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The cyanotype (from Ancient Greek κυάνεος -  kuáneos, "dark blue" +  τύπος - túpos, "mark, impression, type") is a slow-reacting, economical photographic printing formulation sensitive to a limited near ultraviolet and blue light spectrum,  the range 300 nm to 400 nm known as UVA radiation. It produces a cyan-blue print used for art as monochrome imagery applicable on a range of supports, and for reprography in the form of blueprints. For any purpose, the process usually uses two chemicals: ferric ammonium citrate or ferric ammonium oxalate, and potassium ferricyanide, and only water to develop and fix. Announced in 1842, it is still in use.

History

The cyanotype was discovered, and named thus, by Sir John Herschel who in 1842 published his investigation of light on iron compounds, expecting that photochemical reactions would reveal, in form visible to the human eye, the infrared extreme of the electromagnetic spectrum detected by his father and the ultra-violet or 'actinic' rays that had been discovered in 1801 by Johann Ritter. Though Döbereiner had published in 1831 in German on the light-sensitivity of ferric oxalate, of which Herschel became aware during his visit to Hamburg, it is too lightly toned to form a satisfactory image and would require a second reaction to make a permanent print.

Alfred Smee had in 1840 used electrochemistry to isolate a pure form of potassium ferricyanide, which he sent to Herschel whose innovation was to use the ammonium iron(III) citrate or tartrate, then commercially available as an iron tonic and also introduced to him by Smee, for photographic purpose. He mixed the ammonium ferric citrate in a 20% aqueous solution, with 16% of the potassium ferricyanide, to make the sensitizer for coating plain paper. Exposed to sunlight, the ferric salt is reduced then combines with the ferricyanide to yield ferric ferrocyanide; Prussian blue (also known as Turnbull's blue, or Berlin Blue in Germany). Intensifying and fixing is achieved simply by rinsing the print in water in which unexposed sensitizer and reaction products are readily soluble.

Anna Atkins, a friend of the Herschel family, over 1843–61 and with the assistance of Anne Dixon, hand-printed several albums of botanical and textile specimens, especially Photographs of British Algae: Cyanotype Impressions, effectively the world's first photographically-illustrated books. After the Ross Antarctic Expedition (1839–1843) John Davis, artist and naturalist on the expedition, made or commissioned some cyanotypes in 1848 from seaweeds collected on the voyage. Also in the Antipodes, Herbert Dobbie in imitation of Atkins produced a book New Zealand ferns: 148 varieties, but with double-sided pages of cyanotype prints, in 1880.

John Mercer in the 1850s used the process for printing photographs onto cotton textiles and discovered means of toning the cyanotype violet, green, brown, red, or black.

As with all of his photographic inventions, Herschel did not patent his cyanotype process. Chemist George Thomas Fisher Jr. quickly disseminated information on the new medium internationally in his popular 1843 fifty-page manual Photogenic manipulation, containing plain instructions in the theory and practice of the arts of photography: calotype, cyanotype, ferrotype, chrysotype, anthotype, daguerreotype, and thermography, which the following year was translated into German and Dutch. The medium was immediately taken up and perfected by notable photographic practitioners of the time, including William Henry Fox Talbot and Henry Bosse. The latter in making fine presentation albums of bridges and structural steel, foresaw an appropriate effect in colour: the intense blues of his refined cyanotypes from large glass plates were printed on fine French paper 37 cm x 43.6 cm, watermarked Johannot et Cie. Annonay, aloe's satin and leather bound.

Commercial use came only in 1872, the year after Herschel's death. Marion and Company of Paris were first to market the cyanotype, under the proprietary name of "Ferro-prussiate," for reprography of plans and technical drawings and to advantage due to its low cost and simplicity of processing which required only water. In this application and with the manufacture of blueprint papers, it remained the dominant reprographic process until the 1940s. During the  217-day Siege of Mafeking of the town of Mafeking (Mafikeng) in South Africa during the Second Boer War from October 1899, the process was used to print stamps and banknotes.

On the other hand the simple technology of the cyanotype remained accessible in the non-industrial realm and contributed to folk art; Francois Brunet notes the cyanotypes on cloth used by American home quilt-makers after 1880, and Geoffrey Batchen cites thirty or more early cyanotyped family snapshots on cloth, sewn into pillow slips or quilts, in the collection of Eastman House. Sandra Sider perpetuates this tradition in her own quilt making and as a proponent for increased museum acquisitions of Art Quilts.

The cyanotype produced negatives, reversing the darks and lights of the image or object exposed on it, but Herschel also contrived a version, though more complex, to produce positives which he hoped would aid in his ambition to achieve images of full natural colour. Its difficulties were overcome by Henri Pellet in 1877 in his gum arabic iron cyanofer direct positive  photographic tracing method, which he commercialised.

Process

Herschel's formula and method
In a typical procedure, equal volumes of an 8.1% (w/v) solution of potassium ferricyanide and a 20% solution of ferric ammonium citrate are mixed. The overall contrast of the sensitizer solution can be increased with the addition of approximately 6 drops of 1% (w/v) solution potassium dichromate for every 2 ml of sensitizer solution.

This mildly photosensitive solution is then applied to a receptive surface (such as paper or cloth) and allowed to dry in a dark place. Cyanotypes can be printed on any support capable of soaking up the iron solution. Although watercolor paper is a preferred medium, cotton, wool and even gelatin sizing on nonporous surfaces have been used. Care should be taken to avoid alkaline-buffered papers, which degrade the image over time.

An image can be produced by exposing sensitised paper to a source of ultraviolet light (such as sunlight) as a contact print. The combination of UV light and the citrate reduces the iron(III) to iron(II). This is followed by a complex reaction of the iron(II) with ferricyanide. The result is an insoluble, blue pigment (ferric ferrocyanide) known as Prussian blue. The exposure time varies widely, from a few seconds in strong direct sunlight, to 10–20 minute exposures on a dull day.

After exposure, the paper is developed by washing in cold running water: the water-soluble iron(III) salts are washed away. The parts that were exposed to ultraviolet turn blue as the non-water-soluble Prussian blue pigment remains in the paper. This is what gives the print its typical blue color. The blue color darkens upon drying.

Improved formula
The ingredients have remained mostly unchanged since its inception in 1840. In 1994 Mike Ware improved on Herschel's formula with ammonium iron(III) oxalate, also known as ferric ammonium oxalate, to replace the variable and unreliable ammonium ferric citrate. It has the advantages of being made up as a convenient single stock solution with a good shelf-life that does not nourish mould growth. The solution is well-absorbed by paper fibres, so does not pool on the surface or result in a 'tackiness' which may adhere to negatives. The paper better retains the pigment, with little of the Prussian blue image being lost in the washing stage, and exposure is shorter (ca. 4-8 times) than the traditional process. The cyanotype solution, even once its excess is washed off with water, remains photo-sensitive to some degree. A print that has been stored or displayed in bright light will eventually fade, the light causing a chemical reaction that changes the Prussian blue of the cyanotype to white. However, this process can be reversed by storing the cyanotypes in darkness. This will return them to their original vibrancy.

Different composition levels of ferric ammonium citrate (or oxalate) and potassium ferricyanide will result in a variety of effects in the final cyanotypes. Mixtures of half ferric ammonium citrate and half potassium ferricyanide will produce a medium, even shade of blue that is most commonly seen in a cyanotype. A mix of one third ferric ammonium citrate and two thirds potassium ferricyanide will produce a darker blue, and a more high-contrast final print.

Disadvantages of the Ware formula are a higher cost, more complicated preparation, and a level of toxicity.

Printmaking
The simplest kind of cyanotype print is a photogram, made by arranging objects on sensitised paper. Fresh or pressed plants are a typical subject but any opaque to translucent object will create an image. A sheet of glass will press flat objects into close contact with the paper, resulting in a sharp image. Otherwise, three-dimensional objects or less than perfectly flat ones will create a more or less blurred image depending on the incidence and breadth of the light source.

A variant of photograms are chemigrams. The cyanotype solution is applied, poured or sprayed irregularly. A variant of action painting results from repeated washing and application, placing objects on top.

More sophisticated prints can be made from artwork or photographic images on transparent or translucent media. The cyanotype process reverses light and dark, so a negative original is required to print as a positive image. Large format photographic negatives or transparent digital negatives can produce images with a full tonal range, or lithographic film can be used to create high-contrast images.

The cyanotype may be combination-printed with gumoil, or with a gum bichromate image, in which, for full-colour imaging from colour separations, it may form the blue layer; or it may be combined with a hand-painted or hand-drawn drawn layer.

Toning
In a cyanotype, blue is usually the desired color. However, a variety of alternative effects can be achieved. These fall into three categories: reducing, intensifying, and toning. It is common to bleach prints before toning them, but also possible to achieve different effects by toning prints without bleaching.
 Bleaching processes are ways of decreasing the intensity of the blue. Sodium carbonate, ammonia, borax, Dektol photographic developer and other chemicals can be used to do this. Household bleach is also effective, but tends to destroy the paper base. How much and how long to bleach depends on the image content, emulsion thickness and what kind of toning is being used. When using a bleaching agent it is important to control the bleaching process by washing in clean water as soon as the desired effect is achieved, to prevent loss of detail in the highlights.
 Intensifying processes will strengthen the blue effect. Chemicals used are hydrogen peroxide or mild acidic substances: citric acid, lemon juice, vinegar or acetic acid etc. These can also used to speed up the oxidation process that creates the blue pigment.
 Toning processes are used to change the color of the iron oxide in the print. The color change varies with the reagent used. A variety of agents can be used, including various types of tea, coffee, wine, urine, tannic acid or pyrogallic acid, resulting in tones varying from brown to black. Most toning processes will to some extent tint the white parts of a print.

