017, and see many other rare and wonderful treasures from the Evanion Collection.
Helen Peden, Curator, Printed Heritage Collections 1601-1900
Posted by Joanna Norledge at 4:35 PM
Comedy, Drama, Exhibitions, Printed books
William Shakespeare and The Learned Pig
There have been many learned pigs in history but only one, to the best of my knowledge, that has claimed credit for writing the plays of William Shakespeare. Indeed by 1786, when The Story of the Learned Pig, by an officer of the Royal Navy was published, complete with its claim regarding the authorship of A Midsummer Night's Dream and certain other plays knowledgeable animals of one kind or another were in danger of becoming somewhat passé. 'Marocco the thinking horse', for example, had made his appearance in the late 16th century and was able to follow the commands of his owner William Bankes with uncanny ability. Marocco could play dead, walk on his hind legs, urinate on command and even, apparently, separate and indicate the innocent maids in the audience from the disreputable harlots. Clever, certainly, but not as clever as writing The Tempest.
The first performing pig didn't arrive on the scene for almost another 100 years later. Trained by a Scotsman, Samuel Bisset, the original learned pig used cards printed with individual letters and numbers to answer questions - indicating particular cards with its snout to respond to enquiries about the number of people in the audience, the time of day and even on occasions enquiries about what certain ladies in the audience were thinking at any given time. The show was a great success, and after Bisset's death the pig went into new management with a Mr Nicholson who exhibited the pig in Nottingham in 1784 and then in London in 1785. Tours of provincial towns and a trip to Europe swiftly followed. The interest aroused by this trail-blazing learned pig caused considerable debate regarding how the pig had been trained and the extent of its cognitive abilities. Was the pig really answering questions, or was it simply responding to certain sounds or movements made by its owner in order to give pre-determined answers? Whatever the truth of the performance the idea of pigs as intelligent creatures took hold in the popular imagination. One only has to think of the pigs Snowball and Napoleon being the driving intellectual forces in George Orwell's Animal Farm (1945) for a modern literary example.
(Above: The Downfall of Taste and Genius, or, The World as it Goes by Samuel Collings – a satirical print from 1784 lampooning the public's taste for performing animals. Here a learned pig leads the charge against the arts with a copy of Shakespeare's plays lying abandoned in the assault)
Further learned pigs soon followed, including William Frederick Pinchbeck's 'Pig of Knowledge', which was displayed in America in 1798 and even met President John Adams. Curiously Pinchbeck's pig inspired considerable discussion, some of which took a fairly dark tone with many believing Pinchbeck had used witchcraft to control the animal while others claimed the pig's ability to answer questions was evidence of reincarnation – the pig being inhabited by a soul that must once have animated a human being. Later, in the early 19th century, 'Toby the Sapient Pig' was exhibited in London by the illusionist Nicholas Hoare. Indeed such was the interest in Toby that in around 1817 he even published his autobiography – The life and adventures of Toby, the sapient pig: with his opinions on men and manners. Written by himself – although interestingly this was not the first time a learned pig had seen his memoirs appear in print, something which takes us back to 1786, The Story of the Learned Pig, by an officer of the Royal Navy and, perhaps even more strangely (if that's possible) to William Shakespeare.
(Above: The Story of the Learned Pig by an Officer of the Royal Navy. London, 1786.)
In the Shakespeare in Ten Acts exhibition The Story of the Learned Pig is displayed in a section exploring 'bardolatry' – the word used to describe the often uncritical fascination that accompanies all things Shakespearean, and how sometimes that fascination takes a turn towards the bizarre. In The Story of the Learned Pig a soul describes how he has successively migrated through various humans and animals before finally ending up in the body of a pig. Earlier incarnations had included Romulus, one of the mythical founders of Rome and Brutus, the murderer of Julius Caesar. At one point the soul was reincarnated as a man called 'Pimping Billy', who worked as a horse-holder at a playhouse (where Shakespeare was regularly in attendance) and was the real author of the plays – the Immortal Bard having simply stolen Pimping Billy's ideas and words. Finally the soul moves into the body of a pig, who then presents his personal reminiscences to the author. As the pig remarks Shakespeare 'has been fathered with many spurious dramatic pieces: Hamlet, Othello, As You Like It, The Tempest and A Midsummer Night's Dream' of 'which I confess myself to be the author'.
Although humorous, and a satire upon how our fascination with performing animals, circus tricks and the seemingly magical often exceeds our fascination with great art, the book plays profoundly upon our interest in all things relating to Shakespeare. After all, a pig that claimed to have written the works of John Fletcher or Francis Beaumont would be one thing, but a pig that claimed to have written the works of Shakespeare? Now that's a whole different level of porcine achievement and greatness.
Shakespeare in Ten Acts runs until September 6th 2016.
Posted by Greg Buzwell at 11:09 AM
Comedy, Drama, Exhibitions, Literature, Shakespeare
Bringing a Liverpool Heart to Moliére
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by Deborah Dawkin, currently working on a collaborative AHRC PHD project with UCL and the British Library focussing on the archive of Ibsen translator Michael Meyer.
Last week the British Library had the pleasure of hosting the 2016 Sebald Lecture, given this year by Roger McGough. His subject was the translating and adaptation of Molière's plays, including Tartuffe (2008), The Hypochondriac (2009) and The Misathrope (2013) for the English Touring Theatre. Unsurprisingly perhaps, given McGough's renowned skills in performance and public speaking this was anything but a dry lecture: we were treated to a vibrant and entertaining as well as thought provoking insight into the process of translating seventeenth century French comedy for the contemporary British theatre – one which highlighted the difference between the requirements of theatre translation and literary translation – the difference of creating a text which "preserves history" and one that breathes new life into a play while at the same time respecting the original writer's message and intentions.
Roger McGough (right) who gave this year's Sebald Lecture together with Duncan Large, Academic Director of the BCLT who chaired the event.
The Sebald lecture is an important date on the British Library calendar for all those interested in international literature and translation. Sponsored by the British Centre for Literary Translation. The Sebald Lecture is given annually on an aspect of literature in translation. The event is named after the acclaimed German writer WG Sebald (1944-2001), whose novels and essays include The Emigrants, The Rings of Saturn, Austerlitz and On the Natural History of Destruction. Despite writing almost exclusively in German he lived in the UK, lecturing in German at University of East Anglia where he founded the British Centre for Literary Translation in 1989.
In true story teller's style McGough began at the beginning, and took us back in time to his first lessons in French at the Irish Catholic Brothers school for boys in Liverpool, where the tyrannical Brother O'Shea used the fear of the strap (specially sewn and crafted by the local nuns) to get his students to learn their verbs and vocabulary. Despite this unpromising start McGough went on to study French as well as Geography at the University of Hull. If the audience were expecting then to hear how McGough had developed an undying passion for French literature and language, they were disappointed. Instead we were regaled with a story in which McGough's accent was so bad (having missed the French Exchange programme due to a family bereavement) that he was discretely removed from the aural exam. Slightly disingenuously - as he worked as a French teacher in the sixties - McGough left us with the impression that his French language skills were sketchy at best. But perhaps McGough wanted emphasise the point that these are not literal or academic translations, but adaptations designed to bring the spirit of Moliére to a contemporary audience: Molière with a "Liverpool heartbeat".
McGough was first approached in 2008 by Gemma Bodinetz to create a translation/adaptation of Tartuffe for her production with the English Touring Theatre. He was initially uncertain about undertaking the task, but promised to give it some thought. Taking several translations of Tartuffe with him on a Saga cruise (as an entertainer he hastened to tell us, not a guest) he read them on the journey to the Bay of Biscay. This allowed McGough to enter the play without the struggle of reading complex 17th century French verse, and to allow the characters and plot to inhabit him; to set his imagination free. By the time he had returned to the shores of the UK, McGough had started to write his version. Now McGough, concerned that he should be true to Molière's intentions, turned to Molière's original text, to check his own version against it, thus taking the script to a new level.
Anyone who has read McGough's translations of Moliere, or had the pleasure of attending a performance, will be struck by their dexterity and their sharp, playful wit, and their cleverness in offering us a contemporary text, with contemporary references, yet never quite losing the link back to 17th century France.
This event was supported by Arts Council England and Writers' Centre Norwich.
Past Sebald Lectures can be heard in full on the British Centre for Literary Translation website.
Comedy, Contemporary Britain, Drama, Events, Literary translation, Romance languages
The British Library acquires Kenneth Williams's personal papers
The British Library is delighted to announce the acquisition of the personal archive of Kenneth Williams, including 42 personal diaries and approximately 2,000 letters spanning his entire life and career from the age of 18 until his death in 1988. The archive has been acquired by the British Library from Paul Richardson, Kenneth's friend and neighbour, to whom he left his entire estate.
The Kenneth Williams archive at the British Library (Photo by Elizabeth Hunter)
Kenneth Williams (1926-1988) was best-known as the star of the Carry On films, but he was also a raconteur of verve and charm, and appeared to substantial acclaim in a number of stage roles, from frothy revue to the black comedy of Joe Orton. He used the diaries he kept for more than 40 years as a half-serious threat to his friends ("You'll be in my diary!" was a favourite saying whenever someone annoyed him), but kept the contents almost completely to himself. Despite a selection from the diaries published in the early 1990s, the vast majority of the diary entries remain unpublished and unseen.
The diaries span the period 1942 – 1988, with only one gap of four years at the beginning of the sequence. The run makes up approximately 4 million words altogether, and is unusual in its degree of comprehensiveness and regularity. Williams wrote a page a day as a nearly unbroken ritual. In the pages of the diaries Williams is both instantly recognisable as the acerbic and maddeningly fastidious character well known to everyone, and, more surprisingly, as reflective and poignant, the private persona and increasingly skilled observer, revealed only in the confessional of the diary.
The diaries regularly refer to news and current affairs – below he records new about the famous trial of Jeremy Thorpe, the Liberal MP who, along with several co-defendants, was accused of the murder of Norman Scott, a would be male model who was allegedly blackmailing Thorpe on account of his homosexuality. The British Library also holds the political archive of Jeremy Thorpe.
June 22 1979: "On the news they announced that JEREMY THORPE had been acquitted!! So that lying crook Scott has not succeeded in his vindictive quest!! They were cheering Jeremy outside the Old Bailey, and he rather spoiled it by making a sanctimonious speech about JUSTICE etc. Whereas he should have just expressed satisfaction and breezed away!"
The archive also contains 3 boxes of personal correspondence, equating to approximately 2,000 letters as well as photographs, scripts, programmes and documents relating to Williams' wartime service. Correspondents include Peter Nichols, Joe Orton and Richard Burton. It is estimated that 85% of the newly-acquired archive is unpublished material never before seen by researchers.
