On June 26, 1953, Cooper accompanied his wife and daughter, who were devout Catholics, to Rome, where they had an audience with Pope Pius XII. Cooper and his wife were still separated at the time, but the papal visit marked the beginning of their gradual reconciliation. In the following years, Cooper contemplated his mortality and his personal behavior, and started discussing Catholicism with his family. He began attending Mass with them regularly, and met with their parish priest, who offered Cooper spiritual guidance. After several months of study, Cooper was baptized as a Catholic on April 9, 1959, before a small group of family and friends at the Church of the Good Shepherd in Beverly Hills.

Gary Cooper


Final years and death

Gary Cooper


Cooper was diagnosed with prostate cancer in 1960. On April 14, 1960, Cooper underwent surgery at Massachusetts General Hospital in Boston as the cancer metastasized to his colon. He fell ill again on May 13 and underwent further surgery at Cedars of Lebanon Hospital in Los Angeles in early June to remove a malignant tumor from his large intestine. After recuperating over the summer, Cooper took his family on vacation to the south of France before traveling to the UK in the fall to star in The Naked Edge. In December 1960, he worked on the NBC television documentary The Real West, which was part of the company's Project 20 series.

Gary Cooper


On December 27, his wife learned from their family doctor that Cooper's cancer had metastasized to his lungs and bones and was inoperable. His family decided not to tell him immediately.

Gary Cooper


On January 9, 1961, Cooper attended a dinner given in his honor and hosted by Frank Sinatra and Dean Martin at the Friars Club. The dinner was attended by many of his industry friends and concluded with a brief speech by Cooper, who said, "The only achievement I'm proud of is the friends I've made in this community."

Gary Cooper


In mid-January, Cooper took his family to Sun Valley for their last vacation together. Cooper and Ernest Hemingway hiked through the snow together for the last time. On February 27, after returning to Los Angeles, Cooper learned that he was dying. He later told his family, "We'll pray for a miracle; but if not, and that's God's will, that's all right, too." On April 17, Cooper watched the Academy Awards ceremony on television and saw his good friend James Stewart, who had presented Cooper with his first Oscar 19 years earlier, accept on Cooper's behalf an honorary award for lifetime achievement – his third Oscar. Holding back tears, Stewart said, "Coop, I'll get this to you right away. And Coop, I want you to know this, that with this goes all the warm friendship and the affection and the admiration and the deep, the deep respect of all of us. We're very, very proud of you, Coop. All of us are tremendously proud." The following day, newspapers around the world announced that Cooper was dying. In the coming days, he received numerous messages of appreciation and encouragement, including telegrams from Pope John XXIII and Queen Elizabeth II, and a telephone call from President John F. Kennedy.

Gary Cooper


In his last public statement on May 4, 1961, Cooper said, "I know that what is happening is God's will. I am not afraid of the future." He received the last rites on Friday, May 12, and died quietly the next day.

Gary Cooper


A requiem was held on May 18 at the Church of the Good Shepherd, attended by many of Cooper's friends, including Fred Astaire, Jack Benny, Marlene Dietrich, John Ford, Henry Hathaway, Audrey Hepburn, Bob Hope, Dean Martin, Joel McCrea, Walter Pidgeon, Edward G. Robinson, Randolph Scott,  Frank Sinatra, James Stewart, Jack L. Warner, and John Wayne. Cooper was buried in the Grotto of Our Lady of Lourdes in Holy Cross Cemetery in Culver City, California. In May 1974, after his family relocated to New York, Cooper's remains were exhumed and reburied in Sacred Hearts Cemetery in Southampton. His grave is marked next to a three-ton boulder from a Montauk quarry.

Gary Cooper


Acting style and reputation

Gary Cooper


Naturalness is hard [for me] to talk about, but I guess it boils down to this: you find out what people expect of your type of character and then you give them what they want. That way, an actor never seems unnatural or affected, no matter what role he plays.

Gary Cooper


Cooper's acting style consisted of three essential characteristics - his ability to project elements of his own personality onto the characters he portrayed, to appear natural and authentic in his roles, and to underplay and deliver restrained performances calibrated for the camera and the screen. Acting teacher Lee Strasberg once observed: "The simplest examples of Stanislavsky's ideas are actors such as Gary Cooper, John Wayne, and Spencer Tracy. They try not to act, but to be themselves, to respond or react. They refuse to say or do anything they feel not to be consonant with their own characters." Film director François Truffaut ranked Cooper among "the greatest actors" because of his ability to deliver great performances "without direction". This ability to project elements of his own personality onto his characters produced a continuity across his performances to the extent that critics and audiences were convinced he was simply "playing himself".

Gary Cooper


Cooper's ability to project his personality onto his characters played an important part in his appearing natural and authentic on screen. Actor John Barrymore said of Cooper, "This fellow is the world's greatest actor. He does without effort what the rest of us spend our lives trying to learn – namely, to be natural." Charles Laughton, who played opposite Cooper in Devil and the Deep agreed, "In truth, that boy hasn't the least idea how well he acts ... He gets at it from the inside, from his own clear way of looking at life." William Wyler, who directed Cooper in two films, called him a "superb actor, a master of movie acting".

Gary Cooper


In his review of Cooper's performance in The Real Glory, Graham Greene wrote, "Sometimes his lean photogenic face seems to leave everything to the lens, but there is no question here of his not acting. Watch him inoculate the girl against cholera – the casual jab of the needle, and the dressing slapped on while he talks, as though a thousand arms had taught him where to stab and he doesn't have to think anymore."

Gary Cooper


Cooper's style of underplaying before the camera surprised many of his directors and fellow actors. Even in his earliest feature films, he recognized the camera's ability to pick up slight gestures and facial movements. Commenting on Cooper's performance in Sergeant York, director Howard Hawks observed, "He worked very hard and yet he didn't seem to be working. He was a strange actor because you'd look at him during a scene and you'd think ... this isn't going to be any good. But when you saw the rushes in the projection room the next day you could read in his face all the things he'd been thinking." Sam Wood, who directed Cooper in four films, had similar observations about Cooper's performance in Pride of the Yankees, noting, "What I thought was underplaying turned out to be just the right approach. On the screen he's perfect, yet on the set you'd swear it's the worst job of acting in the history of motion pictures."

Gary Cooper


Fellow actors admired his abilities as an actor. Commenting on her two films playing opposite Cooper, actress Ingrid Bergman concluded, "The personality of this man was so enormous, so overpowering – and that expression in his eyes and his face, it was so delicate and so underplayed. You just didn't notice it until you saw it on the screen. I thought he was marvelous; the most underplaying and the most natural actor I ever worked with."

Gary Cooper


Tom Hanks declared, "In only one scene in the first film to win the Academy Award for Best Picture, we see the future of screen acting in the form of Gary Cooper. He is quiet and natural, somehow different from the other cast members. He does something mysterious with his eyes and shoulders that is much more like 'being' than 'acting'."

Gary Cooper


Daniel Day-Lewis said, "I don't particularly like westerns as a genre, but I do love certain westerns. High Noon means a lot to me – I love the purity and the honesty, I love Gary Cooper in that film, the idea of the last man standing."

Gary Cooper


Chris Pratt stated, "I started watching Westerns when I was shooting in London about four or five years ago. I really fell in love with Gary Cooper, and his stuff. That sucked me into the Westerns. Before, I never got engrossed in the story. I'd just dip in, and there were guys on horses in black and white. High Noon's later Gary Cooper, I liked that. But I liked The Westerner. That's my favorite one. I have that poster hung up in my house because I really like that one."

Gary Cooper


To Al Pacino, "Gary Cooper was a phenomenon – his ability to take some thing and elevate it, give it such dignity. One of the great presences."

Gary Cooper


Mylène Demongeot first met Gary Cooper at the opening of the first escalator to be installed in a cinema, at the Rex Theatre in Paris, on June 7, 1957. She declared in a 2015 filmed interview: "Gary Cooper ... il est sublime ! Aaahhh (Mylène pushing a cry of love not to say ecstasy) il est sublime ... Ah ! Ah ! Ah ! Là je dois dire que ça fait partie des stars, y'a Gary Cooper, Cary Grant, John Wayne, ces grands Américains que j'ai rencontrés comme ça, c'est vraiment des mecs incroyables. Y'en a plus des comme ça ! Euh non. (Gary Cooper was sublime, there I have to say, now he, was part of the stars, Gary Cooper, Cary Grant, John Wayne, those great

Gary Cooper


Americans who I've met really were unbelievable guys, there aren't any like them anymore)."

Gary Cooper


Career assessment and legacy

Gary Cooper


Cooper's career spanned thirty-six years, from 1925 to 1961. During that time he appeared in eighty-four feature films in a leading role. He was a major movie star from the end of the silent film era to the end of the golden age of Classical Hollywood. His natural and authentic acting style appealed powerfully to both men and women, and his range of performances included roles in most major movie genres, including Westerns, war films, adventure films, drama films, crime films, romance films, comedy films, and romantic comedy films. He appeared on the Motion Picture Herald exhibitor's poll of top ten film personalities for twenty-three consecutive years, from 1936 to 1958. According to Quigley's annual poll, Cooper was one of the top money-making stars for eighteen years, appearing in the top ten in 1936–37, 1941–49, and 1951–57. He topped the list in 1953. In Quigley's list of all-time money-making stars, Cooper is listed fourth, after John Wayne, Clint Eastwood, and Tom Cruise. At the time of his death, it was estimated that his films grossed well over $200 million (equivalent to $2.15 billion in 2025).

Gary Cooper


In more than half his feature films, Cooper portrayed Westerners, soldiers, pilots, sailors, and explorers, all men of action. In the rest, he played a wide range of characters, included doctors, professors, artists, architects, clerks, and baseball players. Cooper's heroic screen image changed with each period of his career. In his early films, he played the young naive hero sure of his moral position and trusting in the triumph of simple virtues (The Virginian). After becoming a major star, his Western screen persona was replaced by a more cautious hero in adventure films and dramas (A Farewell to Arms). During the height of his career, from 1936 to 1943, he played a new type of hero: a champion of the common man willing to sacrifice himself for others (Mr. Deeds, Meet John Doe, and For Whom the Bell Tolls).

Gary Cooper


In the postwar years, Cooper attempted broader variations on his screen image, which now reflected a hero increasingly at odds with the world, who must face adversity alone (The Fountainhead and High Noon). In his final films, Cooper's hero rejects the violence of the past, and seeks to reclaim lost honor and find redemption (Friendly Persuasion and Man of the West). The screen persona he developed and sustained throughout his career represented the ideal American hero – a tall, handsome, and sincere man of steadfast integrity who emphasized action over intellect, and combined the heroic qualities of the romantic lover, the adventurer, and the common man.

Gary Cooper


On February 6, 1960, Cooper was awarded a star on the Hollywood Walk of Fame at 6243 Hollywood Boulevard for his contribution to the film industry. He was also awarded a star on the sidewalk outside the Ellen Theater in Bozeman, Montana.

Gary Cooper


On May 6, 1961, Cooper was awarded the French Order of Arts and Letters in recognition of his significant contribution to the arts. On July 30, 1961, he was posthumously awarded the David di Donatello Special Award in Italy for his career achievements.