Long-term preservation
One of the most robust of Victorian print technologies, cyanotypes are quite stable on their own, but in contrast to most historical and present-day processes, the prints do not react well to basic environments. As a result, it is not advised to store or present the print in chemically buffered museum board, as this makes the image fade. Another unusual characteristic of the cyanotype is its regenerative behavior: prints that have faded due to prolonged exposure to light can often be significantly restored to their original tone by simply temporarily storing them in a dark environment.

Cyanotypes on cloth are permanent but must be washed by hand with non-phosphate soap so as to not turn the cyan to yellow.

Cyanotype in artistic practice

Artistic potential
The cyanotype's success as a form of artistic expression lies in its capacity for manipulation or distortion. It produces distinctive effects and is versatile, enabling prints to be made on a wide variety of surfaces, including paper, wood, fabric, glass, Perspex, bone, shell and eggshell, plaster and ceramics, and at any scale; to date 2017, the largest is 276.64 m (2977.72 ft), created by Stefanos Tsakiris in Thessaloniki, Greece, on 18 September 2017. Robin Hill in 2001 exhibited Sweet Everyday, a 30.5 m (100 ft) cyanotype enwrapping Lennon, Weinberg, Inc.'s Soho gallery, and evoking wavy brushstrokes by placing ordinary shopping bags on photo-sensitive paper exposed to light. For photographic negatives or positives enlargement directly onto the emulsion is not feasible due to the low sensitivity of the emulsion (except with a solar enlarger), so requires contact printing at 1:1 ratio. The low sensitivity permits progress to be inspected in a printing frame during exposure. Consequently and because of its long exposure scale it suits most negatives whether of high or low contrast. As a recognisably 19th century technology, artists like John Dugdale use it to evoke, or to critique, Victorian aesthetics and soclal constructs.

The artist is not restricted to the reproduction of existing photographic negatives. Prints can be made of three-dimensional objects, utilising the ability of the objects to be placed on top of the photosensitive material. Once exposed to light, the final print is of an outline of an item with internal detail where they allow light, depending on their relative transparency and exposure, to filter through; Anna Atkin's botanical cyanotypes sharply register the more transparent segments of a petal or leaf. An object original, used to make a cyanotype photogram, including the human figure for example, is reproduced at actual size. Robert Rauschenberg's and Susan Weil's collaborative cyanotypes, including Untitled (Double Rauschenberg), c.1950  were made by both artists lying down, hands held, on a large piece of photosensitive paper (treated with cyanotype chemicals). The resulting prints of their bodies in various poses are currently part of the Museum of Modern Art's permanent collection.

The powerful cyan hue may evolve a spiritual or emotional response as in the cosmic imagery of Carolyn Lewens and naturally associates symbolically with sea or sky. As German photographer Thomas Kellner notes of his 1997 Cubist multi-pinhole portraits of porcelain dolls; "I am specially happy with the blue colour in this series as the blue has a different depth in the background than a black print. Blue is still infinite, whereas black usually has the character of ending." The negative form may be disorienting or surreal; while white is often used to frame or highlight a central subject in many artistic media, the opposite may be true in the cyanotype, requiring the artist to adapt their ideas to the effect.

Equally important is the expressive potential of the application of emulsion using brush, squeegee, roller or cloth, or by stamping, for calligraphic effect.

Artists

Nineteenth century

Britain
Anna Atkins, who was also an accomplished watercolorist, in her cyanotype botanical specimens, is considered the first to make art with the medium in which the sea plants appear suspended in an oceanic blue, and while her hundreds of images satisfy a scientific curiosity, their aesthetic quality has served as inspiration for cyanotype artists ever since.

Cyanotype photography was popular in Victorian England, but became less popular as photography improved. By the mid-1800s few photographers continued to exploit its accessible qualities and at the Great Exhibition of 1851, despite extensive displays of photographic technology, only a single example of the cyanotype process was included. Peter Henry Emerson exemplified the British attitude that cyanotypes were unworthy of purchase or exhibition with his assertion that: "No one but a vandal would print a landscape in red, or in cyanotype."

Consequently, the process devolved to the proofing of domestic negatives by hobbyist photographers and to postcards, though another British scientist, Fellow of the Royal Astronomical Society Washington Teasdale,  delivered hundreds of lectures throughout his lifetime and was among the first to illustrate them with lantern slides, and, up to 1890, to record his experiments and specimens, used the  cyanotype, a collection of which is held at the Museum of the History of Science, Oxford.

Edwin Linley Sambourne used cyanotypes as an archive of reference images for his Punch cartoons.

France
Curators and practitioners in France embraced the process. Caricaturist, illustrator, writer and portrait photographer Bertall (born Charles Albert, vicomte d' Arnoux, comte de Limoges-Saint-Saëns) as partner of Hippolyte Bayard was commissioned in the 1860s to make cyanotype portraits from glass negatives for the Société d'Ethnographie for their publication Collection Anthropologique. While artistic in execution they also satisfy with the scientific interests of the group as each subject is photographed nude with front, back and profile views, not in the field but in his studio. The project also takes advantage of the ease of making multiples of cyanotypes for the publication Henri Le Secq's cyanotypes, which he made after he gave up photography after 1856 to continue painting and collecting art, were reprints of his famous works and made around 1870 as he was afraid of possible loss due to fading. He gave the reprints dates of the original negatives, some of which are still in good condition. They are well-represented in French collections. From the early 1850s through the 1870s Corot, with associated artists working in and near the town Barbizon adopted the hand-drawn cliché-verre, and though most were printed on salted or albumenized paper, some used the cyanotype.

United States
In the US the medium persevered into the 20th century. Eadweard Muybridge made cyanotype contact prints of his animal locomotion sequences, and Edward Curtis' ethnographic cyanotypes of native North Americans are preserved in the George Eastman House.

Pictorialism

Pictorialists, throughout Europe and other western countries, in efforts to have photography accepted as an art form, emphasised handcraft in printing, in imitation of painting and drawing, and drew on Symbolist subject matter and themes. Many of the practitioners were respected amateurs whose work was rewarded in a system of international 'salons' run by such organisations as the Camera Club of New York, and competition promoted an elevated level of technical experimentation with all of the then-current processes, such as calotypy, cyanotypy, gum printing, platinum printing, bromoil and Autochrome colour.

Clarence White's impeccable domestic and plein-air pictures are indebted in their bold composition to his contemporaries the painters Thomas Wilmer Dewing, William Merritt Chase and John White Alexander. His labor-intensive process entailed developing the negatives then making tests on cyanotype, playing with dimensions, proportions, and other variables, before making a  print in platinum, which he then meticulously and expressively retouched. Alfred Steiglitz in White's portrait of him (1907) held in Princeton University Art Museum, appears gloweringly critical in the cyanotype print preserved there.

At the turn of the century, painter-photographer Edward Steichen, then associated with Alfred Steiglitz who promoted the Photo-Secession and Pictorialism through his Camera Work (1903–1917) produced prints of Midnight Lake George now held in The Alfred Stieglitz Collection: Photographs at the Art Institute of Chicago where in 2007 scientific examination of the prints and his records concluded that cyanotype had been incorporated in their predominant gum bichromate over platinum production. Steichen argued provocatively in the first issue of Camera Work that "every photograph is a fake from start to finish, a purely impersonal, unmanipulated photograph being practically impossible."

Photo-Secessionist Franco-American Paul Burty-Havilland, involved through marriage with the Lalique company, evinces a Japonisme in his moody cyanotype portraits and nudes made between 1898–1920. Another American Pictorialist Fred Holland Day made cyanotypes of youths, nude or in sailor suits, in 1911, that are held in the Library of Congress, and French artist Charles-François Jeandel printed his erotic imagery of bound women in his painting workshop in Paris and then in Charente 1890–1900.

The more traditional American printmaker Bertha Jaques, aligned with the antimodernist views of the late Victorian Arts and Crafts movement, from 1894 produced more than a thousand cyanotype photographs of wildflowers.

Impressionism
American artist Theodore Robinson painted in Giverny 1887–1892, contemporaneous with Monet of whom he made a portrait in cyanotype, and of the haystacks that Monet famously painted. He noted that "Painting directly from nature is difficult as things do not remain the same; the camera helps to retain the picture in your mind." He often drew a grid over his cyanotypes or albumen prints to assist transferring the composition, with compositional amendments, onto canvas, though conscious  that "I must beware of the photo, get what I can of it and then go." His photographic imagery is held in the Canajoharie Library and Art Gallery and the Terra Foundation for the Arts.