The archive will be of huge interest to social historians of post war Britain, detailing the experience of a gay man both before and after the Wolfenden Report and the decriminalisation of homosexuality in 1968, alongside the mundane details of everyday life in London. The diaries and letters also record the actor's experience of the dying days of the repertory theatre system and the growth of modern celebrity culture, something he seemed both to love and loathe. In the entry pictured below Williams was understudying Richard Burton as Trigorin in The Seagull. Despite the doubts William's expresses in this extract, the run of The Seagull turned out to be a huge success, thanks to the performance of Burton. Williams contributed by fetching Burton drinks between acts.
Page from Kenneth Williams's diary from 21 August 1950, courtesy of the Kenneth Williams estate
Material will be available to researchers in the Library's Reading Rooms from March 2016. The 1950 edition of the diary, as well as a letter from the archive will be on display in the Library's permanent exhibition space, the Sir John Ritblat Treasures Gallery, from next week onwards.
Kathryn Johnson, Curator of Theatrical Archives and Manuscripts and Joanna Norledge, Curator of Performance and Creative Archives
Comedy, Contemporary Britain, Diaries, Drama, New collection items, Television
Most of What Follows is a Complete Waste of Time
Guest post from Ian Greaves, researcher of theatre and broadcasting history
N F Simpson (1919-2011) was said to be many things. During his near-century on the planet, he served as playwright, teacher, satirist, bank clerk, philosopher, a one-man-band English wing of the Theatre of the Absurd, army intelligence officer, father, translator, sketch-writer and poet. Coming to fame relatively late in life, his early successes A Resounding Tinkle (1957) and One Way Pendulum (1959) placed him in the company of Angry Young Men. These, however, were not his natural bedfellows.
N F (Wally) Simpson, photographed by Mike Harris
As the writer David Benedictus once observed, Simpson had the misfortune to not be foreign like Ionesco or rude like Orton. His was a particularly restrained form of English humour, a precise extension of his personality. Simpson was certainly no self-publicist and, as a consequence, he became a marginalised figure: largely absent from the theatre after 1965, and with most of his subsequent work out of circulation. It falls, then, to a new collection of his work- Most of What Follows is a Complete Waste of Time (Oberon Books) - to fully restore this brilliant but neglected writer in the public consciousness.
The new Oberon Books collection contains several extracts from Simpson's previously unpublished 2009 miscellany, Anatomy of Bewilderment. Draft material is held amongst the British Library papers.
Simpson had the pause before Harold Pinter, planted the seed of Monty Python's Flying Circus and inspired the comic philosophy of Tom Stoppard. His beguiling plays were full of memorable set-pieces, endless diversions, upturned clichés and dark philosophies. His worlds were essentially ordinary, but worlds in which everything was equal and interchangeable - the private and public, animals and humans, biscuits and books. Comedy emerged from a determination to hold onto reason with whitened knuckles. To quote his introduction to Some Tall Tinkles (1968), his characters followed "a simple faith in the axiom that for those to whom life is an exercise in survival, the secret is in knowing how to ride with the punch".
In the five years immediately prior to his death, N F Simpson - or Wally to his friends - underwent what many artists enjoy only after they've gone: a resurgence of interest. There was a season at the BFI, a new play at Jermyn Street Theatre, revivals of A Resounding Tinkle at both the Royal Court and Donmar Warehouse, a BBC Radio documentary about his life and work, and the purchase of his papers by the British Library.
The last of these was characteristic of a gradual effort to put his house in order. Working as researcher on the 2007 radio documentary, I soon found that Wally was keen to establish the whereabouts of all his work. This put me on a five-year road of discovery: archive upon archive, covering radio and television, stage and print. Part of this process resulted in the quite accidental discovery of Pinter's lost sketch 'Umbrellas' at the British Library. Even as a big Pinter fan, however, I was slightly more excited to finally locate a copy of Simpson's 'Take It Away!' in the same Nottingham Playhouse revue.
N F Simpson collaborated with cartoonist Willie Rushton on a series of cod advertisements for Private Eye magazine. This piece appeared in issue 32, cover date 8 March 1963.
The British Library's invaluable Simpson papers - acquired in 2009 - gift us many treasures and insights. Oberon's new, authorised miscellany of Simpson's writings brings some of this material back from obscurity, including his first professional writing (for The Tribune in 1953) and a number of important, pre-fame pieces for Birkbeck College magazine The Lodestone. Thanks to this material, Most of What Follows… acts as the most complete map of his creative life, revealing its continuities and experimental diversity. Perhaps now we can all of us enjoy the many different facets of Simpson and, with one collective push, assert his true place in the canon of great English comic writers.
Ian Greaves is co-editor of Most of What Follows is a Complete Waste of Time: Monologues, Dialogues, Sketches and Other Writings by N.F. Simpson, published by Oberon Books on 5 November 2013.
Posted by Zoe Wilcox at 10:04 AM
Comedy, Drama, Manuscripts
Jokes for David Frost
Sir David Frost, who died recently, made his name on the satirical '60s TV show That Was the Week That Was. Whilst working on Keith Waterhouse's archive I came across Keith's account of the meeting which led to the commissioning of the ground-breaking TW3, as it was known. In Keith's memoirs Streets Ahead (1995) he recalls the discussion with BBC producers dwelling on the finer points of German cabaret. David Frost's contribution to this historic moment was not quite so distinguished: Keith remembers Frost advising him and writing partner Willis Hall that it was 'never too early to start' saving for their pensions.
Sir David Frost interviewing Donald Rumsfeld. Photo by Robert D Ward.
Leaving aside this inauspicious beginning, Keith and Willis went on to write for almost every episode of TW3, and for Frost's subsequent programmes Not So Much a Programme, More a Way of Life, The Frost Report and Frost on Sunday. In doing so, they wrote a lot of material for Frost, much of which now seems rather out-of-date, if not down right sexist. But Keith's favourite gags for Frost remain as innocuously groan-inducing today as the day they were written:
'Here are the results of today's Sheepdog Trials: all the sheepdogs were found not guilty'
'See a pin and pick it up, all the day you'll have a pin'
Quite often though, the joke was on David Frost himself. 'He combined being a satirist and someone who one satirised', commented Peter Morgan (who wrote the play Frost/Nixon) in the Telegraph's obituary. This is surely the key to why Frost remains such a fascinating character. How could a person jump from larking about with the Pythons to interviewing presidents and prime ministers?
Keith and Willis were among the writers who enjoyed poking fun at Frost. Not only did they cast him as a redundant satirist looking for work in one TW3 sketch, they also devoted one of their Late Show sketches to lampooning his relentlessly upbeat interviewing style ('Super. Marvellous. Absolutely super.') in a scenario which saw Frost interviewing the Prime Minister of Rhodesia about playing the spoons.
Keith and Willis were prolific sketch-writers for both theatre and television. Keith's archive is testament to this large output. The four folders bulging with skits and gags from the '60s to the '80s contain material for Roy Hudd, Ned Sherrin, Roy Kinnear, Millicent Martin, Dora Bryan and Kenny Lynch. Whilst leafing through Keith and Willis' sketches for The Frost Report, I also found two variations on the famous 'Class Sketch' performed by John Cleese, Ronnie Barker and Ronnie Corbett. You know the one – 'I look up to him because he is upper class, but I look down on him because he is lower class.' The original sketch, written by Marty Feldman and John Law, aired on The Frost Report on 7 April 1966. What I hadn't realised was that Keith and Willis came up with their own versions for Cleese, Barker and Corbett for later episodes. For the episode on Crime (8 June 1967), they play an upmarket art thief, a middle-class fraudster and a common tea-leaf (who are all treated quite differently by the snobbish judiciary). The programme on Youth (22 June 1967) sees upper class John Cleese and lower class Ronnie Corbett leading vastly different lives whilst both holding the same ambition of managing a pop group.
The original 'Class Sketch' is brilliant for a number of reasons, not least Ronnie Corbett's punchline, 'I get a pain the back of my neck.' Perhaps it was somewhat unusual for its time in relying on a pay-off line: in Streets Ahead Keith reflected that the vogue in the early '60s was for sketches without punchlines (in the style of Harold Pinter and others). However, Keith and Willis were more circumspect about the lack of punchlines in some of their TW3 output. They put it down to the fact the taxi sent by the BBC to pick up their weekly contributions was often running up the meter outside their office as they hurried to finish their sketches.
The Keith Waterhouse Archive is currently being catalogued and is expected to be available for research sometime next year.
Keith Waterhouse, Streets Ahead (London: Hodder & Stoughton, 1995)
Posted by Zoe Wilcox at 6:08 PM
Ken Campbell is alive and you are dead
On 31 August 2013 it will be five years since the death of writer, performer, director and general one-off theatre legend Ken Campbell.
In the Guardian's obituary, theatre critic Michael Coveney described Campbell as 'a perennial reminder of the rough-house origins of the best of British theatre, from Shakespeare, music hall and Joan Littlewood to the fringe before it became fashionable, tame and subsidized.'
The multifarious products of Ken Campbell's profoundly anarchistic theatrical imagination included his 24-hour long production of Neil Oram's The Warp at the ICA in 1979 - decreed by no less an authority than the Guinness Book of Records to be the world's longest play - and his production of Douglas Adams's Hitchhiker's Guide to the Galaxy - performed inside a hovercraft - also at the ICA, later that same year. In the later part of his career he was perhaps best-known for his solo shows of fantastical monologues detailing all manner of odd experiences and arcane knowledge.
In 1977, the opening attraction of the National Theatre's new Cottesloe space was the full-cast stage adaptation by the Science Fiction Theatre of Liverpool - co-founded by Campbell with Chris Langham the previous year - of Robert Anton Wilson and Robert Shea's Illuminatus! trilogy. The British Library made an audio recording of the full 9-hour show and continued, throughout the 1980s and 90s to record Campbell's (usually solo) shows at the National. These included Furtive Nudist, Pigspurt, Jamais Vu, Violin Time, The Pidgin Macbeth and The History of Comedy: Part One: Ventriloquism.
Campbell was happy to have his shows recorded for posterity, his only stipulation being that he was not informed of the date the recording would be happening.
As well as unique live recordings, the Library has tried to acquire any commercially circulated recordings of Campbell: from the CD 'Wol Wantok' (King Mob, 1999), in which Campbell advanced the case for Pidgin English as a new world language, to the DVD edition of G. F. Newman's TV series Law and Order, in which Campbell had a rare straight acting role, as a crooked lawyer. He later described his performance in Law and Order as an example of 'tie-acting' (the actor tucks in his chin and mumbles into his tie).
The Library does not have any unique audio documentation of The Warp but it does have a copy of the video version (on six videotapes) purchased from writer Neil Oram a few years back. This is still available to purchase from Neil here, now in DVD format.
If you would like to hear (or view) any of the material mentioned in this blog post you can do so free of charge at the British Library. You will need a British Library Reader's Card however and you may need to book an appointment.
Listen to Ken Campbell introducing his Pidgin Macbeth in 1998 (excerpt)
Posted by Steve Cleary at 2:33 PM
Comedy, Drama, Science fiction, Sound recordings, Video recordings
Privates on Parade- Theatre of War