Gary Cooper


In 1966, Cooper was inducted into the Hall of Great Western Performers at the National Cowboy & Western Heritage Museum in Oklahoma City. In 2015, he was inducted into the Utah Cowboy and Western Heritage Hall of Fame. The American Film Institute (AFI) ranked Cooper 11th on its list of the 25 male stars of classic Hollywood. Three of his characters – Will Kane, Lou Gehrig, and Sergeant York – made AFI's list of the 100 greatest heroes and villains, all of them as heroes. His Lou Gehrig line, "Today, I consider myself the luckiest man on the face of the earth.", is ranked by AFI as the 38th greatest movie quote of all time.

Gary Cooper


More than half a century after his death, Cooper's enduring legacy, according to biographer Jeffrey Meyers, is his image of the ideal American hero preserved in his film performances. Charlton Heston once observed, "He projected the kind of man Americans would like to be, probably more than any actor that's ever lived."

Gary Cooper


In the 1930s hit song "Puttin' On the Ritz", Cooper is referred to in the line "dress up like a million-dollar trooper/Tryin' hard to look like Gary Cooper, Super duper!" More than two decades after Cooper's death, a new version of the song was released in 1983 by Taco; the original lyrics were kept, including the references to Cooper.

Gary Cooper


Gary Cooper is referenced several times in the critically acclaimed television series The Sopranos, with protagonist Tony Soprano asking, "Whatever happened to Gary Cooper? The strong, silent type..." whilst complaining about his problems to his therapist Dr. Melfi.

Gary Cooper


Patricia Neal named the Abbey of Regina Laudis' outdoor theater building The Gary-The Olivia in honor of Cooper and her daughter Olivia Dahl.

Gary Cooper


A San Antonio, Texas, subdivision has several streets named after Hollywood stars, including a Gary Cooper Drive.

Gary Cooper


Awards and nominations

Gary Cooper


The following is a list of feature films in which Cooper appeared in a leading role.

Gary Cooper


Gary Cooper at the TCM Movie Database

Gary Cooper


Isabel Oneto (born 1959) is a Portuguese politician. As a member of the Portuguese Socialist Party (PS), she has been a deputy in the Portuguese Assembly of the Republic from 2009 to 2015 and from 2019 to the present, representing Porto. Between 2017 and 2019 she served as Assistant Secretary of State and Internal Administration.

Isabel Oneto


Early life and education

Isabel Oneto


Maria Isabel Solnado Porto Oneto was born in the Portuguese capital of Lisbon on 14 September 1959. Her father was an opponent of the authoritarian Estado Novo government who was arrested by the regime. The family name of Oneto comes from a carpenter from Genoa in Italy who accompanied Maria Pia of Savoy when she went to Portugal to marry King Luís I of Portugal. Isabel Oneto is a cousin to the late Raul Solnado, a well-known Portuguese actor. Oneto graduated in law from the Moderna University (Universidade Moderna) and obtained a master's in criminal law from the Faculty of Law at the University of Coimbra.

Isabel Oneto


Between 1979 and 2000, Oneto was an assistant professor of law at the Universidade Lusófona in Porto. She also worked as a journalist for ANOP (Agência Noticiosa Portuguesa), now known as the Lusa News Agency (Lusa – Agência de Notícias de Portugal, SA).

Isabel Oneto


Oneto served as councillor at Porto City Council from 2001 to 2005, becoming the civil governor of Porto District in 2005, a position she held until 2009. In 2009, as a member of the Socialist Party (PS), she was elected as a deputy in the National Assembly for the Porto constituency, serving until 2015. In October 2017, Oneto was appointed as Assistant Secretary of State and Internal Administration, a position she held for two years. Returning to the parliament in 2020, she was re-elected in the 2022 election as the fourth person on the PS list for the Porto District. The Socialist Party won 19 seats in the constituency and an overall majority in the Assembly.

Isabel Oneto


During her time in the Assembly, Oneto has been a member of the Committee on Constitutional Affairs, Rights, Freedoms and Guarantees and the Committee on European Affairs.

Isabel Oneto


Interview with Oneto (in Portuguese)

Isabel Oneto


Aurélien Duval (born 29 June 1988) is a French former professional cyclist. He ended his career during the 2013 season, after failing to find a team.

Aurélien Duval


1st Stage 1 Liège–La Gleize (TTT)

Aurélien Duval


2nd Road race, National Junior Road Championships

Aurélien Duval


4th Road race, National Under-23 Road Championships

Aurélien Duval


2nd Flèche Ardennaise

Aurélien Duval


3rd Grand Prix des Marbriers

Aurélien Duval


7th Overall Giro delle Regioni

Aurélien Duval


Aurélien Duval at Cycling Archives

Aurélien Duval


Aurélien Duval at ProCyclingStats

Aurélien Duval


Aurélien Duval at Cycling Quotient

Aurélien Duval


Aurélien Duval at InterSportStats

Aurélien Duval


Colin Fyfe Miller (born 4 October 1964) is a Canadian professional soccer coach who captained the Canadian national team several times while earning 61 caps (scoring 5 goals) in total.

Colin Miller (soccer, born 1964)


Moving to Vancouver at the age of 10, Miller began his professional playing career as a 17-year-old, joining the Toronto Blizzard of the NASL in 1982. After playing 23 games over three seasons with the Blizzard, Miller joined Scottish giants Rangers, where he spent the 1984–85 and 1985–86 seasons, appearing in four first-team games.

Colin Miller (soccer, born 1964)


Miller played in 61 games and scored three goals for Football League side Doncaster Rovers in 1986–87 and 1987–88, for Scottish Football League club Hamilton Academical 199 times over six seasons (1989–94), St Johnstone in 12 games in 1994, Heart of Midlothian 16 games in 1994–95, Dunfermline 62 times over three seasons (1995–98), Ayr United six times in 1998, and eight times as a player-coach of Academical in 1998–99. Miller also played two summer seasons for the Hamilton Steelers in the Canadian Soccer League, playing 27 times in 1988 and 11 times in 1990.

Colin Miller (soccer, born 1964)


International career

Colin Miller (soccer, born 1964)


Miller made his national team debut against Scotland on 19 June 1983 and was a squad member for Canada's first World Cup finals appearance in 1986 although he did not play. He has represented Canada in 26 FIFA World Cup qualification matches. His final international was a November 1997 World Cup qualification match against Costa Rica, a game in which seven other national team veterans finished their international career.

Colin Miller (soccer, born 1964)


In the early 2000s, he was named Canada's assistant coach. In 2003–2004, he served as temporary coach. Miller was a youth soccer coach with the Abbotsford Soccer Association in the Fraser Valley in British Columbia, specifically the Abbotsford Rangers USL Premier Development League side, until 2007.

Colin Miller (soccer, born 1964)


On 3 July 2007, it was announced that Colin Miller was hired as assistant first-team coach of Derby County, an English club playing the 2007–08 season in the Premier League.

Colin Miller (soccer, born 1964)


On 2 April 2008, Miller was introduced as the coach and Director of Soccer Operations for the Victoria Highlanders FC of the USL Premier Development League.

Colin Miller (soccer, born 1964)


On 25 March 2010, with the resignation of German coach Thomas Niendorf, Miller was named as the new coach of the Vancouver Whitecaps Residency. Miller served as assistant coach of Vancouver Whitecaps FC during the club's 2011 inaugural season in Major League Soccer. Vancouver released Miller from his coaching contract on 26 October 2011, due to the newly appointed head coach Martin Rennie's desire to bring in his own staff.

Colin Miller (soccer, born 1964)


On 27 November 2012, FC Edmonton announced Colin Miller as its new head coach.

Colin Miller (soccer, born 1964)


In January 2013, Miller was confirmed interim head coach of Canada for a second time following the departure of Stephen Hart. On 14 March 2013, it was announced that Tony Fonseca, technical director for the Canadian Soccer Association, as coach of the Canadian national team for the friendly matches in March 2013, although Miller returned as interim head coach for a match in Edmonton on 28 May. The CSA announced in mid-June that Miller would continue as interim head coach for Canada during the 2013 CONCACAF Gold Cup.

Colin Miller (soccer, born 1964)


On 4 December 2017, FC Edmonton parted ways with Miller after five seasons following the dissolution of the North American Soccer League.

Colin Miller (soccer, born 1964)


Colin Miller is married to his high school sweet heart Maria Miller.

Colin Miller (soccer, born 1964)


Scores and results list Canada's goal tally first, score column indicates score after each Miller goal.

Colin Miller (soccer, born 1964)


Managerial statistics

Colin Miller (soccer, born 1964)


North American Nations Cup: 1990

Colin Miller (soccer, born 1964)


Colin Miller at Canada Soccer / Canada Soccer Hall of Fame

Colin Miller (soccer, born 1964)


Shoah is a 1985 French documentary film about the Holocaust (known as "Shoah" in Hebrew since the 1940s), directed by Claude Lanzmann. Over nine hours long and eleven years in the making, the film presents Lanzmann's interviews with survivors, witnesses and perpetrators during visits to German Holocaust sites across Poland, including extermination camps.

Shoah (film)


Released in Paris in April 1985, Shoah won critical acclaim and several prominent awards, including the New York Film Critics Circle Award for Best Non-Fiction Film and the BAFTA Award for Best Documentary. Simone de Beauvoir hailed it as a "sheer masterpiece", while documentarian Marcel Ophüls (who would go on to win the Academy Award for Best Documentary Feature for Hotel Terminus: The Life and Times of Klaus Barbie three years later) called it "the greatest documentary about contemporary history ever made". Conversely, it was not well received in Poland, wherein the government argued that it accused Poland of "complicity in Nazi genocide".

Shoah (film)


Shoah premiered in New York at the Cinema Studio in October 1985 and was broadcast in the United States by PBS over four nights in 1987.

Shoah (film)


The film is concerned chiefly with three topics: the Chełmno extermination camp, where mobile gas vans were first used by Germans to exterminate Jews; the death camps of Treblinka and Auschwitz-Birkenau; and the Warsaw ghetto, with testimonies from survivors, witnesses and perpetrators.

Shoah (film)


The sections on Treblinka include testimony from Abraham Bomba, who survived as a barber; Richard Glazar, an inmate; and Franz Suchomel, an SS officer. Bomba breaks down while describing how he came across the wife and sister of a barber friend of his while cutting hair in the gas chamber. This section includes Henryk Gawkowski, who drove transport trains while intoxicated with vodka. Gawkowski's photograph appears on the poster used for the film's marketing campaign.

Shoah (film)


Testimonies on Auschwitz are provided by Rudolf Vrba, who escaped from the camp before the end of the war; and Filip Müller, who worked in an incinerator burning the bodies from the gassings. Müller recounts what prisoners said to him and describes the experience of personally going into the gas chamber: bodies were piled up by the doors "like stones". He breaks down as he recalls the prisoners starting to sing while being forced into the gas chamber. Accounts include some from local villagers, who witnessed trains heading daily to the camp and returning empty; they quickly guessed the fate of those on board.