Modernism
Arthur Wesley Dow's modernist approach was inlfuential on the Pictorilaists in the eloquently simple compositions of his New England environment, like Pine Tree (1895), a cyanotype, related to his interest, while studying in France, in the flat, decorative qualities of Japanese art and that of Les Nabis.

In Europe, Josef Sudek, the 'Poet of Prague' sometimes employed the cyanotype to impressionist effect during the early Modernist period.

Milan-born photographer, printmaker, painter, set designer and experimental film-maker, Luigi Veronesi, well-informed about the international debate on abstraction, was impressed with the abstract potential of the photogram. He participated in a 1934 exhibition in Paris with the international group of abstract artists 'Abstraction-Création', through which he met with Fernand Léger. He drew inspiration from Léger's Ballet Mécanique, Surrealism via the Metaphysical painting of Georgio de Chirico, and fellow photographer Giuseppe Cavalli with whom, convinced of the essential 'uselessness' of art, in 1947 he founded a group named La Bussola (The Compass). Influenced by Constructivist theories (and politically aligned with Communism), Veronesi used the cyanotype photogram after 1932 as a means of revealing metaphysical qualities in objects.

Late modern

In a 2008 essay A.D. Coleman perceived a return of the legacy Pictorialist methods being applied in art photography from 1976, a tendency represented in Francesca Woodman's late cyanotypes and in contact prints by Barbara Kasten and Bea Nettles. Weston Naef, curator of photography at the J. Paul Getty Museum in Los Angeles, in a 1998 New York Times article by critic Lyle Rexer, confirmed that "Looking back at [photography's] pioneers, today's artists see a way to restore expression to an art beguiled by technology," referring to the loss of 'intimacy' in digital imaging to account for artists' attraction to daguerreotypes, tintypes, cyanotypes, stereopticon images, albumen prints, collodion wet plates; all physical and 'hands-on' methods. Artists David McDermott and Peter McGough, who met in the East Village New York art scene of the 1980s, and until 1995 took the phenomenon to the extreme of reconstructing themselves as Victorian gentlemen, adopting the lifestyle and documenting it and their possessions using vintage cameras and materials, first inspired by their discovery of the cyanotype, and dating their contemporary works in the nineteenth century.

Contemporary

Since 2000 around 10 books, and in growing numbers, are published each year in English in which 'cyanotype' appears in the title, compared to only 95 in total from 1843–1999. Though it has been an artform since its inception, the numbers of artists now employing the cyanotype process have burgeoned, and they are not solely photographers. In the book of the 2022 British exhibition Squaring the Circles of Confusion: Neo-Pictorialism in the 21st Century eight contemporary artists: Takashi Arai, Céline Bodin, Susan Derges, David George, Joy Gregory, Tom Hunter, Ian Phillips-McLaren and Spencer Rowell employ the craft of photography for postmodern purpose, including the cyanotype.

International
Many were included in the first American international survey of the cyanotype in 2016; the Worcester Art Museum's Cyanotypes: Photography's Blue Period which displayed uses of the medium that extend well beyond the utilitarian contact-printing of negatives; Annie Lopez stitched together cyanotypes printed on tamale paper to create dresses; Brooke Williams tea-toned her cyanotypes, adjusting their color to accord with her story as a Jamaican American woman; and Hugh Scott-Douglas experimented with photograms and abstraction.

In 2018, the New York Public Library exhibited the work of nineteen contemporary artists who employ the medium. Mounted 175 years after Anna Atkin's first book of cyanotypes, British Algae, the exhibition was titled Anna Atkins Refracted: Contemporary Works.

Amongst others currently working in, or with, cyanotype are;

United States
Christian Marclay who suggests musical scores in his grids of cassette tapes or their unspooling.

Kate Cordsen applies Japanese aesthetics and non-Cartesian perspective in her mural-scale cyanotype landscapes.

Betty Hahn was early to incorporate cyanotype with other art media including hand-painting with embroidery as a feminist statement

Meghann Riepenhoff reprises Anna Atkins by exposing her prepared papers underneath the waves, so light filters through moving sand, shells, and water currents.

Canada
Canadian Erin Shirreff translates her sculptural interests into large-scale cyanotype photograms of temporary three-dimensional compositions in her studio with hours-long exposures during which component forms are moved, added or subtracted for transparent effect.

Germany
German artist Marco Breuer abrades cyanotype prints on watercolour paper in representations of the passing of time.

Iceland
Icelandic artist and filmmaker Inga Lísa Middleton employs the cyanotype for nostalgic representations of her homeland, and as a symbolic colour in imagery alerting audiences to an emerging catastrophe in the marine environment.

United Kingdom
British-born American resident Walead Beshty's Barbican Art Gallery installation of 12,000 cyanotype prints traces a visual time line from October 2013 to September 2014 in a work called A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench, produced from each object from the artists' studio being exposed on cyanotype-coated found paper, card or wood.

See also
 Blueprint
 Sepia
 Monochrome
 Film tinting
 Spirit duplicator
 Mimeograph
 Duotone

References

Further reading

External links

 Mike Ware's New Cyanotype – A new version of the cyanotype that address some of the classical cyanotype's shortcomings as a photographic process.
 Gallery of over 100 artists working in cyanotypes on AlternativePhotography.com

Photographic processes dating from the 19th century
Non-impact printing
Alternative photographic processes
History of photography