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Копривницькі Бреґи () — громада і населений пункт в Копривницько-Крижевецькій жупанії Хорватії.

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redpajama_set_name: RedPajamaWikipedia


The Shamanic Initiation day costs $220. For an application form simply email One Tribe at onetribehealing@gmail.com and don't hesitate to call Mark on 0410 524 281 to find out more.
For those who want to learn more the Shamanic Initiation is followed by Shamanic Training Level 1 beginning on Wednesday evening the 26th of February from 7-9:30pm. There are four sessions run over four weeks. Each evening is divided into two halves. The first involves further contact and initiations with your spirit guides as well as shamanic training theory. During the second half we take out the massage tables and you get hands on practical experience at both giving and receiving healings. During these healings you will be guided to become like a hollow bone allowing unconditionally loving and powerful guides to flow through you to assist those on the table. It is a beautiful journey of transformation and healing. These classes are limited to 12 people (if there is sufficient interest we will open an additional class on the Thursday evening as well).
The Shamanic Training Level 1 costs $330.
One Tribe are committed to sharing the path of shamanism and over the years to come will be supporting all those who want to learn this ancient path in a series of courses, workshops and retreats designed to give you all you need on this ancient path of love and light. In time the vision is to take people from novices to practicing shamanic healers. In 2014, Shamanic Training Level 2 and 3 are being offered. The vast majority of those who have taken the courses so far have decided to continue the journey with us where a deep bond is made between those in the class and us as well. We hope you can join our growing family.