Shoah (film)


Lanzmann also interviews bystanders. He asks whether they knew what was going on in the death camps. Their answers reveal that they did, but they justified their inaction by their fear of death. Two survivors of Chełmno are interviewed: Simon Srebnik, who was forced to sing military songs to entertain the Nazis; and Mordechaï Podchlebnik. Lanzmann also has a secretly filmed interview with Franz Schalling, a German security guard, who describes the workings of Chełmno. Walter Stier, a former Nazi bureaucrat, describes the workings of the railways. Stier insists he was simply managing railroad traffic and was not aware that he was transporting Jews directly to their deaths, though he admits to being aware that the destinations were concentration camps.

Shoah (film)


The Warsaw ghetto is described by Jan Karski, a member of the Polish Underground who worked for the Polish government-in-exile, and Franz Grassler, a Nazi administrator in Warsaw who liaised with Jewish leaders. A Christian, Karski sneaked into the Warsaw ghetto and travelled using false documents to England to try to convince the Allied governments to intervene more strongly on behalf of the Jews.

Shoah (film)


Memories from Jewish survivors of the Warsaw Ghetto uprising conclude the documentary. Lanzmann also interviews Holocaust historian Raul Hilberg, who discusses the significance of Nazi propaganda against the European Jews and the Nazi development of the Final Solution and a detailed analysis of railroad documents showing the transport routes to the death camps. The complete text of the film was published in 1985.

Shoah (film)


Corporal Franz Suchomel, interviewed by Lanzmann in Germany on 27 April 1976, was an SS officer who had worked at Treblinka. Suchomel agreed to be interviewed for 500 Deutschmarks, but refused to be filmed, so Lanzmann used hidden recording equipment while assuring Suchomel that he would not use his name.

Shoah (film)


Suchomel talks in detail about the camp's gas chambers and the disposal of bodies. He states that he did not know about the extermination at Treblinka until he arrived there. On his first day, he says he vomited and cried after encountering trenches full of corpses, 6–7 m deep, with the earth around them moving in waves because of the gases seeping from the decomposing bodies. The smell of the bodies carried for kilometres depending on the wind, he said, but local people were scared to act in case they were sent to the work camp, Treblinka I.

Shoah (film)


He explained that from arrival at Treblinka to death in the gas chambers took 2–3 hours for a trainload of people. They would undress, the women would have their hair cut, then they would wait naked outside, including during the winter in minus 10–20 °C, until there was room in the gas chamber. Suchomel told Lanzmann that he would ask the hairdressers to slow down so that the women would not have to wait so long outside.

Shoah (film)


Compared to the size and complexity of Auschwitz, Suchomel calls Treblinka "primitive. But a well-functioning assembly line of death."

Shoah (film)


The publicity poster for the film features Henryk Gawkowski, a Polish railway worker from Malkinia, who, in 1942–1943 when he was 20–21 years old, worked on the trains to Treblinka as an "assistant machinist with the right to drive the locomotive". Conducted in Poland in July 1978, the interview with Gawkowski is shown 48 minutes into the film, and is the first to present events from the victims' perspective. Lanzmann hired a steam locomotive similar to the one Gawkowski worked on and shows the tracks and a sign for Treblinka.

Shoah (film)


Gawkowski told Lanzmann that every train had a Polish driver and assistant, accompanied by German officers. What happened was not his fault, he said; had he refused to do the job, he would have been sent to a work camp. He would have killed Hitler himself had he been able to, he told Lanzmann. Lanzmann estimated that 18,000 Jews were taken to Treblinka by the trains Gawkowski worked on. Gawkowski said he had driven Polish Jews there in cargo trains in 1942, and Jews from France, Greece, Holland and Yugoslavia in passenger trains in 1943. A train carrying Jews was called a Sonderzug (special train); the "cargo" was given false papers to disguise that humans were being hauled. The Germans gave the train workers vodka as a bonus when they drove a Sonderzug; Gawkowski drank liberally to make the job bearable.

Shoah (film)


Gawkowski drove trains to the Treblinka train station and from the station into the camp itself. He said the smell of burning was unbearable as the train approached the camp. The railcars would be driven into the camp by the locomotive in three stages; as he drove one convoy into Treblinka, he would signal to the ones that were waiting by making a slashing movement across his throat. The gesture would cause chaos in those convoys, he said; passengers would try to jump out or throw their children out. Dominick LaCapra wrote that the expression on Gawkowski's face when he demonstrated the gesture for Lanzmann seemed "somewhat diabolical". Lanzmann grew to like Gawkowski over the course of the interviews, writing in 1990: "He was different from the others. I have sympathy for him because he carries a truly open wound that does not heal."

Shoah (film)


Lanzmann was initially commissioned by Israeli officials to make what they thought would be a two-hour film, delivered in 18 months, about the Holocaust from "the viewpoint of the Jews". As time went on, Israeli officials withdrew as his original backers, but Lanzmann persevered, eventually taking eleven years to complete Shoah. The film was plagued by financial problems, difficulties tracking down interviewees, and threats to Lanzmann's life. The film was unusual in that it did not include any historical or archival footage, relying instead on interviews with witnesses and footage of the locations of the extermination camps.

Shoah (film)


Many German interviewees were reluctant to talk or refused to be filmed, so Lanzmann used a hidden camera, producing a grainy, black-and-white appearance. The interviewees in these scenes are sometimes obscured or distinguished by technicians watching the recording. During one interview, with Heinz Schubert, the covert recording was discovered by Schubert's family, and Lanzmann was physically attacked. He was hospitalized for a month and charged by the authorities with "unauthorized use of the German airwaves".

Shoah (film)


Lanzmann arranged many of the scenes, but not the testimony, before filming witnesses. For example, Bomba was interviewed while cutting his friend's hair in a working barbershop; a steam locomotive was hired to recreate the journey the death train conductor had taken while transporting Jews; and the opening scene shows Srebnik singing in a rowboat, similarly to how he had "serenaded his captors".

Shoah (film)


The first six years of production were devoted to the recording of interviews in 14 countries. Lanzmann worked on the interviews for four years before first visiting Poland. After the shooting, editing of the 350 hours of raw footage continued for five years. Lanzmann frequently replaced the camera shot of the interviewee with modern footage from the site of the relevant death camp. The matching of testimony to places became a "crucial trope of the film". Shoah was made without voice-over translations. The questions and answers were kept on the soundtrack, along with the voices of the interpreters, with subtitles where necessary.

Shoah (film)


The outtakes from Shoah were purchased by the United States Holocaust Memorial Museum in Washington D.C. on October 11, 1996. Museum staff have been engaged in conserving and digitizing 185 hours of interview outtakes and 35 hours of location filming. Transcripts of the interviews, in original languages and English translations, are held by the United States Holocaust Memorial Museum. Videos of excerpts from the interviews are available for viewing online, and linked transcripts can be downloaded from the museum's website.

Shoah (film)


Five feature-length films were subsequently made by Lanzmann from the Shoah material.

Shoah (film)


The film received numerous nominations and awards at film festivals around the world. Prominent awards included the New York Film Critics Circle Award for Best Non-Fiction Film in 1985, a special citation at the 1985 Los Angeles Film Critics Association Awards, and the BAFTA Award for Best Documentary in 1986. That year it also won the National Society of Film Critics Award for Best Non-Fiction Film and Best Documentary at the International Documentary Association.

Shoah (film)


Hailed as a masterpiece by many critics, Shoah was described in The New York Times as "an epic film about the greatest evil of modern times". According to Richard Brody, François Mitterrand attended the first screening in Paris in April 1985 when he was president of France, Václav Havel watched it in prison, and Mikhail Gorbachev arranged public screenings in the Soviet Union in 1989.

Shoah (film)


In 1985, critic Roger Ebert described it as "an extraordinary film" and "one of the noblest films ever made". He wrote: "It is not a documentary, not journalism, not propaganda, not political. It is an act of witness." Rotten Tomatoes shows a 100% score, based on 37 reviews, with an average rating of 9.2/10. The website's critical consensus states: "Expansive in its beauty as well as its mind-numbing horror, Shoah is a towering – and utterly singular – achievement in cinema." Metacritic reports a 99 out of 100 rating, based on four critics, indicating "universal acclaim". As of July 2019, it is the site's 20th highest-rated film, including re-releases.

Shoah (film)


Time Out and The Guardian listed Shoah as the best documentary of all time in 2016 and 2013 respectively. In a 2014 British Film Institute (BFI) Sight and Sound poll, film critics voted it second of the best documentary films of all time. In 2012 it ranked 29th and 48th respectively in the BFI's critics' and directors' polls of the greatest films of all time. The same polls in 2022 placed it 27th among critics and 72nd among directors.

Shoah (film)


The film had detractors, however, and it was criticized in Poland. Mieczyslaw Biskupski wrote that Lanzmann's "purpose in making the film was revealed by his comments that he 'fears' Poland and that the death camps could not have been constructed in France because the 'French peasantry would not have tolerated them'". Government-run newspapers and state television criticized the film, as did numerous commentators; Jerzy Turowicz, editor of the Catholic weekly Tygodnik Powszechny, called it partial and tendentious. The Socio-Cultural Association of Jews in Poland (Towarzystwo Społeczno-Kulturalne Żydów w Polsce) called it a provocation and delivered a protest letter to the French embassy in Warsaw. Foreign Minister Władysław Bartoszewski, an Auschwitz survivor and an honorary citizen of Israel, criticized Lanzmann for ignoring the thousands of Polish rescuers of Jews, focusing instead on impoverished rural Poles, allegedly selected to conform with his preconceived notions.

Shoah (film)


Gustaw Herling-Grudziński, a Jewish-Polish writer and dissident, was puzzled by Lanzmann's omission of anybody in Poland with advanced knowledge of the Holocaust. In his book Dziennik pisany nocą, Herling-Grudziński wrote that the thematic construction of Shoah allowed Lanzmann to exercise a reduction method so extreme that the plight of the non-Jewish Poles must remain a mystery to the viewer. Grudziński asked a rhetorical question in his book: "Did the Poles live in peace, quietly plowing farmers' fields with their backs turned on the long fuming chimneys of death-camp crematoria? Or, were they exterminated along with the Jews as subhuman?" According to Grudziński, Lanzmann leaves this question unanswered, but the historical evidence shows that Poles also suffered widespread massacres at the hands of the Nazis.

Shoah (film)


The American film critic Pauline Kael, whose parents were Jewish immigrants to the U.S. from Poland, called the film "a form of self-punishment", describing it in The New Yorker in 1985 as "logy and exhausting right from the start ..." "Lanzmann did all the questioning himself," she wrote, "while putting pressure on people in a discursive manner, which gave the film a deadening weight." Writing in The New Yorker in 2010, Richard Brody suggested that Kael's "misunderstandings of Shoah are so grotesque as to seem willful."

Shoah (film)


Memory of the World status

Shoah (film)


In 2023, UNESCO added the restored 35mm negative of Shoah, along with 200 hours of interviews recorded on audio cassette, to the Memory of the World international register, recognising it as globally important heritage.

Shoah (film)


In 2000, the film was released on VHS, and in 2010 on DVD. Lanzmann's 350 hours of raw footage, along with the transcripts, are available on the website of the United States Holocaust Memorial Museum. The entire 566-minute film was digitally restored and remastered by The Criterion Collection over 2012–13 in 2K resolution, from the original 16 mm negatives. The monaural audio track was remastered without compression. A Blu-ray edition in three disks was then produced from these new masters, including three additional films by Lanzmann.