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The awkward moment Princess Eugenie couldn't fit her wedding dress inside her car
Prince Andrew just earned some major dad points here.
By Laura Capon
Princess Eugenie married Jack Brooksbank on Friday, in a beautiful ceremony that left us feeling all the emotions.
From Eugenie's hidden meaning, Peter Pilotto dress - which she chose specifically to show off her scar - to Jack's emotional response when she walked down the altar. The second royal wedding of the year did not disappoint.
They may be part of the royal family, but Friday's ceremony proved that Eugenie and her family are just like us. Her sister Princess Beatrice did an emotional reading from the Great Gatsby in front of all 850 guests and her proud dad, Prince Andrew, even through a teeny bit of shade at the comparisons to Meghan and Harry's big day.
This content is imported from {embed-name}. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
After the ceremony, Eugenie and Jack made their way to the wedding reception in a £2.4million Aston Martin, which was made especially for the James Bond film, Spectre.
Unlike Meghan, Eugenie didn't change into a second wedding dress, meaning she had to squeeze that train, into that sports care.
WPA PoolGetty Images
Luckily, Prince Andrew was on hand to do some dress wrangling...
You're going to be out of a job at this rate, Beatrice.
"Steady, steaddddy"
Although, he couldn't do it alone and Princess Beatrice stepped up to her duties as Maid of Honour.
"Umm, Dad... How am I supposed to get IN?"
"Ask Beatrice"
But sometimes, you just need the whole family to help out...
At least they're all still laughing
See, the royals really aren't that different from the rest of us... £2.4 million sports cars aside.
"Smile and wave Jack, smile and wave"
Follow Laura on Instagram.
The rude subtitle error during the royal wedding
Laura Capon Senior Fashion & Beauty Writer Laura writes about everything beauty and fashion related for Cosmopolitan UK and specialises in makeup, plus-size fashion and the world of YouTube.
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When a company changes its name or address, it is advisable to register said changes for all its trademarks, designs and patents with the IP registers in order to update the owner's identification details for all industrial property titles.
This ensures an up-to-date and uniform portfolio of IP titles, and enables the owner to initiate both administrative and judicial procedures without having to deal with problems of urgent regularisation and/or facing procedural issues.
No doubt that some may bitterly regret not to have done this straightforward registration in due time, such as this Romanian company, which has seen its opposition declared inadmissible because it had not justified in due time its change of name and was unable to prove its entitlement, even after having exhausted the appeal procedures, including before the Court of Justice (General Court, 21 Apr. 2015 Case T-580/13 confirmed by ECJ, 8 Sept. 2016, Case C‑309/15 P).
These issues may seem to be ancillary and optional, but it would be overlooking that much of the cases both before the Offices and the Courts are won (or lost) not on substantive issues, but on procedural grounds. These questions constantly give rise to procedural issues, appeals, referrals to other courts, and multiply or complicate procedures, and sometimes considerably lengthen the timeline and increase the legal costs. Besides, as jurisprudence continually evolves, such delays may affect negatively the final decision (see for example here).
Registering as soon as possible any change or act affecting the entitlement, ownership or enjoyment of industrial property rights is strongly recommended to enable an effective and proper defence of one's IP rights.
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SongShare Events, page 2
We've run out of room on the first page, so here's the most recent SongShares!
HOVER YOUR MOUSE OVER EACH
PICTURE FOR INFORMATION
Songshare 11: Rousay : Songshare 12: Eday : Songshare 13: Westray
Songshare 14: Stronsay : Songshare 15: Sanday : Songshare 16: North Ronaldsay
Songshare 17: Papa Westray, 31 October 2009
It's all over! A weekend of firsts and lasts for us all, as the final SongShare landed (literally) in Papay on Halloween. Firsts in that a few of us hadn't visited Papay and hadn't experienced the shortest scheduled flight in the world (2 minutes 53 seconds against the wind for us, which is a lot longer than the scheduled time!) and lasts as the last SongShare, the last time we'd enjoy Frank's fabulous playing, the last time we'd sing together in such a situation... sob...
Anyway..! We had the most fabulous welcome. The community really got behind this gig, and it is much appreciated - thank you folk of Papay! The three lasses were once again joined by Frank Keenan, as well as Jackie, Lal, Marcia, Mary, Lynn and Ali. Since it was Halloween, there was a lot of dressing up, room decoration and party games to be had. Before we started we had what was billed as a 'buffet', but what in reality turned into a three course meal! Yum! After we had had an opportunity to swadge a bit, we sang a few ditties, Frank did his usual fabulous bit (cds available in the shops now!), we were joined by local resident Simon who gave us a couple of his original compositions and then we had a break. This was the chance for the apple dooking and eating a cookie tied to a bit of string for the more adventurous kids in the audience - and there were a few.
The second half of the gig was a repeat of the first half, but a little longer, as well as another song written by local resident Stuart Thompson, who (almost) invited everyone in the room to join him in the bath! Thanks Stuart!
The evening was rounded off by a bit of a dance. We're hearing tales of the night going on till 1.30am, 2.30am and even 3am!!
It was another overnighter for the gang, so we had plenty of time to explore some of the delights on Papay - the Knap of Howar, Holland Farm and of course St Boniface Kirk. Seven trekked out on Sunday morning, and had a right good old sing song inside the chapel.
Thank you Papa Westray for making the last SongShare so much fun, and so memorable. We couldn't have done it without you!
A bonny view across the north isles!
Papay
The whole bunch. L-R: Aimee, Emily, Sarah Jane, Lal, Mary, Marcia, Lynn, Ali. Jackie is missing from this photo
The lasses
We were treated to a sketch! Tim with Ali
Simon, accompanied by Aimee (who had never heard his song before - how's that for professionalism!)
A very angelic Emily (well, why wouldn't she be!?) at the door of St Boniface Kirk
Singing inside the kirk
Songshare 16: North Ronaldsay Community Hall, 3 October 2009
Our trip to North Ronaldsay was a bit of a 'game of two halves', so to speak, with half the crew going out on the morning plane, and half out in the afternoon. With force 9 gales forecast for Saturday morning, the ones who went out in the afternoon were a bit less green in the face when they landed than the first lot! They didn't win in the end though, as those who went out first had plenty of time to relax and explore, not possible for the second lot!
The format was a lot different to usual, with this SongShare not so much of a song share as an actual gig. The Trio did us proud (as usual), but were joined on a few of the songs by part of the Song Shop Choir - Kirsty, Lynn, Adele, Mary, Lal, Ali and Marcia. In fact, this mini-choir did so well it received an encore, and had to go back and sing at the end of the gig due to popular demand!!
We were joined by Frank Keenan, who did a few songs off both his old and new cds (in all local shops NOW!), and with most of the choir and a good part of the audience swooning, it turned into a late evening for us all. We were pretty tired, so after a quick nightcap back at the Bird Observatory (whose hospitality, accommodation, food and friendliness is second to none), it was off to bed!
Only one more to go, and that's the first part of our project done!
What kind of dafties paddle in October?
Frank and Aimee The Lasses
An appreciative crowd - between one third/one half of the island attended!
We were joined by Robert Gibbon, who gave us a couple of accordian solos
Aimee, Sarah Jane, Kirsty, Lynn, Adele, Mary, Lal, Ali, Emily (Marcia is missing from this photo, but was part of it too!)
Songshare 15: Sanday Community Hall, 19 September 2009
Nearly a lie-in with the ferry leaving at 7.40am for this, our last SongShare in the current format. We have only two left to go, both of which will be evening gigs. We were very pleasantly surprised by the enthusiasm and interest shown in Sanday, with over 50 people joining us to share in some Orkney song - our best turnout yet! Thank you Sanday for a fabulous day! We had three folk from the audience sharing songs with us, and we were once again joined by Alex Leonard.
A very busy day, and a most enjoyable one!
A packed hall - over 50 folk in the end! Josie gets in on the act!
Some of the workshop singers
Kirsty models the Folk Against Fascism t-shirt (only £15, available from Aimee via us) - click the photo or here to be taken to the website
Songshare 14: Stronsay Community Hall, 5 September 2009
We're getting good at these early starts! 7am ferry this time, and a lot of bleary eyed folk boarded the ferry for our second last ferry jaunt, this time to Stronsay. The weather the few days preceding hadn't been great so we were expecting a rough crossing, but for once (thankfully) the forecast was wrong and we had a lovely crossing.
We'd arranged to get in the hall as soon as we arrived so were set up early before getting the opportunity to go off and do some investigation. This meant the two carloads went in different directions, but one of the places visited was Rothiesholm (pronounced Rous-um) beach for a spot of paddling!
Sarah Jane wasn't able to make the trip this time so Vice Chair, Lynn Campbell, filled the breach, singing along with Aimee and Emily. We were joined by 9 of the absolutely fabulous Stronsay Silver Darlings (see them on YouTube by clicking here - would recommend you rush out and buy their cd immediately), and Brian Cromarty once again accompanying the singers on guitar as well as treating us all to some of his own work.
Kirsty enjoys a paddle on Ann was our tea lady!
Rothiesholm beach!
Brian Cromarty
Some of the fabulous Stronsay Silver Darlings!
Aimee and Emily were joined by Lynn Campbell this week
The Workshop song was "Leaving Stronsay", written by Hector Sinclair, tune by John Miller. John's brother was there to hear his brother's composition
Songshare 13: Westray Community Hall, 29 August 2009
Another horrifically early start for us all, and on a day when gales were forecast! Luckily most of us got to flop the whole journey, but poor Aimee had to keep an eye on her boys in both directions so had to be alert! Although we had a similar problem to arriving in Eday - long before our start time - we had an additional stop off, this time at the Kalisgarth Care Home. What a wonderful venue, and what a great welcome we got from the staff and residents. Singing traditional Orkney songs to folk in the care homes across the county is part of what this project is all about. See more about it on the ...and there's more page.
Aimee, Emily and Sarah Jane were joined by three choir members in some of the songs, which was great fun and followed by a very welcome cuppa and a biscuit.
Thankfully the hall door had been opened early for us, so we'd managed to pretty much set up the equipment and information before we left for Kalisgarth, so it was off for a spot of lunch. We split up as Aimee's boys wanted soup from the Haaf Yok, and the other half went to the Pierowall for world famous fish and chips (yum).
A return to the hall for a quick sound check and were ready for folk to come. They were a thirsty lot, and miscalculations on the amount of water to put in the hot water urn meant they were kept waiting for their cuppa - sorry! Once we had that important duty out of the road it was time for the concert. Unfortunately there was no accompaniement with us this SongShare, but we more than made up for it with a lot of songs getting an airing. Both Sarah Jane and Aimee sang solos, and we were treated to a song sung by Maggie Drever from Trenabie.
Thank you Westray, it was really fabulous - great folk, a great welcome and you even arranged for the sun to come out when we were done!
The appreciative SongShare audience.
the lasses in full flow - Aimee, Sarah Jane, Emily
Maggie Drever
The workshop singers started off being fairly spaced out across the hall
...but were soon drawn in and had a good old singsong!
Songshare 12: Eday Heritage Centre, Eday, 11 July 2009
Wow, what an early start for us all! The 7am ferry from Kirkwall meant there were a few blearly eyed songsters on board for this, our twelfth SongShare, this time in Eday. A slighly overcast, but pleasant enough, day meant we all thoroughly enjoyed our trip to our most distant island to date. A flat calm sea crossing meant that we were all raring to go once we hit the island. The SongShare itself wasn't to be until 2pm, but we managed to amuse ourselves on the island in the meantime, with visits to Vinquoy Chambered Tomb and the Setter Stone, amongst others.
The SongShare was held in the Eday Heritage Centre, the recently refurbished old Kirk. The centre itself has some wonderful exhibits, with Aimee's boys particularly enjoying the boat in the middle of the exhibition floor!
Our thanks to all those who attended the SongShare, for what we all agreed was possibly the nicest song we've taught at a SongShare yet. You can hear the Eday Song from our mp3 page. Our thanks also to Alex, who accompanied us on the guitar.
We were later joined by Eoin Robertson with his accordian and had quite a few tunes! Fantastic stuff, and something we all thoroughly enjoyed. We even managed to share the tune of the Eday Song with him, as the lasses sang it to him while he played! Job well done!
Songshare 11: Pier Restaurant, Rousay, 28th June 2009
Our eleventh outing already! Rousay this time, and we are absolutely indebted to The Pier Restaurant (immediately opposite the ferry) for their kind use of their premises. In fact, we more or less took the place over most of the day! It was glorious sunshine, which had almost the entire crew out enjoying the sun - in fact it was too hot!
We were treated to having Alex Leonard with us once again as well as Bruce Mainland, who gave us three tunes. Kathryn Marwick joined in the first part of the SongShare, but we had a bit of an impromptu session afterwards, when the keyboard, accordian, penny whistle and bodhran all got an airing!
The workshop song was a bit ... different. It was also sung outside, so listen for the chaldros peeping! Check the mp3 page to hear it. It's called The Rousay Lullaby.
It was a glorious day! Thank you Rousay!