text:
I Gioielli della Madonna {9} Metropolitan Opera House: 11/4/1926.
(Debuts: Juan Casanova, Vincenzo Bellezza
I GIOIELLI DELLA MADONNA {9}
Wolf-Ferrari-Zangarini/Golisciani
Maliella................Maria Jeritza
Gennaro.................Giovanni Martinelli
Carmela.................Marion Telva
Rafaele.................Giuseppe Danise
Biaso...................Angelo Badà
Totonno.................Max Altglass
Ciccillo................Giordano Paltrinieri
Rocco...................Paolo Ananian
Stella..................Nannette Guilford
Concetta................Charlotte Ryan
Serena..................Henriette Wakefield
Girl....................Grace Anthony
Girl....................Phradie Wells
Girl....................Mary Bonetti
Dance...................Mollie Friedenthal
Dance...................Juan Casanova [Debut]
Conductor...............Vincenzo Bellezza [Debut]
Director................Wilhelm von Wymetal
Set designer............Antonio Rovescalli
Choreographer...........August Berger
I Gioielli della Madonna received five performances this season.
Review of Lawrence Gilman in the New York Tribune
Jeritza Reappears at the Opera, With a New Conductor
It will be recalled that "The Jewels of the Madonna" was the opera picked in advance by local wiseacres as the one with which Mr. Gatti-Casazza would probably open the current season at the Metropolitan. As every one knows, these confident prophets were confounded by the uncommunicative Mr. Gatti, who surprised his best critics and severest friends by [beginning] the season with quite a different work, Spontini's "La Vestale." And withholding the "Jewels of the Madonna" until last night.
Some may have wondered why Spontini's not very dazzling Roman candle was chosen for the [first] night festivities in preference to Wolf-Ferrari's much more sensational skyrocket. But the reason should have been guessed by any one who follows with due attentiveness the public avowals of our darlings of the operatic gods. "The Jewels of the Madonna" is, of course, an exceedingly forth putting vehicle for the accomplishments of Mme. Jeritza; and there is reason to suspect that the prominence which is forced upon this admirable artist by her rôle in Wolf-Ferreri's opera is not to her liking.
We are led to this conclusion by the fact that Mme. Jeritza has been quoted as bemoaning the sharply distressing but unavoidable publicity of an opera singer's existence. "Opera singers," she is said to have remarked, "are always in the public eye, and therein lies one of the hardships of our life." That, at least, is what the venerable and venerated "Musical Times" of London, reported her as saying. One can easily fancy her impassioned plea to Mr. Gatti-Casazza not only this season but last (when Miss Ponselle was drafted as the first-night star in "La Gioconda" to spare her the agonizing publicity of a [first] night appearance.
The second night, of course, is easier, and the third night easier still. It may well have seemed to Mme Jeritza that by last night she would have been able to reconcile herself to enduring that painful contact with public observation which she so deeply dreads. And so Mr. Gatti-Casazza, mercifully considerate of his tremulous skylark, may be conceived as having insisted that Miss Ponselle, as the junior star, keep to the assistance of the retiring soprano from Vienna, and assume the burden of the first-night publicity. That, at any rate, is our suggested solution of a mystery which seems to have puzzled some observers.
There was every reason, therefore, to commiserate with Mme. Jeritza last night, for her hour had struck, and, now, for many a week, she will be inexorably delivered to a public which, quite evidently, is still embarrassingly in love with her. If she finds this concentration of the public gaze a hardship, she has no one to blame but herself; for, no matter what she is or isn't as an artist - and we beg leave to view her as an artist of something suspiciously like genius - she has beyond denial the ability to hold the eye.
Like her colleague at the Metropolitan, Mr. Bohnen, she does things at times, both as singer and as actress, which would be unforgivable in a less enchanting artist. But it is all on the side of intensification, of a sharpening of the projected image. It is a mistake to call it overacting, histrionic or vocal excess. It as a very different thing from the facile italicizing of an unimaginative artist; and when it results in an occasional explosion of bad taste, you can only sit back and wait for the disjecta membra of aesthetic breeding to be cleared away, thanking heaven for an interpretive art that may be devastating, but is indisputably alive.
She has an extraordinarily keen and vivid sense of character, and she keeps inside the skin of each of her roles with unrelaxing fidelity. There are not many singers now on the stage who could turn from so beautiful an embodiment as she achieves of Elizabeth in "Tannhäuser," to the creation of so antipodal a character as that of the Neapolitan slut of Wolf-Ferrari's opera, and complete it with a like integrity and fullness of realization. She is not quite the sensuous Southern wanton who is implicit in Wolf-Ferrari's text and score; but she is superbly faithful to her own reading of the part, and that is all one is entitled to expect of her.
She is a remarkable and engrossing artist, and it is a pleasure to welcome her back. Last night she appeared more than ever to be virtually the whole of the Metropolitan's performance of "The Jewels of the Madonna." No one else matters very much in its unfolding, and the work itself seems as hollow and derivative and inexpressive as it always has.
The performance benefitted greatly by the substitution of the new Italian conductor, Mr. Vincenzo Bellezza, for the unlamented Mr. Papi. Mr. Bellezza comes to the Metropolitan with a reputation won in various Italian opera houses, and reinforced in London last spring at Covent Garden. He made it evident at once last night that he is an alert and spirited commander. We shall know better what is in him when he tackles music of finer grain than Wolf-Ferrari's gross and trivial score.
I Gioielli della Madonna: Conductor [Bellezza, Vincenzo]
I Gioielli della Madonna: Maliella [Jeritza, Maria]
I Gioielli della Madonna: Gennaro [Martinelli, Giovanni]
I Gioielli della Madonna: Carmela [Telva, Marion]
I Gioielli della Madonna: Rafaele [Danise, Giuseppe]
I Gioielli della Madonna: Biaso [Badà, Angelo]
I Gioielli della Madonna: Totonno [Altglass, Max]
I Gioielli della Madonna: Ciccillo [Paltrinieri, Giordano]
I Gioielli della Madonna: Rocco [Ananian, Paolo]
I Gioielli della Madonna: Stella [Guilford, Nannette]
I Gioielli della Madonna: Concetta [Ryan, Charlotte]
I Gioielli della Madonna: Serena [Wakefield, Henriette]
I Gioielli della Madonna: Girl [Anthony, Grace]
I Gioielli della Madonna: Girl [Wells, Phradie]
I Gioielli della Madonna: Girl [Bonetti, Mary]
I Gioielli della Madonna: Dance [Friedenthal, Mollie]
I Gioielli della Madonna: Dance [Casanova, Juan]
I Gioielli della Madonna: Director [Von Wymetal, Wilhelm]
I Gioielli della Madonna: Choreographer [Berger, August]
I Gioielli della Madonna: Set Designer [Rovescalli, Antonio]
1926-27: I Gioielli della Madonna: 5 performances: Statistics
Altglass, Max [Tenor]
Bellezza, Vincenzo [Conductor]
Berger, August [Choreographer]
Bonetti, Mary [Mezzo Soprano]
Casanova, Juan [Dancer]
Danise, Giuseppe [Baritone]
Friedenthal, Mollie [Dancer]
Guilford, Nannette [Soprano]
Jeritza, Maria [Soprano]
Martinelli, Giovanni [Tenor]
Paltrinieri, Giordano [Tenor]
Rovescalli, Antonio [Set Designer]
Ryan, Charlotte [Soprano]
Telva, Marion [Mezzo Soprano]
Von Wymetal, Wilhelm [Director]
Wakefield, Henriette [Mezzo Soprano]
Wells, Phradie [Soprano]