Shoah (film)


Lanzmann released four feature-length films based on unused material shot for Shoah. The first three are included as bonus features in the Criterion Collection DVD and Blu-ray release of the film. All four are included in the Masters of Cinema Blu-ray release of the film.

Shoah (film)


A Visitor from the Living (1997), about a Red Cross representative, Maurice Rossel, who in 1944 wrote a favorable report about the Theresienstadt concentration camp.

Shoah (film)


Sobibor, October 14, 1943, 4 p.m. (2001), about Yehuda Lerner, who participated in an uprising against the camp guards and managed to escape.

Shoah (film)


The Karski Report (2010), about Polish resistance fighter Jan Karski's visit to Franklin Roosevelt in 1943.

Shoah (film)


The Last of the Unjust (2013), about Benjamin Murmelstein, a controversial Jewish rabbi in the Theresienstadt ghetto during World War II.

Shoah (film)


Shoah: Four Sisters (2018), a French documentary film that aired as a four-part series on French TV on 23 January 2018. It is both Lanzmann's final film and a continuation of Shoah and chronicles the lives of four women who escaped the concentration camps and tried to find a life after the Holocaust. The four-and-a-half hour cut of the film (nearly half the length of Shoah) debuted in American theaters on 14 November 2018. It was on France's shortlist to compete in the Best Documentary category.

Shoah (film)


Previously unseen Shoah outtakes have been featured in Adam Benzine's Oscar-nominated HBO documentary Claude Lanzmann: Spectres of the Shoah (2015), which examines Lanzmann's life from 1973 to 1985, the years he spent making Shoah.

Shoah (film)


Ziva Postec's work as the film's editor was profiled in the 2018 documentary film Ziva Postec: The Editor Behind the Film Shoah (Ziva Postec : La monteuse derrière le film Shoah), by Canadian documentarian Catherine Hébert.

Shoah (film)


Director Guillaume Ribot released his documentary All I Had Was Nothingness (Je n'avais que le néant - Shoah par Lanzmann) in 2025. The film comprises outtakes from Shoah and describes Lanzmann's struggle to complete his epic film and the personal toll the project took on him. Sequences convey Lanzmann's initial uncertainty over how to shape his film and his frustrated attempts to get Nazi perpetrators of the Holocaust on camera. The voice-over of the documentary is taken from Lanzmann's memoir The Patagonian Hare.

Shoah (film)


List of Holocaust films

Shoah (film)


List of longest films

Shoah (film)


List of films shot over three or more years

Shoah (film)


List of films with a 100% rating on Rotten Tomatoes

Shoah (film)


Felman, Shoshana (1994). "Film as Witness: Claude Lanzmann's Shoah". In Hartman, Geoffrey (ed.). Holocaust Remembrance: The Shapes of Memory. Oxford: Blackwell. ISBN 1-55786-125-0.

Shoah (film)


Hirsch, Marianne; Spitzer, Leo (1993). "Gendered Translations: Claude Lanzmann's Shoah". In Cooke, Miriam; Woollacott, Angela (eds.). Gendering War Talk. Princeton: Princeton University Press. ISBN 0-691-06980-8.

Shoah (film)


Loshitzky, Yosefa (1997). "Holocaust Others: Spielberg's Schindler's List versus Lanzman's Shoah". In Loshitzky, Yosefa (ed.). Spielberg's Holocaust: Critical Perspectives on Schindler's List. Bloomington: Indiana University Press. ISBN 0-253-33232-X.

Shoah (film)


McGlothlin, Erin, Brad Prager, and Markus Zisselsberger, eds. The Construction of Testimony: Claude Lanzmann’s Shoah and its Outtakes, eds. Detroit: Wayne State University Press, 2020. ISBN: 9780814347348.

Shoah (film)


Stoicea, Gabriela (2006). "The Difficulties of Verbalizing Trauma: Translation and the Economy of Loss in Claude Lanzmann’s Shoah.” In the Journal of the Midwest Modern Language Association, vol. 39, no. 2, pp. 43–53.

Shoah (film)


Yvonne Kozlovsky Golan (2017), "Benjamin Murmelstein, a Man from the "Town 'As If'": A Discussion of Claude Lanzmann's Film the Last of the Unjust (France/Austria, 2013)", Holocaust Studies, A Journal of Culture and History, vol. 23, No. 4, pp. 464–482.

Shoah (film)


Yvonne Kozlovsky Golan (2020), "Through the Director’s Lens: Claude Lanzmann’s Oeuvre: Commemorating the First Anniversary of his Passing", Canadian Institute for the Study of Antisemitism (CISA), Antisemitism Studies, Vol. 4, No. 1 (Spring 2020), pp. 143–168.

Shoah (film)


Shoah at Box Office Mojo

Shoah (film)


Shoah at Rotten Tomatoes

Shoah (film)


Claude Lanzmann Shoah Collection, video excerpts of all interviews, with transcripts, Steven Spielberg Jewish Film Archive, United States Holocaust Memorial Museum

Shoah (film)


Approaching Shoah an essay by Kent Jones at the Criterion Collection

Shoah (film)


The chief of staff to the president (Korean: 대통령비서실장; Hanja: 大統領秘書室長), or chief presidential secretary, is the highest-ranking employee of the Blue House and serves as chief of staff to the president of South Korea. The chief presidential secretary is traditionally one of the first officials appointed by an incoming president. Former President Moon Jae-in was a former chief of staff.

Chief of Staff to the President (South Korea)


List of chiefs of staff


Chief Presidential Secretary for Policy


Office of the President (South Korea)


Senior Presidential Secretary


President of South Korea


Government of South Korea


Politics of South Korea


White House Chief of Staff


Chief Cabinet Secretary


State Council of South Korea


Buffalo Grove is an unincorporated community in the Ogle County township of Buffalo, Illinois, United States. It was the first settlement in  Ogle County, and was once a bustling frontier town that attracted many of Ogle County's early residents. The creation of the Illinois Central Railroad, caused most of the residents and businesses to move to Polo.

Buffalo Grove, Ogle County, Illinois


Native Americans who originally lived on the lands of Buffalo Grove, called the area "Nanusha" (Na-noo-sha), which means "buffalo." When white settlers came to the lands they found no buffalo; instead they found buffalo bones. In the winter of 1778, a heavy snow descended on the Mississippi Valley. Fluctuating temperatures caused the snow to melt and refreeze and the snow crusted over, thus the buffalo were unable to access their food supply and many starved to death.

Buffalo Grove, Ogle County, Illinois


During the early 19th century, many settlers from the east coast of the United States traveled to Galena after the establishment of lead mines in the area. Many of the trails from Dixon's Ferry (originally called Ogee's Ferry) passed through what would later become Ogle County. John Ankeny marked Ankeny's Trail from Dixon's Ferry to Galena in 1829, and while doing so claimed an areas of trees as his own. In the spring of 1830, Ogle County's first settler, Isaac Chambers, erected the first cabin near the Galena Trail. Chambers intended to build and manage an inn, or tavern as a stopping point on the way to Galena. When Ankeny returned a controversy arose over the land's ownership. Chambers prevailed, and Ankeny moved further down the trail and opened an opposing tavern.

Buffalo Grove, Ogle County, Illinois


By the spring of 1831, Oliver W. Kellogg arrived at Buffalo Grove, and bought his claim from Chambers. Another settler, Samuel Reed, planted 14 acres (57,000 m2) of corn in 1831, and by 1832 he also included wheat on the first farm in Ogle County.

Buffalo Grove, Ogle County, Illinois


Later that spring, the Black Hawk War began with the first armed confrontation at the Stillman's Run. The Sauk were victorious during this confrontation with Colonel Isaiah Stillman's militia. Dispatches were sent to all settlers, ordering them to the military headquarters near Dixon's Ferry. Buffalo Grove's settlers first went to Dixon's Ferry, then moved on to Peoria where they remained until September. While the settlers were away, a group of men returned to their homes to look after some of the stock that remained in the settlement. When the men returned to Buffalo Grove, they found the body of William Durley in the road near the woods. The event became known as the Buffalo Grove ambush or massacre. Durley was originally buried near the spot he died at by a party who would become the victims of the St. Vrain massacre the next day. In 1910 the Polo Historical Society moved Durley's remains and erected a historical marker and memorial over his new grave.

Buffalo Grove, Ogle County, Illinois


The settlement continued to grow, including the establishment of the Buffalo Grove Post Office on February 12, 1833. There is some discrepancy as to the date of the post office's establishment and at least one source asserts the date as 1835. The area's first merchant, Colonel John D. Stevenson, arrived from Louisiana to set up a store in 1834. The following year the town was platted and named St. Marion, but when the post office was established it was called Buffalo Grove. The name of the settlement was officially changed in 1839 by the residents. In 1836, the area's first sawmill was built along Buffalo Creek, and some traces of it remain extant.

Buffalo Grove, Ogle County, Illinois


When construction of the Illinois Central Railroad (ICRR) began in 1852, the village population was nearly 1,000 residents; in 1835 15 families lived in the vicinity of Buffalo Grove. Also in 1852, a steam sawmill was built in order to supply the ICRR with railroad ties.

Buffalo Grove, Ogle County, Illinois


Following the construction of the Illinois Central Railroad, the new town of Polo was founded along the tracks in March 1853.  Nearly all residents from Buffalo Grove moved their homes and businesses to Polo in order to take advantage of the new railroad. The Buffalo Grove Post Office was moved in the dead of night in January 1855 to avoid trouble. The office was opened in its new location the next morning. One notable Buffalo Grove resident was naturalist John Burroughs, who taught in Buffalo Grove from 1856 to 1857 before moving back East to marry. Today, Buffalo Grove no longer remains as a true village, instead having about a dozen homes in its area.

Buffalo Grove, Ogle County, Illinois


Buffalo Grove is home to one cemetery; the Reed cemetery is located west of the unincorporated village. The cemetery derived its name from Samuel Reed Sr. who died suddenly on August 17, 1833. Reed was the first to be buried in the new cemetery, and the cemetery was named after him.

Buffalo Grove, Ogle County, Illinois


In the fall of 1843, Elder Alexander Conlee established the Buffalo Grove Church. Originally the congregation met at the Doty School, which was built to serve as both a school and church.

Buffalo Grove, Ogle County, Illinois


== External links ==

Buffalo Grove, Ogle County, Illinois


A glider or sailplane is a type of glider aircraft used in the leisure activity and sport of gliding (also called soaring). This unpowered aircraft can use naturally occurring currents of rising air in the atmosphere to gain altitude. Sailplanes are aerodynamically streamlined, so they can fly a significant distance forward for a small decrease in altitude.

Glider (sailplane)


In North America, the term 'sailplane' is also used to describe this type of aircraft. In other parts of the English-speaking world, the word 'glider' is more common.

Glider (sailplane)


Gliders benefit from producing very low drag for any given amount of lift. This factor is best achieved with long, thin wings, a slender fuselage, and smooth surfaces with an absence of protuberances. Aircraft with these features are able to soar, meaning they may climb efficiently in rising air produced by thermals or hills. In still air, sailplanes can glide long distances at high speed with a minimum loss of height in between.