Today I am the exact age my dad was when he died in a freak ski accident. Back then, I was 16: self-centred, emotional, athletic, and focused. He was 43 and nine days: broody, generous, heavy-handed, and hot-tempered. Sometimes we collided. Often I hid.
I have waited most of my life for this moment: to stand in my father's ski boots.
He remains the biggest mystery of my life thus far; a murky, shadow figure. As a grieving teen, prone to cast only villains and heroes, he lived a short time on my sparkling, crystal pedestal. And he would've stayed there longer, were it not for a phone call -- an "I'm grieving, too, please forgive me" missive to my mother from his other woman. Other painful memories resurfaced then: bloody, jagged shards of broken glass I've tried in vain, over the years, to puzzle back together.
"Who was my father? How did he think? How could he do that?" are questions which have rattled in my brain and affected, inadvertently, the course of my life. My personality? Opposite to Dad. Career pursuits and spouse selection? Opposite to Dad. Child-rearing Philosophy? Pin that thought.
If I could spend anywhere today, it would be on his mountain, the one he loved, ideally all covered in snow-topped trees and moguls. I've taught my children to ski and they adore it too. This spring, they zoomed past the entry to Dad's final ski run, their heads full of positive stories of him relayed by me on the chairlift. I felt it was ironic that they appeared closer to this man than I had ever been. Until today.
Today I recognize that no parents are perfect. We all make mistakes. We all feel anger. But we drop our hands and go yank weeds. Or hastily scrub dishes. Or testily sort recyclables. Or boot that soccer ball over the goal posts into someone's yard. I hear my father's regret from the grave and I can forgive him now because I fully believe that no parent intends to intentionally hurt their child. I know this because my father's father told me what he would say to his son, were he still alive. And the apology rolled in tears down his face to dissolve a generational cycle of flying fists.
At 43 and nine days, I know that parents burn out and all marriages need both overhauls and regular tune-ups. With three kids still in elementary school (my parents had five), my parenting marathon isn't even one-third over; I'm running without a route marker in sight (and I'm sure all talk of a "finish line" is myth or legend).
But because of my father's death, I've discovered that life is not a race but a brief, precarious, icy slope, often without any indicators of hazards or an end to the course. I juxtapose these two metaphors in my head and try to live somewhere in between the marathon and the double black diamond run.
Some days I am discouraged, anemic, or mentally exhausted and just want to pull the covers over my head. I'm sure my children wonder at times, "Who is my mother? How does she think? How could she do that?" So I make my bed again and resolve to show them -- not just with words -- that they are in my heart's centre; that I am doggedly determined to act on their behalf for good.
Recently, my youngest confided to me, "You used to be more fun!" I laughed in response, delighted that he felt safe enough with me to be honest. I could rarely do this with my dad; mostly because as a child experiencing stress and distress, I would lose my words. My son's feedback helps me raise my game, in this case, at the amusement park and into a more intentional season of light-hearted time spent with him. It's what he says he needs. To be honest, I could use that now, too.
Today, at 43 and nine days, I have enough experience of death and loss to ascertain that the waves of grief never fully diminish but there is a variation of time between sets. There has been healing at different stages over the years; different aspects of coming to terms with Dad's life, death, and loss. And so today, I can finally accept that, having reached my father's age at death, I will never know my Dad. At least, not as I would desire: as two adults would, shoulder-to-shoulder engaged in an honest conversation loaded with apologies and resolution. But God-willing, I aspire to give this to my children. Someday they will fully know me.
Today, I change my perspective as I step past this epic milestone. Today, I resolve to remember more of Dad's laugh, his best intentions, his generosity, in short, the green side of his volcano-sized personality. I tell myself that if I wake up tomorrow, I will have survived my father... at least by a day. And to make that day count.


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Home » Prince Discography » Books » Prince In Hawaii: An Intimate Portrait of an Artist
Slave To The Rhythm
Books Prince Biography Discography
Prince In Hawaii: An Intimate Portrait of an Artist
Afshin Shahidi
Prince In Hawaii: An Intimate Portrait of an Artist is an official 142-page full-color photo book documenting the performances of Prince and the New Power Generation in Hawaii as part of their World Tour of 2003. The images are taken by Prince's long-term photographer Afshin Shahidi who also shot the covers for Planet Earth, Musicology, 3121 and One Nite Alone… Live! The hardcover version was available in the Hawaii Gift Set which contained also an exclusive CD of the track Controversy recording during Prince's Hawaiian stint on the islands between 16 and 19 December 2003.
NPG Music Club
Related Release
Controversy [Live In Hawaii]
NPG Records
CD (6:06)
Recorded during the World Tour on 16/19 December 2003. Released also as an MP3 from the NPG Music Club.
Prince Albums | Prince Singles | Posthumous Releases | NPG Albums | Related Artists | Hit Singles | Downloads | Standalone Singles | Compilation Albums | Reissues | Movies & Videos | Books


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So the only option is to delete Microsoft Edge user data files in order to get previous tabs "forgotten" since I can't do it from the browser.

redpajama_set_name: RedPajamaStackExchange


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Chen Gong (; mort el 7 de febrer del 199 EC) va ser un assessor del senyor de la guerra Lü Bu durant el període de la tardana Dinastia Han Oriental de la història xinesa. Això no obstant, ell va començar la seva carrera sota un altre senyor de la guerra, Cao Cao, abans de fer defecció cap a Lü Bu. Va acabar sent executat juntament amb Lü Bu quan aquest últim va ser derrotat per Cao Cao a la Batalla de Xiapi.

En la novel·la històrica del segle XIV el Romanç dels Tres Regnes, de Luo Guanzhong, se li dona un canvi d'imatge positiva a Chen Gong. Es diu que ell ostentava un càrrec menor de magistrat, i que posteriorment renuncia a la feina per seguir a Cao Cao; que estava fugat després d'un intent d'assassinat sobre Dong Zhuo, un cabdill tirànic que mantenia l'emperador com a ostatge en la cort imperial. Malgrat tot, al presenciar com Cao Cao mata a Lü Boshe (el germà de sang del pare del propi Cao), se separa d'ell i s'uneix a Lü Bu.

Biografia
Chen era originari del Comtat Wuyang (), Comandància Dong, que estava situat en la frontera de les actuals províncies de Henan i Shandong. la data de naixement de Chen Gong no està clara. Ell s'uní a Cao Cao al voltant del 190, en el moment que els senyors de la guerra de tot el país havien format una coalició contra Dong Zhuo, un poderós senyor de la guerra que tenia retingut l'emperador com a ostatge. La seva contribució més significativa mentre va estar servint a Cao Cao va ser la presa de la província de Yan (兖州, en l'actualitat el Shandong occidental) el 193 gràcies a esforços diplomàtics, aquest va ser un moviment estratègic que establí les bases per a la posterior pujada de Cao Cao al poder.

L'any següent, no obstant, mentre Cao Cao era fora dirigint una campanya contra Tao Qian en la província de Xu (徐州, avui en dia el nord de Jiangsu), Chen Gong va fer defecció cap al senyor de la guerra rival Lü Bu juntament amb el seu col·lega Zhang Miao. Amb l'ajuda dels dos homes, Lü Bu ràpidament fer-se amb la majoria de la província de Yan. Cao Cao tornà precipitadament i va posar setge sobre Lü Bu que era a Puyang (). Després de més de cent dies en un punt mort, la fam de les tropes va forçar Lü Bu a renunciar a la seva posició privilegiada i a buscar recer sota Liu Bei en Xiapi (下邳; en l'actualitat Pizhou, Jiangsu), capital de la província de Xu.

El 196, Lü Bu es va girar en contra dels seus amfitrions a Xiapi, proclamant-se governador de la província de Xu i enviant Liu Bei al comtat proper de Xiaopei (). Segons els Registres dels Herois (英雄記) de Wang Can, Chen Gong en connivència amb Hao Meng, un oficial militar sota Lü Bu, va efectuar un colp d'estat fallit eixe mateix any. Lü Bu, a pesar de tot, va deixar estar l'assumpte; ja que valorava el servei de Chen Gong.

El 198 Lü Bu va llançar una ofensiva contra Liu Bei, ja que aquest havia buscat l'ajuda de Cao Cao. Aquest era un dels plans de Cao Cao per a aconseguir la seva anhelada província de Xu. Ell va plantar dos espies al campament de Lü Bu perquè sembraren la discòrdia entre Lü Bu, Liu Bei, i Chen Gong. Aquest espies es van acabar convertint en assessors de Lü Bu i li van dir que atacara a Liu Bei (tot això anava en contra dels consells de Chen Gong). Cao Cao personalment va dirigir l'atac de les seves forces sobre Xiapi. Quan el seu exèrcit va arribar a Pengcheng (彭城; en l'actualitat Xuzhou, Jiangsu), que estava situat a l'est de Xiapi, Chen Gong va aconsellar a Lü Bu que portara la iniciativa perquè el pla de Cao no estava clar. Lü escoltant només els consells de la seva dona, va decidir no fer res. Després que els primers intents de trencar el setge van fracassar, Lü Bu va començar a tenir la intenció de rendir-se, però va ser dissuadit per Chen Gong.