redpajama_set_name: RedPajamaCommonCrawl


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text:
← On hiatus for Memorial Day Weekend
72 years ago today →
June 1, 2016 2015-16 Bruins Offseason, 2015-16 NHL season, 2016 NHL Entry Draft, Wade Allison	Joe Pavelski, Joe Thornton, Martin Jones, Matt Murray, Patrick Marleau, Phil Kessel, Ray Bourque, Sidney Crosby, Wade Allison Leave a comment
Sharks and Penguins for Lord Stanley plus other notes
Well, it isn't exactly how we drew it up after the San Jose Sharks failed to make the playoffs a year ago, but here they are- for the first time in the careers of Joe Thornton and Patrick Marleau– the players taken 1st and 2nd overall in 1997- the West Coast apex predators have a chance at winning the franchise's first Stanley Cup.
For some Bruins fans, it's shades of Ray Bourque in 2001 all over again. Former Bruins star and captain leaves town and has a chance at winning their only championship, with the Boston NHL club mired in mediocrity. Of course- there's no real comparison between the sentiment fans had for Bourque and what folks are expressing for Thornton- but it's kinda similar.
Thornton was a good guy, a heck of a player, but a lousy captain. He wasn't ready for the responsibility when he was given the 'C' in 2002 at age 23. I think he liked the idea of being the team captain, but when it came time to handle the essence of leadership and the sacrifices that come with being a team's identified leader and the one who has to face the music in good times and bad, Thornton wasn't mature enough to handle it.
In hindsight, being traded out of Boston was the best thing for him. Playing in California suits Thornton perfectly and it's interesting to note that he eventually lost the captaincy in San Jose as well. California cool only gets you so far, apparently. GM Doug Wilson obviously made the right choice, as Joe Pavelski has been everything you want from a captain and more. He's scored the big goals and if the Sharks are going to overcome their 0-1 series deficit, Pavelski will be the guy who leads the charge. He's a winner. And Thornton is on the verge of earning that moniker for the first real time in his career- it won't be easy but now is the time for Jumbo Joe to demonstrate the best kind of leadership- setting the example and stepping up.
Being a great captain is different from how someone is measured as a player. That he's not a top leader is not an indictment of Thornton, because his NHL body of work is Hall of Fame-worthy. However, when it came to anointing him with the mantle of leadership in Boston, it was too much, too soon. And his tenure in San Jose proved that some guys are simply better followers than leaders.
On the flip side, the Pittsburgh Penguins are vying for a fourth Stanley Cup in franchise history, and what would be a second for Sidney Crosby (2009), tying him with franchise icons Mario Lemieux and Jaromir Jagr (1991 and 1992).
After underachieving for much of the year, the Pens pulled an impressive Lazarus act, surging at the most important time possible, and riding the wave of outstanding play from Crosby, Kris Letang, Phil Kessel...(wait, did you say PHIL Kessel?) and rookie goalie Matt Murray.
Big things were expected of the Penguins this year going into the season, so if you had pulled a Rip Van Winkle on the eve of opening night and woke up today, you wouldn't be all that surprised that Pittsburgh is in the SCF for the first time since they won it all seven years ago. It's how the Penguins got here that has been so interesting, and it took them a while and a coaching change (hello, Mike Sullivan) to get going, but with a relative unknown in net who's posting quite a Cinderella story in Murray, they've knocked off some good teams to get here.
Flip a coin. A lot of Boston fans are cheering for Thornton, and that's all fine. Remember- if his team wins it, he will have earned it. He doesn't deserve to win…no one does.
And as for the pick…draftniks sigh…it's 29 or 30. What does it matter at this point- where once people thought it might be a lottery selection, Martin Jones dashed those dreams but even choosing at 18 might have netted the team a nice power forward in Max Jones (no relation) or perhaps a later flyer on Julien Gauthier or developmental D in Logan Stanley. No matter…the Sharks have busted those dreams and so you have to figure the pick acquired from San Jose for Jones will be in play come draft weekend. I would be surprised if the Bruins hold onto it if they can flip it for an extra 2nd and perhaps a 3rd (Don Sweeney would likely have to package a pick or prospect) or 4th rounder (typical value for moving out of the end of the 1st). Or, the team might use it as a part of a trade deal to bring back the much-needed NHL help on D. Either way, the Sharks have continued to rub a little salt in the wounds of a lost Boston season.
The 2015-16 hockey season and rollercoaster is just days from being over, but the endless offseason is only getting started.
Here's a guy to keep an eye on, btw: Tri-City Storm forward and USHL Clark Cup champion and playoff MVP Wade Allison. He's a big, heavy-on-the-puck right wing with size and skill.
He's shot up the various draft boards and rankings after an outstanding second half of the season, and the Western Michigan University recruit's stock is surging at the right time.
I'd say his first couple of steps are a little clunky, but he's a powerful skater in the straight line who does effective work in the high danger areas and along the walls. His tremendous playoff scoring run keyed the Storm all the way to a sweep of Dubuque in the Clark Cup final.
Don't sleep on this kid (and forget about getting him in the 3rd round if you're thinking he's going to fall), who seems to have it all including an impressive personality to boot.


According to Bloomberg, the US Securities and Exchange Commission (SEC) are to investigate Nissan over inaccuracies of executive pay.
The former chair of the company has been charged with financial misconduct, and Japanese prosecutors have charged the car manufacturer with falsifying financial documents.
A spokesperson for Nissan said, "I can confirm that we have received an inquiry from the SEC and are cooperating fully.
Following Ghosn's resignation last week Jean-Dominque Senard has taken over as chairman, and Thierry Bollore is interim chief executive.


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redpajama_set_name: RedPajamaGithub


text:
Der Aattetur (auch Åttetur) ist ein norwegischer Volkstanz, der aus der Region Asker im Süden Norwegens stammt. Es handelt sich um einen Kreistanz, der paarweise auf Musik im 3/4 Takt getanzt wird.

Literatur
 Otto Schneider: Tanzlexikon. Volkstanz, Kulttanz, Gesellschaftstanz, Kunsttanz, Ballet, Tänzer, Tänzerinnen, Choreographen, Tanz- und Ballettkomponisten von den Anfängen bis zur Gegenwart. Schott u. a., Mainz u. a. 1985, ISBN 3-7957-2800-2.

Norwegischer Tanz
Europäischer Tanz


text:
TBK Magazine
Spain Triggers The Burning Of Russian Gas To Generate Energy
Spain is turning heavily to expensive natural gas to meet its energy needs, just as Europe struggles to cut consumption and avoid rationing . Gas demand for power generation increased 126% in July compared to the same month a year earlier, according to network operator Enagas. At the same time, imports of natural gas from Russia have grown by 32.9% (June data) , to 8,751 gigawatt hours (GWh), its highest monthly level since the Strategic Reserves of Petroleum Products Corporation ( Cores) has records, that is, 2004.
Combined heat and power generation, or CHP, which is capable of optimizing production by producing both electricity and thermal energy, accounted for just 4% of the country's energy mix, down from 10% a year earlier.
CHP's decline is putting pressure on industries, ranging from food and paper to refining and chemicals, that had invested in harnessing the technology. Meanwhile, this lower production is being compensated by a greater generation of less efficient and more polluting technologies, such as the combined cycle of gas and, to a lesser extent, coal.
"The situation is serious," says Roger Medina, an economist at the Barcelona School of Economics. "A drop in CHP reduces efficiency, increases pollution and has a direct impact on industrial production," in statements to the Bloomberg agency .
The share of combined cycle and coal in total Spanish electricity generation more than doubled in July, reaching 32% and 3.3%, respectively. All in all, CO2-emitting technologies represented 42% of the total mix in Spain, an increase of 11 percentage points compared to the same month of the previous year. The harsh drought that halved hydroelectric production also contributed to that trend.
Russian imports
On the other hand, imports appear. According to data published this Wednesday by Cores, Russia was Spain's second largest supplier that month , being the origin of 24.4% of the gas received on those dates, only behind the 10,618 GWh from the United States, which was consolidated as main supplier, with 29.6% of the total.
According to the history by geographical areas and countries, the previous import record from Russia was set just one year earlier, in June 2021, when they reached 6,587 GWh, transported in the form of liquefied natural gas (LNG).
In the midst of the diplomatic crisis with Spain due to Madrid's change of position regarding Western Sahara, Algeria was in third position, with 7,762 GWh, 21.6% of the total, although this volume was close to 53 % lower than the one registered a year before.
During June, imports of natural gas, regardless of origin, grew by 5.3%, to 35,883 GWh, of which 77% came as LNG, and the remaining 23% through gas pipelines.
LNG imports
The accumulated data also shows an unstoppable evolution of LNG imports, which allow the arrival of this raw material in ships, which have shot up nearly 67% in the first half of the year, coinciding with the growing weight of the United States .
In fact, North America represents 34% of the total imports made between January and June, according to Cores statistics, which places Russia as the fourth supplier so far this year.
Taking into account the total volume of these operations, Spain has imported 226,594 GWh in the first six months of the year, 13.9% more than in the same period of 2021.
Of this percentage, 73%, 165,868 GWh, came in the form of LNG through methane tankers, a formula that grew by 66.9% in year-on-year terms, while the rest, 60,726 GWh, came as natural gas, for gas pipeline, a technique that falls by 39%.
This evolution of the annual accumulated is explained by the diversification of the origins of this raw material, mainly originating in the United States in recent months, which has already sent 78,156 GWh to Spain in the first half.
Despite the political disagreements, the pre-existing contracts with Algeria keep this country as the second supplier in 2022, with 56,062 GWh, channeled, mostly, through a gas pipeline.
Following this are Nigeria, with 31,473 GWh, almost 50% more than in the first half of the previous year, and Russia, with 24,016 GWh, 12.2% more, in the middle of the critical scenario outlined in Europe as a result of the invasion of Ukraine.
Where do we export?
Natural gas exports also grew in June, by 6.1%, to 4,087 GWh, of which 80.7% was by gas pipeline and the remaining 19.3%, as LNG.
Once again, France was the main destination for exports, with 3,181 GWh, 77.8% of the total, and for the first time gas was brought to Morocco, 60 GWh.
In the annual accumulated, natural gas exports reach 29,996 GWh, after increasing by 99.3%.
newsmedia


text:
Gonçalo Bernardo Inácio (Almada, 25 augustus 2001) is een Portugees voetballer die doorgaans speelt als centrale verdediger. In oktober 2020 debuteerde hij voor Sporting CP.