Glider (sailplane)


Sailplanes have rigid wings and either skids or undercarriage. In contrast, hang gliders and paragliders use the pilot's feet for the start of the launch and for the landing. These latter types are described in separate articles, though their differences from sailplanes are covered below. Sailplanes are usually launched by winch or aerotow, though other methods, such as auto tow and bungee, are occasionally used.

Glider (sailplane)


These days, almost all gliders are sailplanes, but in the past, many gliders were not. These types did not soar. Instead, they were simply engineless aircraft towed by another aircraft to a desired destination and then cast off for landing. The prime example of a non-soaring glider was the military glider (such as those used in the Second World War). They were often used just once, then usually abandoned after landing, having served their purpose.

Glider (sailplane)


Motor gliders are gliders with engines that can be used for extending a flight and even, in some cases, for take-off. Some high-performance motor gliders (known as "self-sustaining" gliders) may have an engine-driven retractable propeller, which can be used to sustain flight. Other motor gliders have enough thrust to launch themselves before the propeller is retracted and are known as "self-launching" gliders. Another type is the self-launching "touring motor glider", where the pilot can switch the engine on and off in flight without retracting the propeller.

Glider (sailplane)


Sir George Cayley's gliders achieved brief wing-borne hops from around 1849. In the 1890s, Otto Lilienthal built gliders using weight shift for control. In the early 1900s, the Wright Brothers built gliders using movable surfaces for control. In 1903, they successfully added an engine.

Glider (sailplane)


After World War I, gliders were built for sporting purposes in Germany. Germany's strong links to gliding were in large part due to post-World War I regulations, where Germany was not permitted to construct or fly motorized planes. Accordingly, the country's aircraft enthusiasts often turned to gliders. Many of these enthusiasts were actively encouraged by the German government, particularly at flying sites suited to gliding flight like the Wasserkuppe.

Glider (sailplane)


The sporting use of gliders rapidly evolved in the 1930s; it is now their main application. As their performance improved, gliders began to be used for cross-country flying. They now regularly fly hundreds or even thousands of kilometres in a day when the weather is suitable.

Glider (sailplane)


Glider airframes include a fuselage, wings, and empennage section. Self-launching gliders also include built-in engines.

Glider (sailplane)


Early gliders had no cockpit; the pilot sat on a small seat located just ahead of the wing. These were known as "primary gliders," and they were usually launched from the tops of hills, though they are also capable of short hops across the ground while being towed behind a vehicle. To enable gliders to soar more effectively than primary gliders, the designs minimized drag. Gliders now have very smooth, narrow fuselages and very long, narrow wings with a high aspect ratio and winglets.

Glider (sailplane)


The early gliders were made mainly of wood with metal fastenings, stays, and control cables. Later fuselages made of fabric-covered steel tubes were married to wood and fabric wings for lightness and strength. New materials such as carbon fiber, fiberglass, and Kevlar have since been used with computer-aided design to increase performance. The first glider to use glass fiber extensively was the Akaflieg Stuttgart FS-24 Phönix, which first flew in 1957. This material is still used because of its high strength-to-weight ratio and its ability to give a smooth exterior finish to reduce drag. Drag has also been minimized by more aerodynamic shapes and retractable undercarriages. Flaps are fitted to the trailing edges of the wings on some gliders to optimise lift and drag at a wide range of speeds.

Glider (sailplane)


With each generation of materials and with the improvements in aerodynamics, the performance of gliders has increased. One measure of performance is the glide ratio. A ratio of 30:1 means that in smooth air a glider can travel forward 30 meters while losing only 1 meter of altitude. Comparing some typical gliders that might be found in the fleet of a gliding club – the Grunau Baby from the 1930s had a glide ratio of just 17:1, the glass-fiber Libelle of the 1960s increased that to 36:1, and modern flapped 18-meter gliders such as the ASG29 have a glide ratio of over 50:1. The largest open-class glider, the Eta, has a span of 30.9 meters and has a glide ratio over 70:1. Compare this to the Gimli Glider, a Boeing 767 that ran out of fuel mid-flight and was found to have a glide ratio of 12:1, or to the Space Shuttle with a glide ratio of 4.5:1.

Glider (sailplane)


High aerodynamic efficiency is essential to achieve a good gliding performance, so gliders often have aerodynamic features seldom found in other aircraft. The wings of a modern racing glider are designed by computers to create a low-drag laminar flow airfoil. After the wings' surfaces have been shaped by a mould to great accuracy, they are then highly polished. Vertical winglets at the ends of the wings decrease drag, improving wing efficiency. Special aerodynamic seals are used at the ailerons, rudder, and elevator to prevent the flow of air through control surface gaps. Turbulator devices in the form of a zig-zag tape or multiple blow holes positioned in a span-wise line along the wing are used to trip laminar flow air into turbulent flow at a desired location on the wing. This flow control prevents the formation of laminar flow bubbles and ensures the absolute minimum drag. Bug wipers may be installed to wipe the wings while in flight and remove insects that are disturbing the smooth flow of air over the wing.

Glider (sailplane)


Modern competition gliders carry jettisonable water ballast (in the wings and sometimes in the vertical stabilizer). The extra weight provided by the water ballast is advantageous if the lift is likely to be strong; it may also be used to adjust the glider's center of mass. Moving the center of mass toward the rear by carrying water in the vertical stabilizer reduces the required downforce from the horizontal stabilizer and the resultant drag from that downforce. Although heavier gliders have a slight disadvantage when climbing in rising air, they achieve a higher speed at any given glide angle. This is an advantage in strong conditions when the gliders spend only a small amount of time climbing in thermals. The pilot can jettison the water ballast before it becomes a disadvantage in weaker thermal conditions. Another use of water ballast is to dampen air turbulence such as might be encountered during ridge soaring. To avoid undue stress on the airframe, gliders must jettison any water ballast before landing.

Glider (sailplane)


Most gliders are built in Europe and are designed to EASA Certification Specification CS-22 (previously Joint Aviation Requirements-22). These define minimum standards for safety in a wide range of characteristics, such as controllability and strength. For example, gliders must have design features to minimize the possibility of incorrect assembly (gliders are often stowed in a disassembled configuration, with at least the wings being detached). Automatic connection of the controls during rigging is the common method of achieving this.

Glider (sailplane)


The two most common methods of launching sailplanes are by aerotow and by winch. When aerotowed, the sailplane is towed behind a powered aircraft using a rope about 60 metres (200 ft) long. The sailplane pilot releases the rope after reaching the desired altitude. However, the rope can be released by the towplane also in case of emergency. Winch launching uses a powerful stationary engine located on the ground at the far end of the launch area. The sailplane is attached to one end of 800 to 1,200 metres (2,600 to 3,900 ft) of cable, and the winch rapidly winds it in. The sailplane can gain about 270 to 910 metres (900 to 3,000 ft) of height with a winch launch, depending on the headwind. Less often, automobiles are used to pull sailplanes into the air, either by pulling them directly or through the use of a reverse pulley in a similar manner to the winch launch. Elastic ropes (known as bungees) are occasionally used at some sites to launch gliders from slopes if there is sufficient wind blowing up the hill. Bungee launching was the predominant method of launching early gliders. Some modern gliders can self-launch by using retractable engines or just retractable propellers (see motor glider). These engines can use internal combustion or battery power.

Glider (sailplane)


Once launched, gliders try to gain height using thermals, ridge lift, lee waves or convergence zones and can remain airborne for hours. This is known as "soaring". By finding lift sufficiently often, experienced pilots fly cross-country, often on pre-declared tasks of hundreds of kilometers, usually back to the original launch site. Cross-country flying and aerobatics are the two forms of competitive gliding. For information about the forces in gliding flight, see lift-to-drag ratio.

Glider (sailplane)


Pilots need some form of control over the glide slope to land the glider. In powered aircraft, this is done by reducing engine thrust. In gliders the drag of the glider must be increased. Parasitic drag can be increased by use of airbrakes. On the other hand, lift-induced drag can be increased by use of spoilers. These reduce lift generated near the spoilers; they also cause the pilot to increase the angle of attack so the rest of the wing generates more lift to compensate. Glide slope is the distance traveled for each unit of height lost. In a steady wings-level glide with no wind, glide slope is the same as the lift/drag ratio (L/D) of the glider, called "L-over-D". Increasing drag will reduce the L/D, allowing the glider to descend at a steeper angle with no increase in airspeed. Simply pointing the nose downwards only converts altitude into a higher airspeed with a minimal initial reduction in total energy. Gliders, because of their long low wings, create a high ground effect, which can significantly increase the glide angle and make it difficult to bring the glider to Earth in a short distance.

Glider (sailplane)


A slip is performed by crossing the controls (rudder to right with ailerons to left, for example) so that the glider is no longer flying aligned with the airflow. This will present one side of the fuselage to the airflow significantly increasing drag. Early gliders primarily used slipping for glide slope control.

Glider (sailplane)


Spoilers are movable control surfaces in the top of the wing, usually located mid-chord or near the spar. They are raised into the airflow to eliminate (spoil) the lift from the wing area behind the spoiler, disrupting the spanwise distribution of lift and increasing lift-induced drag. Spoilers significantly increase drag.

Glider (sailplane)


Air brakes, also known as dive brakes, are devices whose primary purpose is to increase drag. On gliders, the spoilers act as air brakes. They are positioned on top of and below the wing. When slightly opened, the upper brakes will spoil the lift, but when fully opened, they will present a large surface, such that they can provide significant drag. Some gliders have terminal velocity dive brakes, which provide enough drag to keep the speed below the maximum permitted speed, even if the glider were pointing straight down. This capability is considered a safer way to descend without instruments through clouds than the only alternative, which is an intentional spin.

Glider (sailplane)


Flaps are movable surfaces on the trailing edge of the wing, inboard of the ailerons. The primary purpose of flaps is to increase the camber of the wing, so they increase the maximum lift coefficient while reducing the stall speed. Another feature that some flapped gliders possess is negative flaps, which can deflect the trailing edge upward a small amount. This feature is included on some competition gliders to reduce the pitching moment acting on the wing, reducing the downward force that must be provided by the horizontal stabiliser; this reduces the induced drag acting on the stabilizer. On some types the flaps and ailerons are linked, known as 'flaperons'. Simultaneous movement of these allows a greater rate of roll.

Glider (sailplane)


Some high-performance gliders from the 1960s and 1970s were designed to carry a small drogue parachute because their air brakes were not particularly effective. This was stored in the tail cone of the glider during flight. When deployed, a parachute causes a large increase in drag; however, it has a significant disadvantage over the other methods of controlling the glide slope. This is because a parachute does not allow the pilot to finely adjust the glide slope. Consequently, a pilot may have to jettison the parachute entirely if the glider is not going to reach the desired landing area.