El setge es va perllongar durant dos mesos fins que Cao Cao va ordenar les seves tropes de cavar fosses per a desviar el curs dels rius Si i Yi (), cosa que faria que Xiapi s'inundara. El 7 de febrer de 199, els súbdits de Lü Bu Hou Cheng, Song Xian () i Wei Xu () van capturar a Chen Gong i van fer defecció juntament amb les seves tropes. Lü Bu va fer un últim intent de resistir davant la portalada de la ciutat, però es va veure aclaparat i va ser capturat. Quan va ser portat davant Cao Cao, Chen Gong es va negar a tornar a servir-lo i va triar la mort perquè la llei poguera ser complida; Cao Cao mantenia com a regla general que aquells que es rendien després d'haver sigut comminats a rendir-se durant un setge, no serien perdonats. Cao Cao es va sentir commogut i va mantenir la família de Chen Gong des d'aleshores.

Els caps de Lü Bu, Chen Gong, Gao Shun i uns altres seguidors de Lü Bu van ser enviats a Xuchang.

En la ficció
El Romanç dels Tres Regnes, una novel·la clàssica de Luo Guanzhong, és una idealització dels fets ocorreguts abans i durant l'era dels Tres Regnes. En aquesta versió dramatitzada de la història Chen Gong va ser acreditat amb excessiva rectitud moral i astúcia, potser per a accentuar la falta d'escrúpols de Cao Cao i la incompetència de Lü Bu.