Clubcarrière
Inácio speelde in de jeugd van Almada en werd in 2012 opgenomen in de opleiding van Sporting CP. Hiervoor was hij ook meerdere malen op proef geweest bij Benfica, maar toen zijn vader tweemaal autopech kreeg op weg naar de training besloot hij niet naar die club te gaan. In januari 2018 zette de verdediger zijn handtekening onder zijn eerste professionele contract. Zijn debuut in het eerste elftal maakte hij op 4 oktober 2020, op bezoek bij Portimonense in de Primeira Liga. Door doelpunten van Nuno Mendes en Nuno Santos werd met 0–2 gewonnen. Inácio moest op de reservebank beginnen en mocht zeventien minuten na rust invallen voor Zouhair Feddal. Zijn eerste competitiedoelpunt viel op 20 maart 2021, toen hij drie minuten voor rust tegen Vitória Guimarães tekende voor het enige doelpunt van de wedstrijd: 1–0.

Clubstatistieken

Bijgewerkt op 25 oktober 2022.

Interlandcarrière
Inácio werd in augustus 2021 door bondscoach Fernando Santos voor het eerst opgenomen in de selectie van het Portugees voetbalelftal voor interlands tegen Azerbeidzjan, Ierland en Qatar. Vier dagen later moest hij echter verstek laten gaan door een opgelopen dijblessure. In oktober 2022 werd Inácio door Santos opgenomen in de voorselectie van Portugal voor het WK 2022. Tweeënhalve week later werd hij een van de afvallers voor de definitieve selectie.

Erelijst

Referenties

Portugees voetballer


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text:
use support::{project, execs, main_file, basic_bin_manifest};
use hamcrest::{assert_that};

fn setup() {}

fn verify_project_success_output() -> String {
    r#"{"success":"true"}"#.into()
}

test!(cargo_verify_project_path_to_cargo_toml_relative {
    let p = project("foo")
        .file("Cargo.toml", &basic_bin_manifest("foo"))
        .file("src/foo.rs", &main_file(r#""i am foo""#, &[]));

    assert_that(p.cargo_process("verify-project")
                 .arg("--manifest-path").arg("foo/Cargo.toml")
                 .cwd(p.root().parent().unwrap()),
                execs().with_status(0)
                       .with_stdout(verify_project_success_output()));
});

test!(cargo_verify_project_path_to_cargo_toml_absolute {
    let p = project("foo")
        .file("Cargo.toml", &basic_bin_manifest("foo"))
        .file("src/foo.rs", &main_file(r#""i am foo""#, &[]));

    assert_that(p.cargo_process("verify-project")
                 .arg("--manifest-path").arg(p.root().join("Cargo.toml"))
                 .cwd(p.root().parent().unwrap()),
                execs().with_status(0)
                       .with_stdout(verify_project_success_output()));
});

test!(cargo_verify_project_cwd {
    let p = project("foo")
        .file("Cargo.toml", &basic_bin_manifest("foo"))
        .file("src/foo.rs", &main_file(r#""i am foo""#, &[]));

    assert_that(p.cargo_process("verify-project")
                 .cwd(p.root()),
                execs().with_status(0)
                       .with_stdout(verify_project_success_output()));
});


text: InstantClick.init('mousedown');


NASSAU, Bahamas Jan. 2013 (AP) — Voters in the Bahamas on Monday overwhelmingly rejected a referendum to legalize gambling for citizens of the archipelago off Florida's east coast, where locals were already barred from betting in casinos at the islands' tourist resorts.
Underground gambling operations called "web shops" where Bahamians bet on numbers in televised U.S. lotteries have become commonplace in recent years. The shops operate in violation of Bahamian law, but police and political leaders have largely turned a blind eye to them for years.
This is an excerpt from ABC News as it appeared on January 29, 2013. For updates or to read the current version of this post in its entirety, please click here.


In this study we report mechanisms of Fagonia cretica aqueous extract-induced cytotoxicity in breast cancer cells. Local medical practitioners use Fagonia cretica for treating a wide variety of ailments, including cancer. This substance is well tolerated and does not exhibit adverse effects like vomiting, diarrhea or alopecia, which are common side effects of standard cytotoxic therapy. To the authors' best knowledge, this study is the first time that cytotoxic activity towards human breast cancer cell lines has been described. Herein, we have shown that an aqueous extract of Fagonia cretica is able to induce cell cycle arrest and apoptosis in wild type p53 MCF-7 and mutant p53 MDA-MB-231 cells, while only exerting a limited effect on primary HMEpC at high concentrations and extended treatment time. We have also demonstrated that cell cycle arrest may be associated with induction of DNA damage and in MCF-7 cells, via activation of the ATM/p53-mediated DNA damage response. Interestingly, the requirement of p53 activation is not essential for cytotoxicity, as we have shown with siRNA p53 knockdown in extract-treated MCF-7 cells, and the significant treatment effects on mutant-p53 MDA-MB-231 cells. In contrast, extract-induced cytotoxicity is shown to be dependent on induction of FOXO3a expression, in both cell types.
In Western medicine, the focus is the eradication of the cancers cells once they have been diagnosed. Ayurveda is not a replacement for Western medicine. Once cancer has been diagnosed, all avenues of treatment, including conservative (allopathic) and complimentary approaches should be thoroughly investigated. Ayurveda will address prevention and underlying causative factors, while Western medicine will deal with the symptoms, which in some cases can be life-threatening. Through this Mail, we will discuss the cause, treatment, and prevention of Breast cancer exclusively from the Ayurvedic perspective.
"Researchers have discovered the extracts found in Fagonia cretica have not only halted the spread of Breast Cancer Cells but also caused a limiting action on them thereby enabling the healing of Breast Cancer among the Folk women of asian countries".
In Ayurveda, cancers are not treated solely as a physical condition. The relationship between mental, emotional, physical, and spiritual factors are all identified when treating cancer. The general definition of cancer in Ayurveda is when the cells have forgotten their memory of normal and proper function. They have lost the smirti value (cellular memory). Without the memory of proper function the cells have no rules.
An extract of Fagonia cretica induces cell cycle arrest and apoptosis in two phenotypically distinct breast cancer cell lines. Extract activity involves DNA damage and p53-induction but is not fully dependent on p53 functionality. In addition, extract treatment induces FOXO3a expression which may be attributed to DNA damage directly or induction of DNA repair pathways. We also demonstrated that FOXO3a expression is required for extract activity in the absence of functional p53. This provides a novel mechanism by which an aqueous extract of Fagonia cretica, used extensively in India and Pakistan, can kill breast cancer cells.


text:
require "spec_helper"