Glider (sailplane)


Early glider designs used skids for landing, but modern types generally land on wheels. Some of the earliest gliders used a dolly with wheels for taking off, and the dolly was jettisoned as the glider left the ground, leaving just the skid for landing. A glider may be designed so the center of gravity (CG) is behind the main wheel so the glider sits nose high on the ground. Other designs may have the CG forward of the main wheel so the nose rests on a nose-wheel or skid when stopped. Skids are now mainly used only on training gliders such as the Schweizer SGS 2–33. Skids are around 100 millimetres (4 in) wide by 900 mm (3 ft) long and run from the nose to the main wheel. Skids help with braking after landing by allowing the pilot to put forward pressure on the control stick, thus creating friction between the skid and the ground. The wingtips also have small skids or wheels to protect the wingtips from ground contact.

Glider (sailplane)


In most high-performance gliders, the undercarriage can be raised to reduce drag in flight and lowered for landing. Wheel brakes are provided to allow stopping once on the ground. These may be engaged by fully extending the spoilers/air brakes or by using a separate control. Although there is only a single main wheel, the glider's wing can be kept level by using the flight controls until it is almost stationary.

Glider (sailplane)


Pilots usually land back at the airfield from which they took off, but a landing is possible in any flat field about 250 metres long. Ideally, should circumstances permit, a glider would fly a standard pattern, or circuit, in preparation for landing, typically starting at a height of 300 metres (1,000 ft). Glide slope control devices are then used to adjust the height to ensure landing at the desired point. The ideal landing pattern positions the glider on final approach so that a deployment of 30–60% of the spoilers/dive brakes/flaps brings it to the desired touchdown point. In this way, the pilot has the option of opening or closing the spoilers/air brakes to extend or steepen the descent to reach the touchdown point. This gives the pilot wide safety margins should unexpected events occur. If such control devices are not sufficient, the pilot may utilize maneuvers such as a forward slip to further steepen the glider slope.

Glider (sailplane)


Most gliders require assistance to launch, though some have an engine powerful enough to launch unaided. In addition, a high proportion of new gliders have an engine that will sustain the glider in the air, though these are insufficiently powerful to launch the glider. Compared with self-launchers, these lower-powered engines have advantages in weight, lower costs, and pilot licensing. The engines can be electric, jet, or two-stroke gasoline.

Glider (sailplane)


Instrumentation and other technical aids

Glider (sailplane)


Gliders in continental Europe use metric units, like km/h for airspeed and m/s for lift and sink rate. In the United States, United Kingdom, Australia, and some other countries, gliders use knots and ft/min in common with commercial aviation worldwide.

Glider (sailplane)


In addition to an altimeter, compass, and airspeed indicator, gliders are often equipped with a variometer and an airband radio (transceiver), each of which may be required in some countries. A transponder may be installed to assist controllers when the glider is crossing busy or controlled airspace. This may be supplemented by ADS-B. Without these devices, access to some airspace may become increasingly restricted in some countries. In countries where cloud-flying is allowed, an artificial horizon or a turn and slip indicator is used when there is zero visibility. Increasingly, anti-collision warning systems such as FLARM are also used and are even mandatory in some European countries. An Emergency Position-Indicating Radio Beacon (ELT) may also be fitted into the glider to reduce search and rescue time in case of an accident.

Glider (sailplane)


Much more than in other types of aviation, glider pilots depend on the variometer, which is a very sensitive vertical speed indicator, to measure the climb or sink rate of the plane. This enables the pilot to detect minute changes caused when the glider enters rising or sinking air masses. Most often electronic 'varios' are fitted to a glider, though mechanical varios are often installed as backup. The electronic variometers produce a modulated sound of varying amplitude and frequency depending on the strength of the lift or sink, so that the pilot can concentrate on centering a thermal, watching for other traffic, on navigation, and on weather conditions. Rising air is announced to the pilot as a rising tone, with increasing pitch as the lift increases. Conversely, descending air is announced with a lowering tone, which advises the pilot to escape the sink area as soon as possible. (Refer to the variometer article for more information).

Glider (sailplane)


Variometers are sometimes fitted with mechanical or electronic devices to indicate the optimal speed to fly for given conditions. The MacCready setting can be input electronically or adjusted using a ring surrounding the dial. These devices are based on the mathematical theory attributed to Paul MacCready though it was first described by Wolfgang Späte in 1938. MacCready theory solves the problem of how fast a pilot should cruise between thermals, given both the average lift the pilot expects in the next thermal climb, as well as the amount of lift or sink encountered in cruise mode. Electronic variometers make the same calculations automatically, after allowing for factors such as the glider's theoretical performance, water ballast, headwinds/tailwinds, and insects on the leading edges of the wings.

Glider (sailplane)


Soaring flight computers running specialized soaring software have been designed for use in gliders. Using GPS technology alongside a barometric device, these tools can:

Glider (sailplane)


Provide the glider's position in 3 dimensions by a moving map display

Glider (sailplane)


Alert the pilot to nearby airspace restrictions

Glider (sailplane)


Indicate position along track and remaining distance and course direction

Glider (sailplane)


Show airports within theoretical gliding distance

Glider (sailplane)


Determine wind direction and speed at current altitude

Glider (sailplane)


Show historical lift information

Glider (sailplane)


Create a GPS log of the flight to provide proof for contests and gliding badges

Glider (sailplane)


Provide "final" glide information (i.e., showing if the glider can reach the finish without additional lift).

Glider (sailplane)


Indicate the best speed to fly under current conditions

Glider (sailplane)


After the flight, GPS data may be replayed using computer software for analysis; it may also be used to follow the trace of one or more gliders against a backdrop of a map, an aerial photograph, or the airspace.

Glider (sailplane)


To ensure that ground-based observers may identify gliders in flight or in gliding competition, registration marks ("insignias" or "competition numbers" or "contest ID") are displayed in large characters on the underside of a single wing; they also appear also on the fin and rudder. Registration marks are assigned by gliding associations such as the US Soaring Society of America and are unrelated to national registrations issued by entities such as the US Federal Aviation Administration. This need for visual ID has somewhat been supplanted by GPS position recording. Insignias are useful in two ways: first, they are used in radio communications between gliders, as pilots use their competition number as their call signs. Secondly, to easily tell a glider's contest ID when flying near one another to alert them of potential dangers. For example, during gatherings of multiple gliders within thermals (known as "gaggles"), one pilot might report, "Six-Seven-Romeo, I am right below you."

Glider (sailplane)


Fibreglass gliders are invariably painted white to minimise their skin temperature in sunlight. Fibreglass resin loses strength as its temperature rises into the range achievable in direct sun on a hot day. Color is not used except for a few small bright patches on wingtips; these patches (typically orange or red) improve a glider's visibility to other airborne aircraft. Such patches are obligatory for mountain flying in France. Non-fibreglass gliders made of aluminum or wood are not so subject to deterioration at higher temperatures and are often quite brightly painted.

Glider (sailplane)


There is sometimes confusion about gliders/sailplanes, hang gliders, and paragliders. In particular, paragliders and hang gliders are both foot-launched. The main differences between the types are:

Glider (sailplane)


Eight competition classes of glider have been defined by the FAI. They are:

Glider (sailplane)


Standard Class (No flaps, 15 m wing-span, water ballast allowed)

Glider (sailplane)


15 metre Class (Flaps allowed, 15 m wing-span, water ballast allowed)

Glider (sailplane)


18 metre Class (Flaps allowed, 18 m wing-span, water ballast allowed)

Glider (sailplane)


Open Class (No restrictions except a limit of 850 kg for the maximum all-up weight)

Glider (sailplane)


Two Seater Class (maximum wing-span of 20 m), also known by the German name "Doppelsitzer"

Glider (sailplane)


Club Class (This class allows a wide range of older small gliders with different performance, so the scores have to be adjusted by handicapping. Water ballast is not allowed).

Glider (sailplane)


World Class (The FAI Gliding Commission which is part of the FAI and an associated body called Organisation Scientifique et Technique du Vol à Voile (OSTIV) announced a competition in 1989 for a low-cost glider, which had moderate performance, was easy to assemble and to handle, and was safe for low-hours pilots to fly. The winning design was announced in 1993 as the Warsaw Polytechnic PW-5. This allows competitions to be run with only one type of glider.)

Glider (sailplane)


Ultralight Class, for gliders with a maximum mass less than 220 kg.

Glider (sailplane)


A large proportion of gliders have been and are still made in Germany, the birthplace of the sport. In Germany there are several manufacturers but the three principal companies are:

Glider (sailplane)


Alexander Schleicher GmbH & Co

Glider (sailplane)


Germany also has Stemme and Lange Aviation. Elsewhere in the world, there are other manufacturers such as Jonker Sailplanes in South Africa, Sportinė Aviacija in Lithuania, Allstar PZL in Poland, Let Kunovice and HpH in the Czech Republic and AMS Flight in Slovenia.

Glider (sailplane)


Rhön-Rossitten Gesellschaft

Glider (sailplane)


Other unpowered aircraft

Glider (sailplane)


Unpowered flying toys and models

Glider (sailplane)


Radio-controlled glider

Glider (sailplane)


Information about all types of glider

Glider (sailplane)


Sailplane Directory at the Wayback Machine (archived 21 April 2016) – An enthusiast's web-site that lists manufacturers and models of gliders, past and present.

Glider (sailplane)


FAI records Archived 17 October 2021 at the Wayback Machine – sporting aviation page with international world soaring records in distances, speeds, routes, and altitude

Glider (sailplane)


National Gliding Federations at the Wayback Machine (archived 23 November 2010)

Glider (sailplane)


Michael Organ (born 1953 Carlisle, Indiana) is an American rock drummer, best known for performing and recording with Sonny Landreth and Henry Lee Summer. Organ was a part of a number of country and bluegrass albums from the 1980s into the 1990s. He also recorded with Jimmy Buffett and a number of other country artists. He was an active musician as of 2009.

Michael Organ (drummer)


Michael Organ played drums with pop/rock singer Henry Lee Summer from 1983 to 1992 including work on all four of Summer's album releases for Epic Records as well as the 1988 single Darlin' Danielle Don't, the 1989 top twenty single Hey Baby, and the 1993 single Ain't That Love.

Michael Organ (drummer)


Organ later performed and recorded with legendary slide guitarist Sonny Landreth from 1995 to 2001 including work on the 2000 release Levee Town on Sugar Hill Records. Levee Town was re-released in April 2009 with additional tracks from the original recording sessions.

Michael Organ (drummer)


During the 1990s, Organ lived in Nashville, Tennessee, working as a session musician and performing with such roots rock artists as Danny Flowers, Tim Krekel, Pat McLaughlin, Gary Nicholson, Michael Henderson, Sheila Lawrence, and Tom Ovans. During that period, Organ also recorded with Jimmy Buffett, recorded and toured with the Amazing Rhythm Aces, and performed with Bo Diddley - as well as working with country music artists Lionel Cartwright, Lee Roy Parnell, Kevin Welch, Highway 101, Claudia Church, and Deborah Allen.

Michael Organ (drummer)


Organ also recorded and performed in the mid-1990s with Canadian Polygram Records rock recording artist Sue Medley and the Toronto duo Lost & Profound (Lisa Boudreau and Terry Tompkins) playing on their 1994 Polygram release Memory Thief produced by Richard Bennett.

Michael Organ (drummer)


In 1999, Organ began a music project with the creative dance and movement educator Margot Faught. Organ composed rhythmic tracks to be used in dance and movement classes which were compiled into the CD Zuni Movement. Ms. Faught utilized the CD in teaching seminars internationally, including her work for the New York City Center Project Dance program as well as the New York arts organization Together In Dance.