Vegeu també
 Llista de persones dels Tres Regnes

Referències

Oficials administratius sota Cao Cao
Lü Bu i associats
Persones de Henan

redpajama_set_name: RedPajamaWikipedia


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The 25 Best '90s Movies on Netflix
By Paste Staff | April 11, 2017 | 11:41am
Movies Lists Netflix
Netflix has just six of our Best Movies of the 1990s, and only one of those (Schindler's List, #2) makes our top 20. Which is a shame because the '90s were a glorious decade for movies, as indie filmmakers like Steven Soderbergh and Richard Linklater began finding audiences with films that were as unforgettable as they were personal. The West was also introduced to works from Krzysztof Kieslowski and others in the now-open Eastern Europe, along with the Hong Kong action cinema of Jackie Chan and Jet Li. On the other end of the spectrum, CGI advancements wowed audiences seeing the dinosaurs of Jurassic Park or playthings come to life in Toy Story.
That said, we found 25 good movies from the '90s available on Netflix streaming right now. They range from rom-coms, blockbusters and classic Disney to documentaries and early films from Linklater, Christopher Nolan and Gus Van Sant.
Here are the 25 Best '90s Movies on Netflix:
25. 10 Things I Hate About You
Director: Gil Junger
Inspired by William Shakespeare's The Taming of the Shrew, the 1999 teen comedy places Katherina and Perturchio into modern times as feminist Kat and bad boy Patrick, the breakout roles for Julia Stiles and Heath Ledger. Patrick is initially paid to charm Kat as a part of an elaborate scheme by Cameron (Joseph Gordon-Levitt) to take out her younger sister, Bianca. Ledger wins Kat and the majority of the female population over during his marching band-accompanied stadium performance of Frankie Valli's "Can't Take My Eyes Off You." Though Kat is angered when finding out about the deal that formed her relationship, the so-called shrew couldn't stay mad for too long after receiving a sincere apology and brand new guitar from her Australian beau. With the perfect amount of '90s nonsense, the film ends with Letter to Cleo performing Cheap Trick's "I Want You to Want Me" atop the roof of Padua High School. —Stephanie Sharp
24. The Prince of Egypt
Directors: Brenda Chapman, Steve Hickner, Simon Wells
The scene where Moses parts the seas in this animated musical is a truly epic moment. An adaptation of the Book of Exodus, the biblical DreamWorks release follows Moses in his climatic quest to free the slaves from Egypt—all of which can be summed up by the line "Let my people go!" The score was composed by Hans Zimmer, who collaborated with Stephen Schwartz on "When You Believe," which won Best Original Song at the 1999 Academy Awards. Disclaimer: Kids might argue plot lines are factual history at a later date. —Alexa Carrasco
23. The Newton Boys
Director: Richard Linklater
Between 1919 and 1924, the Newton Gang—a family owned and run operation based in Uvalde, Texas—robbed over 80 banks and six trains, sparing bloodshed in their outlaw ventures. The sibling quartet—Willis, Wylie, Jess and Joe—cut their legend from the same cloth as Jesse James and Butch Cassidy, sharing more in common with the latter by virtue of their humanitarian ideals; theft is one thing, but killing people is another entirely. Maybe that's what drew Richard Linklater to the four brothers and their exploits when he cobbled together his 1998 heist flick, The Newton Boys. Today the film feels like an anomaly in his body of work, a straight-up genre exercise that sticks out like a sore thumb against the vast majority of his catalog. But sixteen years have passed since the film's release, and a steady glance into the rearview reveals a movie that only Linklater could have made. The Newton Boys is a portrait of youthful angst and unrest, couching Willis' motivations to live a life of crime in his own societal frustrations. If it's an overlooked, lesser entry in his filmography, it's also just as important to defining him as a narrator as his best received and most widely hailed offerings.—Andy Crump
Directors: Chris Buck, Kevin Lima
With music from Phil Collins (mercifully, Tarzan doesn't do the singing) and a cast that includes Minnie Driver, Glenn Close and Tony Goldwyn as the titular Lord of the Jungle, Disney's Tarzan does justice to the Edgar Rice Burroughs source material with its expected anthropomorphic twist. Rosie O'Donnell plays his gorilla buddy and Wayne Knight (best known as Jerry Seinfeld nemesis Newman) provides comic relief as a meek elephant. The plot is tight, the action is well-paced, and the movie is an easy pick to please kids of all ages. If there's a superlative to be handed out, it's for the animation team, who walked the fine line of making the gorillas seem both true to nature and relatable to humans. —Josh Jackson
21. Bob Roberts
Director: Tim Robbins
The political bite to Tim Robbins's directorial debut wasn't a surprise given his history of political activism. Based on a short he made for Saturday Night Live in 1986, the mockumentary focuses on a conservative politician and folk-singer who cynically uses every dirty trick in the Lee Atwater book to win a Senatorial campaign in Pennsylvania. If you think dishonesty and partisanship in the political media is a recent phenomenon, let this film from 1992 prove otherwise in fairly hilarious fashion.—Garrett Martin
20. Brother's Keeper
Directors: Joe Berlinger, Bruce Sinofsky
There's an alleged crime at the center of Brother's Keeper: whether or not Delbert Ward, a 59-year-old farmer from Munnsville, New York, is guilty of murdering his older brother William. But that's not really what Brother's Keeper is about. Filmmakers Joe Berlinger and Bruce Sinofsky instead focus on the wide fissure between urban and rural American cultures in the late-1980s and early-1990s, examining the way the three remaining Ward brothers, essentially outcasts in their community prior to William's death, are increasingly embraced by Munnsville as the media descends upon the town to report on Delbert's trial. The mystery here is not about whether or not William was murdered; the mystery is what lies at the heart of community bonds and national identity, and how allegiances change as communities grow larger. —Mark Abraham
19. Grosse Pointe Blank
Director: George Armitage
A slick combo of dark comedy, romance and '80s nostalgia, Grosse Pointe Blank is almost a partner to star John Cusack's later film, High Fidelity. Both are about lonely men rethinking their direction in life set to a great soundtrack, but only in Grosse Pointe Blank does John Cusack play a hitman who murders Dan Aykroyd with a television. All that violence, and it still managed to capture the sweetness of returning home, and reconnecting with the one that got away/the one you left on prom night. —Garrett Martin and Shannon Houston
Director: Robert Zemeckis
Contact seems almost calculated as the sort of cerebral sci-fi to appeal to critics rather than multiplex audiences, who could be frustrated with its philosophical, open-ended conclusion about "first contact" that questions whether any of what Jodie Foster's character experienced really happened at all. Still, Contact is a beautiful film about the struggle between the tangible and the ephemeral, between faith, intellect and ambition. Ellie (Foster) is innately sympathetic, a woman with a selfless streak who nonetheless on some level seeks a very personal validation in being chosen as humanity's representative to meet an alien race. The film challenges us to consider the depth of our inconsequential standing in the universe, and how different aspects of humanity, both beautiful and hideous, would present themselves after the revelation of a "higher power." Add to this an impressive cast that includes Foster, John Hurt, James Woods, William Fichtner, Rob Lowe, Tom Skerritt, David Morse and Matthew McConaughey (years before the current McConaissance), and you can overlook the presence of Jake Busey in one of the best examples of "hard sci-fi" in the 1990s. —Jim Vorel
17. The Commitments
One of the more dramatic movies on this list, The Commitments might've single-handedly created the working classic Irish musician genre. It's hard to watch Sing Street or Once (whose star, Glen Hansard, also appears in The Commitments) without thinking back to this movie about a blue-eyed soul band in Dublin and their struggles to stay together despite community indifference and regular in-fighting. It's one of the more dramatic films on this list, but there's also tremendous humor here, and an uncommon degree of warmth and humanity.—Garrett Martin
16. Little Dieter Needs to Fly
Director: Werner Herzog
The story of former fighter pilot Dieter Dengler, told in his own words, is one that, while pretty unbelievable, best illustrates the mastery manipulation of the man helping tell it. Werner Herzog makes no apologies for the way he so often bends truth to more snugly serve the grandeur he finds in the subjects he chooses for his documentaries—but he's never been interested in unadulterated truth anyway. Instead, he's in the documentary game for the exultation of truth, conveying it in such a way as to focus on the overpowering emotions at its core. And so, in Little Dieter Needs to Fly, Herzog takes Dengler back to Southeast Asia, where, in the early days of the Vietnam War, he was shot down and taken prisoner, tortured and starved—but then, somewhere within him, found the will to escape. Dengler leads us step by step through this harrowing experience, accompanied by locals who Herzog hired to help Dengler "reenact" the events, and in a sense help him remember. That Herzog later went on to make a narrative feature based on Dengler's story isn't at all surprising—Rescue Dawn, starring Christian Bale in the lead role, walks a fine line between harsh reality and patriotic melodrama. Because, as Herzog told Paste more than eight years ago: "Rescue Dawn is not a war movie. It's a film about the test and trial of men … And survival." It doesn't necessarily matter how Dengler escaped, but that he was able to at all. Whatever you want to call it, it was that titular "need" that propelled him onward—and that's the truth Herzog wants to discover. —Dom Sinacola
15. Sliding Doors
Director: Peter Howitt
An inventive charmer from England, Sliding Doors grafts the rom-com treatment onto the philosophical notion of the "butterfly effect," which asserts that the smallest incidents can have a profound impact on one's life. In the case of the film, this defining moment is a young woman's s attempt to catch a train. From here, her life splinters into two parallel realities—one in which she catches the train and discovers her boyfriend's infidelity and one in which she misses her ride and remains oblivious to his indiscretions. While much of the film's energy goes into servicing this complex gimmick, it's the sharp writing and charming performances from the likes of Gwyneth Paltrow, John Hannah and John Lynch that keeps this from merely feeling like a needless exercise in story structure. —Mark Rozeman
14. Paris is Burning
Director: Jennie Livingston
Madonna's "voguing" phase has nothing on—that is, took everything from—the drag scene of 1980s New York City chronicled in this vibrant doc. Delving into the subculture of fierce, catwalk-styled posing and the clubs in which it thrived, Jennie Livingston depicts the less-than-glamorous realities of life as a drag queen before RuPaul was mainstream: issues of gender and sexual identity, race, bigotry and hate, HIV/AIDS, poverty, crime—theft is a commonplace means by which these would-be "Legends&#8221 seek a desired end: transformation. Named after one of the underground balls in which its subjects find a sense of family—in "houses," no less—Paris is Burning is a joyous affair, and a curiously meta celebration of what it means "to be real." —Amanda Schurr
13. What About Bob
Director: Frank Oz
Despite a great co-directorial debut with 1990's Quick Change and memorable cameos in movies like Little Shops of Horrors, Bill Murray's career took a critical dive after 1984's Ghostbusters. He didn't even take a major role between 1984 and 1988. So when What About Bob? came out in 1991, critics had long been talking about the Murray slump, and there was legitimate reason to think his career was fading away. What About Bob? is no Groundhog Day (which, sadly, is no longer on Netflix), but Murray's fantastic as the phobia-riddled patient of a pompous psychiatrist played by Richard Dreyfuss. (Dreyfuss is maybe too believable as an arrogant blowhard who barely tolerates his family.) It's a classic Murray role but also an atypical one: Bob isn't a sarcastic know-it-all, but a human puppy dog unaware of the drama and turmoil that follows in his wake.—Garrett Martin
12. The Blair Witch Project
Directors: Eduardo Sánchez, Daniel Myrick
Where Scream reinvented a genre by pulling the shades back to reveal the inner workings of horror, The Blair Witch Project went the opposite route by crafting a new style of presentation and especially promotion. Sure, people had already been doing found footage, just look at The Last Broadcast a year earlier. But this was the first to get a wide, theatrical release, and distributor Artisan Entertainment masterfully capitalized on the lack of information available on the film to execute a mysterious online advertising campaign in the blossoming days of the Internet age. Otherwise reasonable human beings seriously went into The Blair Witch Project believing that what they were seeing might be real, and the grainy, home movie aesthetic capture an innate terror of reality and "real people" that had not been seen in the horror genre before. It was also proof positive that a well-executed micro-budget indie film could become a massive box office success. So in that sense, The Blair Witch Project reinvented two different genres at the same time. —Jim Vorel
Director: Chris Noonan
Not since Wilber has a pig captured the hearts of moviegoers. But this Australian production with a screenplay co-written by Mad Max's George Miller and director Chris Noonan actually made for a better movie than either of the adaptions of E.B. White's Charlotte's Web. Babe was nominated for seven Academy Awards, including Best Picture, and took home the prize for Best Visual Effects thanks to the lifelike anthropomorphized farm animals who rally around the titular hero. The underrated sequel, Babe: Pig in the City, is also available on Netflix. —Josh Jackson
10. Jurassic Park
Director: Steven Spielberg
Jurassic Park, in 1993, was an achievement in major league filmmaking. Like Star Wars before it, it was a quantum leap in visual effects—both physical and CGI, in this case. Most important, however, were those CGI advancements. Jurassic Park, for better or worse, probably represents the first moment in AAA Hollywood filmmaking where an audience could look at CGI-driven creatures, nod their heads, and simply accept them as part of the story—call it the moment where CGI graduated to the modern era. Married with one of the greatest pure adventure movies in Spielberg's celebrated canon, Jurassic Park was representative of the spectacle we've come to expect in the traditional "blockbuster." That loose term, since the days of Jaws, has always referred to a breed of films that are supposed to succeed by wowing us and making jaws drop. Jurassic Park did that in a way that infinitely raised expectations for every effects-driven blockbuster thereafter.—Jim Vorel
9. Following
Director: Christopher Nolan
Before Memento, before Inception, Christopher Nolan made his feature-length debut with this tight little mindscrew. An aspiring young novelist shadows and studies strangers, rather innocently, for inspiration until he gets sucked in by a charismatic man in a suit who turns out to be a petty thief. Wise to his being followed, the burglar takes his would-be stalker along his crime route, until bad things—and a hot blonde—happen. Nolan, who also penned the screenplay, shows his knack for non-linear narratives early on; he establishes the key players before doubling back through the story. The constraints of a no-budget production—the film was made for just 6 thousand bucks and shot in black and white on 16mm—work in its favor. Nolan's first neo-noir is voyeuristic, suspenseful and, at a shade over an hour long, efficient as hell. Like its subjects, Following gets in and out before anyone knows quite what hit them. —Amanda Schurr
Director: John Madden
Another film whose reputation has suffered somewhat since its initial reception, largely in this case as a result of an ill-considered Oscar and Gweneth Paltrow's ill-considered management of her public spersona since then. No one is more annoyed with latter-day Goop than me, but even I can admit that Shakespeare in Love gets a bad rap. It's delightful, especially for those with any experience in the theater whatsoever (the theater world itself is the romantic interest of the film, every bit as much as Gweneth's Viola de Lesseps). And, it's now safe to say out loud – Ben Affleck is fantastically charming in this film. If you haven't seen it in awhile, you'll be surprised at how much more you like it than you remembered. —Michael Dunaway
7. The Nightmare Before Christmas
On simply a shot-by-shot basis, The Nightmare Before Christmas ranks as one of the most visually splendid films ever made. Jack Skellington, the Pumpkin King of Halloweentown, becomes obsessed with Christmas and decides to hijack the holiday. Often presented under the title Tim Burton's The Nightmare Before Christmas, the film echoes many of the hit director's pet themes, with Jack being one of Burton's many brooding artistic protagonists. The film's actual director was Henry Selick, who oversees an ingenious design and a cast of endearing monsters. The film doesn't quite have the narrative fuel and graceful song lyrics to match Disney's best animated musicals, but every year the film looks better and better. —Curt Holman
6. Barton Fink
Director: Joel Coen
While hung up with the intricate plotting of Miller's Crossing, the Coen Brothers took a break to write a script about a blocked screenwriter (Jon Turturro). Reminiscent of Stanley Kubrick and David Lynch at their most darkly satiric, Barton Fink depicts a self-important New York playwright who struggles to write a Hollywood wrestling picture while residing in a rotting hotel. A jaundiced metaphor for the compromised creative process of show business, Barton Fink delivers the deadpan comedy and quirky performances of the Coen's trademark, including Oscar nominee Michael Lerner as a bombastic studio chief, John Mahoney as a boozing, Faulkner-esque novelist, and John Goodman as a cheerful salesman with a dark secret. Audiences can obsess over the meaning of lines like Goodman's "I'll show you the life of the mind!" but any answers the film holds are unlikely to be reassuring. —Curt Holman
5. Braveheart
Director: Mel Gibson
Like any number of other artists, we should be able to separate the creator from the creation. Sure, what we might now know or think about Mel Gibson as a person might not be very nice but, wow, do few films say "epic" quite like this one? Sprawling, bloody, beautifully realized and rich with meaning, this film is everything we hope for from this type of film. —David J. Greenberg
4. The Iron Giant
Brad Bird's feature debut was traditional 2-D animation when computer animation was the craze, released by studio folk who didn't realize just how special a film they had on their hands. Luckily, The Iron Giant received its due recognition on home video. Set in the 1950s and drawing off the nuclear fears of the time, it incorporates the hallmark of the era's science-fiction—a giant metal robot—into a touching coming-of-age story. Bird effortlessly moves between riotous comedy (such as young Hogarth's efforts to hide his enormous new robot friend from his mother), high-spun action and poignant moments of fear and friendship. —Jeremy Mathews
3. Good Will Hunting
Director: Gus Van Sant
The story of a genius janitor capable of solving the world's most difficult mathematical problems, Will is both exasperating and loveable as the Boston boy reluctant to live up to his true potential. Robbin Williams takes the oft-clichéd mentor paradigm and turns it into a wholly original character as Damon's therapist Sean. But what's special about this film is the way Gus Van Sant captures the existential angst and, ultimately, the frustrated striving of a brilliant boy form the wrong side of the tracks. Matt Damon and Ben Afleck star in their own breakthrough roles as best friends closer than even blood brothers. Though the movie touches on heart-wrenching topics like childhood abuse and heartbreak, the sarcastic humor and witty banter are just as memorable. Effortlessly charming and never overwrought. —Amy Libby
2. Glengarry Glen Ross
Director: James Foley
Surely somewhere on the Internet there's a catalog of all the potboiler plays that have been turned into lifeless movies; wherein the minimal settings came off as flat rather than intimate or claustrophobic, and the surgically written prose came off as stilted rather than impassioned. Glengarry Glen Ross is the exception and the justification for all noble stage-to-screen attempts since. This adaptation of David Mamet's Pulitzer Prize winning play about workingman's inhumanity to workingman still crackles today, and its best lines (and there are many) have become ingrained in the angrier sections of our collective zeitgeist. James Foley directs the playwright's signature cadence better than the man himself, and the all-star cast give performances they've each only hoped to match since. Mamet, for his part, managed to elevate his already stellar material with his screenplay, adding the film's most iconic scene, the oft-quoted Blake speech brilliantly delivered by Alec Baldwin. This is a film worthy of a cup of coffee and, as we know, coffee is for closers only.—Bennett Webber
1. Schindler's List
It'd be hard to find a more inspiring, moving story to tell than that of Oskar Schindler. And before seeing this film, I assumed that Steven Spielberg was exactly the wrong person to tell it. But all thanks be to the movie gods that I wasn't a studio head in the '90s, because Spielberg produced what was simply one of the most ambitious, wise, and moving motion pictures of our lifetime. The acting is superb—a career-making role for big lumbering Liam Neeson, so carefree and cocky at the beginning, so and concerned and determined in the middle, and so noble and humble at the end of the film. Ralph Fiennes and Ben Kingsley are perfect in supporting roles. A host of unknowns give everything in their one moment on the screen. John Williams's haunting score and Janusz Kaminski's breathtaking black-and-white cinematography sparkle. But the script—oh, Steven Zaillian's majestic script is the biggest star. He manages to take a Holocaust tale and turn it into a story of triumph, the story of how much one man can do, and the regret we'll each someday have that we didn't do much, much more. Oskar's "I could have gotten more out" speech is almost too much to bear. —Michael Dunaway
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James "Jimmy" Elder (* 5. März 1928 in Scone; † September 2022) war ein schottischer Fußballspieler.