RSpec.describe Rack::ActionLogger::ParameterFiltering do
  let(:hash) { { key: 'value' } }
  let(:filters) { %w(password secret) }

  before {
    described_class.instance_variable_set(:@compiled_filters, nil)  # clear filter
    Rack::ActionLogger.configure { |c| c.filters = filters }
  }

  describe 'compile' do
    it 'should be success' do
      expect(described_class.send(:compile, filters)).not_to be_nil
    end
  end

  describe 'apply_filter' do
    it 'should not filter with un-filter key' do
      expect(described_class.apply_filter(hash)).to eq hash
    end

    it 'should filter hash with filter keys' do
      filtered_hash = {
        password: 'password',
        secret: 'secret',
        un_filter: 'value'
      }
      expected_filtered_hash = {
        password: "#{described_class::FILTERED}",
        secret: "#{described_class::FILTERED}",
        un_filter: 'value'
      }
      expect(described_class.apply_filter(filtered_hash)).to eq expected_filtered_hash
    end

    it 'should filter hash array with filter keys' do
      filtered_hash = {
        values: [
          password: 'password',
          secret: 'secret',
          un_filter: 'value'
        ]
      }
      expected_filtered_hash = {
        values: [
          password: "#{described_class::FILTERED}",
          secret: "#{described_class::FILTERED}",
          un_filter: 'value'
        ]
      }
      expect(described_class.apply_filter(filtered_hash)).to eq expected_filtered_hash
    end

    it 'should filter hash array with filter keys containing underscore' do
      filtered_hash = {
        values: [
          _password: 'password',
          secret: 'secret',
          un_filter: 'value'
        ]
      }
      expected_filtered_hash = {
        values: [
          _password: "#{described_class::FILTERED}",
          secret: "#{described_class::FILTERED}",
          un_filter: 'value'
        ]
      }
      expect(described_class.apply_filter(filtered_hash)).to eq expected_filtered_hash
    end

  end
end


text:
Afrimax TV
AFRIMAX MAGAZINE
…inspiring stories for you.
Pogba's agent Raiola claims midfielder's time at Man Utd is 'over'
Paul Pogba's agent has claimed the midfielder's time at Manchester United is "over" amid speculation he is set to leave Old Trafford in the near future.
The France international's representative, Mino Raiola, has given an interview to Italian media outlet Tuttosport which is scheduled to published on Tuesday.
In a preview teaser for the interview Tuttosport claim the Dutch-Italian agent Raiola has said: "I can say that Pogba's stage at United is over."
The interview is set to be published on same the day of United's crunch Champions League Group H clash away at RB Leipzig, with Pogba part of the squad to have travelled to Germany.
Pogba, 27, has been regularly linked with moves to Real Madrid, Paris Saint-Germain and former club Juventus.
During the October international break, Pogba said a move to Madrid would be "a dream" and in the same month United triggered a one-year option on his contract, which extended it until 2022.
The midfielder has made 13 appearances in all competitions for United this season and scored two goals.
He scored his first Premier League goal of the season in United's 3-1 win over West Ham at the London Stadium on Saturday.
France coach Didier Deschamps recently said Pogba "needed the right platform" to thrive and the player "cannot be happy with his playing time and positioning" at Old Trafford.
United manager Ole Gunnar Solskjaer subsequently held talks with Pogba, who he acknowledged had "not been happy when he's not been playing and not playing really well", but dismissed suggestions he was out of position.
Pogba left United for Juventus in 2012 after his contract expired only to rejoin the Red Devils in 2016 for what was then a world record transfer fee of £89million.
Abiy Says Ethiopia Is Working To Restore Order In Conflict-Hit Tigray
Northern Nigeria Children Now Turn to Violence for Livelihood, Says Prominent Socio-cultural Group
As pandemic worsens, Biden unveils ambitious Covid-19 strategy
Africa Records Higher Death Rates During Coronavirus 'Second Wave'
Police Arrest Suspected Abductor, Killer Of Six-Year-Old In Kogi
We Look Forward To Working With Joe Biden And Kamala Harris – Buhari
US' Historic Inauguration Day In Pictures
Afrimax Magazine provides unparalleled insights into African affairs, news media and issues, from an African perspective. We cover sub-African and international news, politics, health, tech & science and business stories which contribute to the socio-economic development of the continent.
Copyright © 2021 | Afrimax Multimedia TV


text:
Der Entwurf Europaischen Kommission Cyber Resilience Act
19 September 2022 • 7 minute read
The European Commission's proposal for the Cyber Resilience Act
Written by:Jan PohleYannick Aaron Zirnstein
The proposed Cyber Resilience Act seeks to establish fundamental requirements for all products with digital elements and thereby ensure greater cybersecurity
On 15 September 2022, the European Commission presented its proposal for the Cyber Resilience Act (Proposal for a REGULATION OF THE EUROPEAN PARLIAMENT AND OF THE COUNCIL on horizontal cybersecurity requirements for products with digital elements and amending Regulation (EU) 2019/1020, the Draft CRA).
In the following article we summarise the essential contents of the Draft CRA.
In September 2021, the European Commission announced the proposed legislation. The rationale behind the proposal was that the increasingly frequent occurrence of cyber-attacks is causing immense financial damage as well as compromising the security of both companies and citizens based in the European Union.
The Draft CRA sets out certain conditions that apply to products with digital elements and requires such products to meet cybersecurity requirements throughout the product lifecycle. In addition, increased transparency requirements are intended to ensure that user groups take cybersecurity characteristics into account when selecting and using products and therefore be better protected against cyberattacks.
Scope of the Draft CRA
The material scope of the Draft CRA is quite broad and covers all products with digital elements whose intended or foreseeable use is to establish a direct and/or indirect link of any kind to a device and/or network. According to the proposed definition, all software and hardware products and their related data processing operations are covered.
The products in scope are also divided into two categories, with the relevant category being applied based on predicted levels of risk to the cybersecurity of the product in question. Stricter requirements apply to products that are deemed more critical.
The Draft CRA does not explicitly stipulate a territorial scope of application, and the recitals do not provide any information in this regard either. This creates a fair degree of uncertainty as to whether or not companies outside the European Union would be required to comply with its provisions and, if so, which ones. Nevertheless, the Draft CRA appears to indicate that extraterritorial applicability is intended, although this will have to be explicitly stipulated to ensure legal certainty.
In addition, products that are already the subject of other European legislation, such as medical devices, are explicitly excluded from the scope of the Draft CRA. With regard to those products, the European Commission assumes that the requirements of the Draft CRA are already sufficiently included in the specific legislation applicable to them.
Obligations of economic operators
The Draft CRA lays out different obligations for entities depending on their classification as either a manufacturer, importer or distributor.
However, the fundamental objective remains that the relevant products comply with the "essential cybersecurity requirements and obligations", which are primarily set forth in Annex 1 of the Draft CRA. These include, in particular, the development, production and placing on the market of the products concerned in accordance with certain legal and technical parameters, as well as effective vulnerability handling mechanisms. For the most part, the obligations are not only to be complied with on a one-off basis, but regularly over a period of up to five years, starting with the placing on the market of a product.
For the implementation of these requirements, the Draft CRA provides for a transition period of 24 months (and in some parts of just 12 months), which would commence when the finalised Cyber Resilience Act comes into force. This is likely to present significant challenges for many companies. In principle, product development and manufacturing cycles are planned for a significantly longer period of time; the adjustment of these plans would therefore be accompanied by significant operational upheaval and would be likely to cause a considerable additional economic burden as a result.
Conformity of the products with digital elements
Products subject to the Draft CRA are required to meet certain cybersecurity characteristics. However, in line with the harmonisation efforts of European legislation, there may be the possibility of being able to rely on existing European standards for this purpose. If the products meet the characteristics specified in such existing standards, it is presumed that they also meet the characteristics of the Draft CRA, although presumptions of this kind may be disputed at any time. In the absence of such standards, the European Commission may elect to adopt such standards itself.
To demonstrate compliance with their obligations, manufacturers are required to conduct a so-called conformity assessment. Depending on the risk classification of the product in question there are different procedures and methods that may be applied, with products considered to be of particular high risk being subject to stricter requirements. The procedures range from internal control measures to full quality assurance. For each of these procedures, the Draft CRA contains checklists with specifications that must all be met in order to successfully pass.
Competent bodies and regulatory powers
The Draft CRA also provides for extensive participation by public authorities. Accordingly, the European Commission, ENISA (European Union Agency for Cybersecurity) and national authorities are granted comprehensive market monitoring, investigative and regulatory powers. For cross-border matters, the Draft CRA also addresses the different procedures and principles for these authorities to cooperate with each other if disagreements arise in the interpretation and application of the law.
Authorities are also provided with the power to carry out so-called "sweeps", which appear to be particularly striking and drastic. Sweeps are unannounced and coordinated, involving area-wide monitoring and control measures that are intended to provide information as to whether or not the requirements of the Draft CRA are being complied with. It is particularly important to note that sweeps may apparently be carried out simultaneously by several authorities in close coordination, thus enabling the investigation of cross-border matters. It is unclear how the rights and freedoms of citizens who own products that are the subject of a sweep and are actively using them will be protected in the process.
In particular: Risks of administrative fines
The Draft CRA provides for a phased concept of administrative fines for non-compliance with certain legal requirements, which follows the model of recent European legislation and is intended primarily as a deterrent. Administrative fines for violations of the Draft CRA can reach a maximum amount of either EUR15 million or 2.5 % of the total worldwide annual turnover for the preceding financial year - whichever is higher.
In this context, significant legal uncertainties are likely to arise, mainly because the methods for imposing administrative fines will be left to Member States to implement. Although the Draft CRA specifies certain parameters, in particular criteria for the calculation of administrative fines, the proposed regulation raises considerable concerns with regard to the uniform interpretation and application of the rules on administrative fines throughout the EU.
The Draft CRA is a part of a series of previously enacted European legislation and future proposed legislation that follows on from the European Commission's digitalisation strategy.
Due to the recognised and steadily growing importance of cybersecurity and increasing public attention being given to this topic, the regulatory approach set out in the Draft CRA is certainly to be welcomed. Nevertheless, the Draft CRA in its current version presents considerable challenges to numerous market stakeholders and has the potential to cause uncertainties should it become law in its current version. A large number of provisions are simply too vague or interfere too intensely with the rights of market stakeholders.
It will be exciting to follow further developments as the legislative process progresses. In the meantime, companies are urged to keep a close eye on the draft legislation and to prepare for the implementation of possible measures arising from it.
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The Nitro Pantera is an Advanced to Expert aggressive Freeride board for the mid/wide rider. It has a bit of taper and decent set back that makes it a pretty fun traditional camber ride in powder.
Ethics Statement: We don't get paid by the manufacturer to write these reviews. We do make money from the "Where To Buy" links, but this is our best attempt at an honest and objective review from an average riders' perspective.This is very similar and a direct competitor to the Salomon Burner except the Burner fit's regular as well as mid/wide boots.
It has a little less taper in the tail than the Burner so this will make it hold an edge a little better and make you work for your turn more which can be good or bad depending on your riding style and ability.
If you live to make surfy carves and straight line this is a great board.
The Pantera is very fast but doesn't have that runaway speed that the burner has. Again this can be good or bad.
A lot of people talk about the base burn with the Pantera so if that is an issue for you then the Burner or another hybrid freeride board might give you a little float in powder. You buy these types of boards for their easy float in powder and the hybrid boards these days just do a lot better.
If you prefer groomers and pop in powder over ease of float then the Pantera will work. Not the best for most regular feet.
We try to get as many images of the Nitro Pantera, but forgive us if they're not all there.