Michael Organ (drummer)


In 2004, Organ composed music for Current, a project by multidisciplinary performance group Susurrus that is still in performance.

Michael Organ (drummer)


2009 Sonny Landreth - Levee Town Expanded Edition - LandFall

Michael Organ (drummer)


2000 Sonny Landreth - Levee Town - Sugar Hill

Michael Organ (drummer)


1995 Sonny Landreth - Son of Native Stepson - Zoo/BMG EP

Michael Organ (drummer)


1996 Tom Ovans - Nuclear Sky - Demon

Michael Organ (drummer)


1995 Jimmy Buffett - Margaritaville Cafe: Late Night Gumbo - Margaritaville

Michael Organ (drummer)


1994 Lost and Profound - Memory Thief - Polygram

Michael Organ (drummer)


1992 Sue Medley - I Am Alive - Polygram EP

Michael Organ (drummer)


1993 Henry Lee Summer - SlamDunk - Epic

Michael Organ (drummer)


1991 Henry Lee Summer - Way Past Midnight - Epic

Michael Organ (drummer)


1989 Henry Lee Summer - I've Got Everything - Epic

Michael Organ (drummer)


1988 Henry Lee Summer - Henry Lee Summer - Epic

Michael Organ (drummer)


During his career Organ was an endorsing artist for Drum Workshop Drums, Sabian Cymbals, and Pro-Mark drum sticks.

Michael Organ (drummer)


Michael Organ at AllMusic

Michael Organ (drummer)


El Pilar is an ancient Maya city center located on the Belize-Guatemala border. The site is located 12 kilometres (7.5 mi) north of San Ignacio, Belize and can be accessed through the San Ignacio and Bullet Tree Falls on the Belize River. The name "El Pilar" is Spanish for "watering basin", reflecting the abundance of streams around the site and below its escarpment, which is rare in the Maya area.

El Pilar


The monuments of El Pilar are at the center of a 5,000 acres (2,000 ha) protected area known as El Pilar Archeological Reserve for Maya Flora and Fauna, declared a cultural monument in both Belize and Guatemala in 1998.  El Pilar is the largest Maya site in the Belize River area with over 25 plazas and hundreds of other major buildings, covering about 120 acres (49 ha).

El Pilar


Archeological discovery

El Pilar


Archaeologist Anabel Ford first mapped El Pilar in 1983  in the course of her Belize River Archaeological Settlement Survey or BRASS project. Settlement patterns in the region suggest a hierarchy of community size and composition that was directly related to farmland.  One of the most extensive areas was of farmlands discovered at El Pilar, 10 kilometres (6.2 mi) north of the Belize River on the edge of the major upland escarpment that leads 47 kilometres (29 mi) to the major center of Tikal.

El Pilar


Since 1993, a major archaeological field survey excavation project marked the initial examination of El Pilar.  Under the direction of Anabel Ford, the detailed map was executed with engineering survey instruments and excavations focused on access ways, stairs, and doorways. When the monuments were mapped, the team verified the causeway system that linked from the east to the west uniting one ancient Maya center in two modern nations: Belize and Guatemala. Later excavations tunneled into major temple revealing a 2000 years construction history. Ford and her team are currently working with Lidar in order to map the area more extensively.

El Pilar


The city grew from Middle Preclassic period (800 BC), with the first small temples and plazas identified in the main eastern temple of Plaza Copal.  The civic area was expanded, reaching its greatest extent before 1000 AD.  At its height in the Late Classic, the total population of El Pilar is estimated to have exceeded 180,000.

El Pilar


Ford and her team have excavated many of the plazas, temples and palaces of the monumental civic area. Surrounding the monuments is the residence that made up the ancient Maya community. Tzunu’un, a residential unit discovered, mapped and tested in 1984, became the focus of a major investigation that excavated, exposed, and consolidated an elite Maya house.  This is the only archaeological house that the public has access to today.  Working with Master Maya forest gardeners, the team has developed a forest garden around the house site. The forest gardens of El Pilar are now maintained by the Maya farmers as part of the El Pilar Forest Garden Network.

El Pilar


Conservation and ecotourism

El Pilar


The El Pilar Archeological Reserve for Maya Flora and Fauna is open to the public and has a series of trails providing access throughout the site. Tourists can take a taxi from Bullet Tree Falls directly into the Maya site. Intrepid visitors  can experience both ancient and contemporary aspects of Maya life promoting Maya culture in the area. There is an active initiative to make El Pilar of Belize and Guatemala the first archaeological peace park in the world. While El Pilar is protected in Belize and Guatemala and rangers are on site, it remains under threat by looters and was placed on the World Monument Fund's 1996 list of 100 Most Endangered Sites in the World. Ford’s conservation strategy, called Archaeology Under the Canopy, promotes the conservation of ancient Maya monuments in the context of their natural environmental context. Sheltered under the forest canopy after 1000 years of neglect, El Pilar and all the Maya monuments are best maintained in the shade. This preserves Maya cultural heritage along with the forest gardens the Maya created.

El Pilar


"Maya Forest Garden". The El Pilar Forest Garden Network. Retrieved September 25, 2015.

El Pilar


"Mesoamerican Research Center". MesoAmerican Research Center. Retrieved September 25, 2015.

El Pilar


"Exploring Solutions Past". Exploring Solutions Past.

El Pilar


Jānis Bulis (born 17 August 1950 in Briģi Parish, Ludza Municipality) is a Catholic bishop of the Diocese of Rēzekne-Aglona in Latvia.

Jānis Bulis


Jānis Bulis was born on 17 August 1950 in Briģi Parish, Ludza Municipality, Latvia. After his secondary education, he entered in the Riga's Metropolitan Roman Catholic Theological Seminary in 1972, from which he finished in 1977. The same year, on May 22, 1977, he was ordained to the priesthood at St. James's Cathedral in Riga by Cardinal Julijans Vaivods. Bulis' first religious services occurred on June 5, 1977 at the Holy Trinity Church in Briģi. On May 8, 1991, Bulis was nominated to become bishop, being consecrated in the Roman Catholic Diocese of Liepāja on June 24 the same year. On December 7, 1995, Bulis was appointed bishop of the Roman Catholic Diocese of Rēzekne-Aglona, and on January 6, 1996, he was installed as its diocesan bishop.

Jānis Bulis


Devotional service before became bishop

Jānis Bulis


14/06/1977 - 06/11/1980 - Vicar of St. Peter's Chains Church in Daugavpils.

Jānis Bulis


06/11/1980 - 11/07/1984 - Parish priest of the Virgin of Anguish Church and at that time also served Dukstigals Virgin Mary Church.

Jānis Bulis


11/07/1984 - 26/01/1989 - Parish priest at Christ the King Church in Riga.

Jānis Bulis


26/01/1989 - 31.08.1991 - Parish priest at Ludzas and the Dean's Office from 23/01/1991, also served Virgin Mary church in Pušmucovas.

Jānis Bulis


Order of the Three Stars II degree (2012)

Jānis Bulis


Jānis Bulis


Walter Greaves (4 July 1846 – 28 November 1930) was a British painter, etcher and topographical draftsman.

Walter Greaves (artist)


The son of Charles William Greaves, a Chelsea boat builder and waterman, and his wife, Elizabeth Greenway, Greaves was born in 1846 at 31 Cheyne Walk, Chelsea, London. His father had been J. M. W. Turner's boatman. Greaves and one of his brothers, Henry Greaves (1844–1904), met James McNeill Whistler in 1863, introducing him to the sights of the River Thames, and becoming his studio assistants, pupils and close friends for over 20 years. The American painter later used these Thames expeditions for inspiration when painting his ‘nocturne’ views of the river at night. "He taught us to paint", Walter Greaves said, "and we taught him the waterman's jerk".  Walter Greaves had initially trained as a shipwright and boatman.

Walter Greaves (artist)


The most famous of Greaves' paintings is Hammersmith Bridge on Boat-Race Day, a naïve masterpiece which he claimed to have painted when he was aged sixteen in 1862; however, since he was unreliable over dates, its history has never been settled. The Greaves brothers accompanied Whistler to life class and Walter Greaves attempted to paint portraits, some of his most successful being of their neighbour Thomas Carlyle, whom Whistler also painted. Greaves also drew and painted Whistler, sometimes in caricature, in Chelsea settings and in characteristic moods. In 1876 the Greaves brothers helped Whistler decorate The Peacock Room (now in the Freer Gallery of Art, Washington, D.C.), for the shipowner Frederick Leyland.

Walter Greaves (artist)


During the late 1870s Whistler began to gather a more sophisticated group of friends about himself, including Walter Sickert and Mortimer Menpes. Excluded from this distinguished circle, Greaves suffered years of neglect, misfortune and poverty before his discovery by William Marchant, proprietor of the Goupil Galleries, who exhibited Greaves's work in his London gallery in 1911.

Walter Greaves (artist)


Greaves's new-found glory was short-lived, however: three weeks after the exhibition opened, Whistler's self-appointed biographers, Joseph Pennell and Elizabeth Pennell, damaged Greaves's reputation by claiming that he had plagiarized Whistler's work. In May 1911, Greaves sold eight letters from Whistler to his father and himself at auction. Another exhibition of his work was held in 1922 at the Grosvenor Gallery arranged by Augustus John, William Nicholson and William Rothenstein. He was elected an honorary member of the Chelsea Arts Club.

Walter Greaves (artist)


Despite the support of a few fellow painters, including Sickert, Greaves again fell into obscurity and spent his last eight years as a Poor Brother of the London Charterhouse.

Walter Greaves (artist)


Greaves died, unmarried, of pneumonia in the West London Hospital, Hammersmith, on 23 November 1930. He was buried in the Charterhouse graveyard at Little Hallingbury in Essex.

Walter Greaves (artist)


The Tate Gallery holds examples of his work, including two self-portraits. The Parkin Gallery held exhibitions of his work in 1980 and 1984.

Walter Greaves (artist)


His former home at 104 Cheyne Walk in Chelsea, where he lived from 1855 to 1897, has a commemorative blue plaque.

Walter Greaves (artist)


50 artworks by or after Walter Greaves at the Art UK site

Walter Greaves (artist)


Greaves on Artcyclopedia.com

Walter Greaves (artist)


Greaves on the Tate Collection website

Walter Greaves (artist)


Greaves on Artnet.com

Walter Greaves (artist)


Greaves on the Museum of London website

Walter Greaves (artist)


Portraits by Greaves in the National Portrait Gallery

Walter Greaves (artist)


Biography of Greaves on the Christie's website

Walter Greaves (artist)


Cornwallis Island is one of the Queen Elizabeth Islands, part of the Arctic Archipelago, in the Qikiqtaaluk Region of Nunavut in the Canadian Arctic. It lies to the west of Devon Island, the largest uninhabited island in the world, and at its greatest length is about 113 km (70 mi). At 6,995 km2 (2,701 sq mi) in size, it is the 96th largest island in the world, and Canada's 21st largest island. Cornwallis Island is separated by the Wellington Channel from Devon Island, and by the Parry Channel from Somerset Island to the south. Northwest of Cornwallis Island lies Little Cornwallis Island, the biggest of a group of small islands at the north end of McDougall Sound, which separates Cornwallis Island from nearby Bathurst Island.