Karriere
Elder kam 1944 von den Scone City Boys' aus dem Juvenile Football in den Junior Football zu den Jeanfield Swifts. Auch bei den Swifts ragte Elder als Halbstürmer heraus und im August 1945 reiste Jack Tinn, Trainer des englischen Erstligisten FC Portsmouth, zu einer Partie zwecks Spielerbeobachtung an. Bereits im Mai war Elders Mannschaftskamerad Ian Drummond zu Portsmouth gewechselt und im September folgte auch Elder an die südenglische Küste. Ausschlaggebend für den Wechsel zu Portsmouth soll auch der Umstand gewesen sein, dass zu Portsmouth-Kapitän Jimmy Guthrie, der auch mit Jimmy Elders Vater in Schottland gespielt hatte, familiäre Beziehungen bestanden. 17-jährig kam er erstmals für Portsmouths Reserveteam zum Einsatz, sein im März 1946 beginnender Militärdienst sorgte aber für eine Unterbrechung. Elder war in Yeovil stationiert und assistierte dort mit Erlaubnis von Portsmouth dem "lokalen Team" Yeovil Town, bei dem er in der Saison 1946/47 überwiegend für das Reserveteam in der Western League (mind. 5 Saisontore) spielte, hatte aber auch einen Pflichtspielauftritt für die erste Mannschaft.

In der Saison 1948/49 gewann Portsmouth erstmals in der Vereinsgeschichte die englische Meisterschaft, Elder kam dabei nicht zum Einsatz, spielte aber nach Saisonende im Mai 1949 anstelle von Jimmy Scoular während einer Tournee in Schweden und Dänemark mindestens in einer Partie und zeigte dabei eine "sehr zufriedenstellende Leistung". Zu seinem Pflichtspieldebüt kam Elder in der Erstligasaison 1949/50, im Heimspiel Ende November 1949 gegen den AFC Sunderland (Endstand 2:2) bildete er als Ersatz von Scoular mit Bill Spence und Jimmy Dickinson die Läuferreihe. In der Abwehr kam mit Jimmy Stephen ein weiterer Schotte zu seinem einzigen Saisonauftritt, die beiden spielten später bei Yeovil erneut zusammen. Die Mannschaft verteidigte am Saisonende erfolgreich den Meistertitel, da der Auftritt zugleich Elders einziger Einsatz blieb, reichte es aber nicht für den Erhalt einer Meisterschaftsmedaille.

Im Juni 1950 wechselte er für eine Ablöse von 1000 £ zu Colchester United, der Klub war kurz zuvor in die Football League Third Division South aufgenommen worden. Elder war die erste Verpflichtung von Trainer Jimmy Allen nach der Aufnahme in die Football League. Bei Colchester gehörte Elder als linker Läufer an der Seite von Harry Bearryman und Reg Stewart beim ersten Football-League-Spiel der Vereinsgeschichte zum Aufgebot (0:0 gegen den FC Gillingham), mit dem Duo bildete er für die folgenden vier Spielzeiten zumeist die Läuferreihe. Elder wurde als Spieler mit "Betty-Grable-Beinen" beschrieben und war mit dem Ruf ausgestattet, keinen Elfmeter zu verschießen. Während seiner fünfjährigen Zugehörigkeit verschlechterten sich die Leistungen des Teams zunehmend. Nach zwei Platzierungen im Tabellenmittelfeld belegte man in der Saison 1952/53 den drittletzten Platz, 1953/54 wurde man Vorletzter und 1954/55 schließlich Tabellenletzter, sowohl 1954 als auch 1955 musste sich der Klub zur Wiederwahl um den Ligaverbleib stellen. In seiner letzten Saison kam er sporadischer zum Einsatz und wurde vermehrt als Verteidiger eingesetzt, bereits im Oktober 1954 ließ er sich auf die Transferliste setzen. Der neue Trainer Benny Fenton entschied sich in der Sommerpause 1955 zu einem Kaderumbruch, unter den zahlreichen Abgängen befand sich auch Elder. Neben 199 Ligaspielen hatte er 13 Partien im FA Cup bestritten, 13 seiner 15 Pflichtspieltore resultierten aus Strafstößen.

Von seinem früheren Portsmouth-Mitspieler Ike Clarke wurde er im Sommer 1955 in die Southern League zum amtierenden Meister Yeovil Town geholt, im dortigen Aufgebot fanden sich mit Brian Edwards, Micky Reid und Jimmy Stephen drei weitere frühere Portsmouth-Spieler. Während in der Liga nach einem dritten Platz in der Saison 1955/56 in den folgenden beiden Spielzeiten nur noch Platzierungen in der unteren Tabellenhälfte gelangen, erreichte man im FA Cup drei Mal in Folge die Hauptrunde. Im FA Cup 1957/58 stieß man bis in die dritte Runde vor, in der man dem Zweitligisten FC Fulham im Craven Cottage mit 0:4 unterlag. Auch bei Yeovil wurde Elder als Verteidiger aufgestellt und hatte einen Ruf als "Elfmeterkönig"; in drei Spielzeiten kam er zu insgesamt 143 Pflichtspieleinsätzen und 24 Toren.

Elder musste seine Laufbahn wegen Arthritis beenden, seinen Lebensunterhalt verdiente er im Anschluss zunächst als Gefängniswärter in Dover, später war er nahe Olney in einer Jugendstrafanstalt tätig. 2019 wurde er als letzter lebender Spieler von Portsmouths Meistermannschaft anlässlich des 70-jährigen Jubiläums zu einem Festessen eingeladen, sein Gesundheitszustand ließ eine Teilnahme aber nicht zu.

Einzelnachweise

Fußballspieler (FC Portsmouth)
Fußballspieler (Yeovil Town)
Fußballspieler (Colchester United)
Schotte
Brite
Geboren 1928
Gestorben 2022
Mann