GOSIM sim card problem, how to "set the desktop to default"?
Disassembly of the 8830 we?
Verizon 8830 GPS Works with a 3rd Party App!
Help - Fatal Error during firmware upgrade-but working a little - maybe a save here?
Stop email from auto opening ?


text:
OMM may refer to:
 O'Melveny & Myers, a US law firm with a worldwide practice
 Object memory model, a structure model for digital object memories
 The Observer Music Monthly, the British monthly music magazine found in The Observer newspaper
 Obstacle mobility model, a type of mobility model
 Of Mice and Men, a novella written by Nobel Prize-winning author John Steinbeck
 Of Mice & Men (band), (often abbreviated OM&M) an American metalcore band
 Of Monsters and Men, an Icelandic indie band
 Old Man Murray, a gaming website
 OMM, a godlike character with a visual representation resembling Jesus in the film THX 1138
 One Magnificent Morning, an American programming block that airs Saturday mornings on the owned-and-operated stations and affiliates of The CW
 The One Million Masterpiece, the world's largest collaborative art project
 The Original Mountain Marathon, a multi-day running event and a precursor to adventure racing
 One Million Moms, a U.S. conservative group
 Open music model, a business model for the digital distribution of music
 The QualiPSo OpenSource Maturity Model
 Order of Military Merit (Canada), a Canadian military honour (post-nominal letters)
 Organisation météorologique mondiale, French for World Meteorological Organization
 Organização da Mulher Moçambicana, Portuguese for Organization of Mozambican Women
 Osteopathic manipulative medicine, a core technique of osteopathy and osteopathic medicine in the United States
 Outer mitochondrial membrane

See also
 Om, a mantra and mystical Sanskrit sound of Hindu origin


text:
Q: Tag image in Google Container Registry with Docker API for Python I have a project in Google Cloud and I want to tag image in Container Registry with new_tag. I wrote code:
import docker

cli = docker.from_env()
img = cli.images.get('my_image:latest')
tagged = img.tag('my_image:new_tag')
print('image tagged: ' + str(tagged))

How could I set arguments for docker.from_env such as host (gcr.io), project (my_project) and authentication with google cloud service account?

A: Write a python program that aks user to input 10 integrrs . It then performs the following :
-prints maximum , minimum number in the list
-prints largest odd number in the list .if no odd number in the input ,print "No odd
Number"
For example :
Input     result
10        120
20         5
30         101
40
5
6
7
90
101
120
2        100
4         2
6       no odd number
8
10
20
30
40
50
80
100

A: As Google Container Registry is a remote registry, it is not possible to directly add a tag there from the local system other than using gcloud as mentioned here.
There is a way to add a new tag by running a python script. For that you have to -

*

*Pull the image from Google Container Registry

*Add a new tag to it locally

*Push the newly tagged image to Google Container Registry

The following python script works well for this task :
import docker
client = docker.from_env()
base_url = "gcr.io/project-id/demo-image"
#existing tag of the image in gcr
from_url=":tag1"
#desired tag to be added
to_tag = ":tag2"
#pull the image from container registry to local system
client.images.pull(base_url+from_url)
#get the image from local system and add a new tag to it
client.images.get(base_url+from_url).tag(base_url+to_tag)
#push the newly tagged image to container registry
client.images.push(base_url+to_tag)
#remove the pulled image from local system
client.images.remove(base_url+to_tag)
#remove the newly tagged image from local system
client.images.remove(base_url+from_url)

redpajama_set_name: RedPajamaStackExchange


MANCHESTER United great Sir Bobby Charlton has blamed the influence of overseas players for the play-acting culture in the Barclays Premiership.
The issue of diving has reared its head again following high-profile acts of simulation from Chelsea stars Arjen Robben and Didier Drogba among others, and Charlton points to the growing number of foreign players in the game as the root cause of unsporting behaviour within the game.
Charlton, speaking at the launch of a special World Cup MasterCard, said: éThe British always used to be called the gentlemen of sport.
éThey would play the game correctly, with a stiff upper lip - but we did it right. And we seem to have drifted into some of the bad habits that others have brought with them.
Charlton, who won the World Cup with England in 1966, also stated his preference for a British manager to succeed Sven-Goran Eriksson as national team boss when the Swede steps down after this summerés tournament in Germany.
éI would like to se a British manager, certainly,é he added.


I have searched around for a fix, tried adding slotChanging to TekkitRestrict filter list but still nothing. All the other posts about this have gone down or doesn't exist. :/ (from 2012) If you can find a fix I would be so happy :).


With features similar to the Classic Roller, the SX Roller is an excellent choice for horses needing ease of break over, whether for movement in performance or simple more comfort because of injuries or chronic ailments.
With a narrower profile and lighter weight, this is a good choice for arena work such as roping, penning and cutting. It is also a very good shoe for endurance and trails.