Cornwallis Island (Nunavut)


Cape Airy is located at the island's southwestern extremity. Also on the southwestern coast, Griffith Island lies directly across from the island's only hamlet, Resolute (Qausuittuq), separated by the 10.5 km (6.5 mi) wide Resolute Passage.

Cornwallis Island (Nunavut)


The first European to visit Cornwallis Island was the British Arctic explorer and naval officer Sir William Edward Parry in 1819. The island is named for Royal Navy admiral Sir William Cornwallis.

Cornwallis Island (Nunavut)


Cornwallis Island is also home to microbiological colonies known as hypoliths, from their tendency to take hold under ("hypo") stones ("lith").

Cornwallis Island (Nunavut)


Several sites on Cornwallis Island including Char Lake and Meretta Lake were key research locations in the International Biological Program and proved foundational to the development of high-latitude limnology.

Cornwallis Island (Nunavut)


Resolute is Canada's second most northerly public community, after Grise Fiord, and has a population of 183 in 2021. Resolute Bay Airport acts as a transportation hub for the central islands of the high Arctic of Nunavut.

Cornwallis Island (Nunavut)


The island has a polar arctic climate (ET) with long cold winters and short cool summers. Resolute, which lies on the south coast of the island, has an annual average temperature of −15.1 °C (4.8 °F), with an average high for the year of −12.2 °C (10.0 °F) and the average low for the year is −17.9 °C (−0.2 °F). Resolute has a very dry climate with an average precipitation of 164.1 mm (6.46 in) a year, most of it falling as snow from September to November. The record high for Resolute is 20.1 °C (68.2 °F) on July 2, 2012 and the record low for Resolute is −52.2 °C (−62.0 °F) on January 7, 1966.

Cornwallis Island (Nunavut)


Resolute has never experienced an above-freezing temperature between October 20 and May 6.

Cornwallis Island (Nunavut)


Between around April 30 and August 13, Resolute experiences midnight sun; whilst between around November 7 and February 4 there is polar night. Between late November and mid-January, the sun is so low that there is not even civil twilight, with the only exception from complete darkness being a deeper-blue sky called nautical twilight at noon, but there is no true experience of 24 hours of pitch black darkness around noon. For about two weeks before and after the midnight sun in Resolute, the nights are still quite bright since it does not get any darker than civil twilight (this is the twilight where surrounding objects are still visible and outdoor activities can go on without the need for artificial lighting). Resolute, however, does not experience night (the phase of day) from about March 14 to September 29.

Cornwallis Island (Nunavut)


Resolute does experience thunderstorms during the summer, but they are typically rare in the region.

Cornwallis Island (Nunavut)


Cornwallis Island in the Atlas of Canada - Toporama; Natural Resources Canada

Cornwallis Island (Nunavut)


Krishnakumar Kunnath (23 August 1968 – 31 May 2022), popularly known as KK, was an Indian playback singer. KK is regarded as one of the most prolific playback singers in India. Noted for his versatility in a variety of music genres, he recorded songs primarily in Hindi, Telugu, Tamil and Kannada language. KK was a recipient of several accolades including two Screen Awards, along with six Filmfare Awards nominations.

KK (singer)


KK began his career by singing advertising jingles and made his film debut in 1996 with a song in Maachis. KK released his debut album, Pal in 1999. The songs "Pal" and "Yaaron" from the album became popular, and are used in school graduations. The album turned out to be his career breakthrough. The song "Tadap Tadap Ke" from the 1999 film Hum Dil De Chuke Sanam, earned him his first Filmfare Award for Best Male Playback Singer nomination.

KK (singer)


KK went onto establish himself as one of the leading singers of the 2000s with successful songs in various languages. His most popular songs include — "Koi Kahe Kehta Rahe" from Dil Chahta Hai (2001), "O Humdum Suniyo Re" from Saathiya (2002), "Dola Re Dola" from Devdas (2002), "Uyirin Uyirae" from Kaaka Kaaka (2003), "Apadi Podu" from Ghilli (2004), "Dus Bahane" from Dus (2005), "Kya Mujhe Pyaar Hai" from Woh Lamhe... (2006), "Tu Hi Meri Shab Hai" from Gangster: A Love Story (2006), "Aankhon Mein Teri" from Om Shanti Om (2007), "Khuda Jane" from Bachna Ae Haseeno (2008), "Zara Sa" from Jannat (2008), "Sajde" from Khatta Meetha (2010), "Piya Aaye Na" from Aashiqui 2 (2013), "Mat Aazma Re" from Murder 3 (2013), "India Wale" from Happy New Year (2014), and "Tu Jo Mila" from Bajrangi Bhaijaan (2015).

KK (singer)


KK was popularly known as "The Mesmerizer", for his romantic songs. KK received the Screen Awards for Best Singer – Male (non-film music) for his song "Pal" and Best Playback Singer – Male for "Khuda Jaane", from the film Bachna Ae Haseeno.

KK (singer)


Born in Delhi on 23 August 1968 to Malayali parents, his mother, Kanakavalli of the Kunnath house and father, C. S. Menon. Krishnakumar grew up in New Delhi. He got his family name, Kunnath, through matrilineal succession. He sang 3,500 jingles before breaking into Bollywood.

KK (singer)


Kunnath attended Delhi's Mount St Mary's School, and Kirori Mal College, Delhi University. He appeared in the song "Josh of India", released to support the Indian national team during the 1999 Cricket World Cup.

KK (singer)


After receiving a degree in commerce from Kirori Mal College, Kunnath spent six months as a marketing executive before pursuing his love of music. He struggled to establish himself in the competitive recording industry, singing at hotels to make ends meet. Kunnath moved to Mumbai in 1994.

KK (singer)


In 1994, KK gave a demo tape to Louis Banks, Ranjit Barot and Lesle Lewis. He was called by UTV, and sang a jingle for a Santogen Suiting ad. In a four-year period, KK sang over 3,500 jingles in 11 languages. He considered Lesle Lewis his mentor for giving him his first jingle to sing in Mumbai. KK then became a playback singer, beginning with A. R. Rahman's songs, "Kalluri Saalai" and "Hello Dr.", from Kathir's Kadhal Desam (1996) and "Strawberry Kannae" from AVM Productions's 1997 musical film, Minsara Kanavu.

KK (singer)


KK made his Bollywood debut with the song "Tadap Tadap Ke Is Dil Se" in Hum Dil De Chuke Sanam (1999). Before this song, however, he had sung parts of "Chhod Aaye Hum" in Gulzar's Maachis (1996). KK considered "Tadap Tadap Ke Is Dil Se" the turning point of his career. Other popular songs included "Dola Re Dola" in Devdas (2002), "Kya Mujhe Pyaar Hai" in Woh Lamhe... (2006), "Aankhon Mein Teri" in Om Shanti Om (2007), "Khuda Jane" in Bachna Ae Haseeno (2008), "Piya Aaye Na" in Aashiqui 2 (2013), "Mat Aazma Re" in Murder 3 (2013), "India Wale" in Happy New Year (2014) and "Tu Jo Mila" from Bajrangi Bhaijaan (2015).

KK (singer)


KK received six Filmfare Awards nominations for his songs: "Tadap Tadap", "Bardaasht Nahi Kar Sakta", "Dus Bahane", "Ajab Si", "Zara Sa" and "Khuda Jane". He received the 2009 Screen Award for Best Playback Singer – Male for "Khuda Jaane", from the film Bachna Ae Haseeno. In 2022, KK worked with filmmaker Srijit Mukherji and lyricist Gulzar on a song for Sherdil: The Pilibhit Saga. The song, "Dhoop Paani Bahne De", was the first song released since his death.

KK (singer)


KK sang popular songs in several languages, including Tamil. According to Outlook, his songs defined Tamil film music during the 2000s and became part of Tamil culture. In 2004, KK's Tamil song "Appadi Podu" became popular across India and was played at clubs and weddings. He worked with A. R. Rahman on "Strawberry Kanne", a popular song, in 1997.

KK (singer)


He had a decade of hit songs during the 2000s. KK sang "Love Pannu" for Harris Jayaraj in 2001, followed by "Kadhal Oru Thani Katchi" and "Gundu Gundu Ponne". In 2003, he had two hits composed by Harris Jayaraj: "Uyirin Uyire" and "Kalyanam Dhaan Kattitkittu". "Uyirin Uyire" was popular in cities, and "Kalyanam Dhaan Kattitkittu" became popular across Tamil Nadu.

KK (singer)


KK sang "Kadhal Valarthen", composed by Yuvan Shankar Raja. He worked with Harris Jayaraj and Yuvan Shankar Raja to produce two hit songs: "Kadhalikkum Aasai" and "Ninaithu Ninaithu". "Andankaaka Kondaikaari", composed by Harris Jayaraj, was another successful song. KK sang "Annanoda Paatu" in the film Chandramukhi. Other Tamil hit songs by were "Pani Thuli", "Olikuchi Udambukari", and "Lelakku Lelakku Lela". Despite his birth to a Malayali family in Thrissur, KK sang only one Malayalam song in his 25-year career: "Rahasyamay" in Puthiya Mukham (2009).

KK (singer)


In 1999, Sony Music had been launched in India and wanted to introduce a new artist. KK was selected, and released his debut solo album: Pal, with music by Lesle Lewis of the duo Colonial Cousins (who also arranged and produced the album). Pal was a pop rock album. and the songs "Aap Ki Dua", "Yaaron" and the title track, "Pal" were popular with audiences and on the music charts; "Pal" and "Yaaron" are frequently played at school farewells. KK received the 1999 Screen Award for Best Singer – Male (non-film music) for the album.

KK (singer)


He released his next album, Humsafar, on 22 January 2008. Humsafar featured "Aasman Ke", "Dekho Na", "Yeh Kahan Mil Gaye Hum", "Rain Bhai Kaari (Maajhi)", and the English-language ballad "Cineraria". The lyrics of its title track are a mixture of English and Hindi, and eight songs on the album were composed by KK.

KK (singer)


He sang many songs for television serials, including Just Mohabbat, Shaka Laka Boom Boom, Kuch Jhuki Si Palkein, Hip Hip Hurray, Kkavyanjali and Just Dance. KK was a jury member on the talent-hunt show, Fame Gurukul.

KK (singer)


He sang "Tanha Chala" on the Pakistani TV show The Ghost, which aired on Hum TV in 2008. The song was composed by Farrukh Abid and Shoaib Farrukh, with lyrics by Momina Duraid.

KK (singer)


KK appeared on the MTV India musical programme Coke Studio, singing the qawwali "Chadta Suraj" with the Sabri Brothers and a reprise of "Tu Aashiqui Hai" from Jhankaar Beats. He appeared on Surili Baat, on the Aaj Tak channel. KK performed on Sony Mix and MTV Unplugged, which aired on MTV on 11 January 2014. He presented his Salaam Dubai 2014 concert in Dubai in April 2014, and performed in concert in Goa, Dubai, Chennai and Hong Kong.

KK (singer)