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. ▁By ▁the ▁ 1 9 3 0 s , ▁many ▁bands ▁had ▁incorpor ated ▁a ▁tr ump et , ▁becoming ▁sept et os , ▁and ▁in ▁the ▁ 1 9 4 0 s ▁a ▁larger ▁type ▁of ▁ensemble ▁featuring ▁con gas ▁and ▁piano ▁became ▁the ▁norm : ▁the ▁conjunto . ▁Besides , ▁the ▁son ▁became ▁one ▁of ▁the ▁main ▁ing red ients ▁in ▁the ▁jam ▁sessions ▁known ▁as ▁desc arg as ▁that ▁fl our ished ▁during ▁the ▁ 1 9 5 0 s . ▁ ▁The ▁international ▁presence ▁of ▁the ▁son ▁can ▁be ▁trac ed ▁back ▁to ▁the ▁ 1 9 3 0 s ▁when ▁many ▁bands ▁tou red ▁Europe ▁and ▁North ▁America , ▁leading ▁to ▁ball room ▁adapt ations ▁of ▁the ▁genre ▁such ▁as ▁the ▁American ▁r hum ba . ▁Similarly , ▁radio ▁broadcast s ▁of ▁son ▁became ▁popular ▁in ▁West ▁Africa ▁and ▁the ▁Cong os , ▁leading ▁to ▁the ▁development ▁of ▁hy brid ▁gen res ▁such ▁as ▁Cong ol ese ▁rum ba . ▁In ▁the ▁ 1 9 6 0 s , ▁New ▁York ' s ▁music ▁scene ▁prompt ed ▁the ▁rapid ▁success ▁of ▁s als a , ▁a ▁combination ▁of ▁son ▁and ▁other ▁Latin ▁American ▁styles ▁primarily ▁recorded ▁by ▁Puerto ▁Ric ans . ▁While ▁s als a ▁achieved ▁international ▁popular ity ▁during ▁the ▁second ▁half ▁of ▁the ▁ 2 0 th ▁century , ▁in ▁Cuba ▁son ▁evol ved ▁into ▁other ▁styles ▁such ▁as ▁song o ▁and ▁tim ba , ▁the ▁latter ▁of ▁which ▁is ▁sometimes ▁known ▁as ▁" C |
ub an ▁s als a ". ▁ ▁Et ym ology ▁and ▁cogn ates ▁In ▁Spanish , ▁the ▁word ▁son , ▁from ▁Latin ▁son us , ▁denotes ▁a ▁pleasant ▁sound , ▁particularly ▁a ▁musical ▁one . ▁In ▁eastern ▁Cuba , ▁the ▁term ▁began ▁to ▁be ▁used ▁to ▁refer ▁to ▁the ▁music ▁of ▁the ▁high lands ▁towards ▁the ▁late ▁ 1 9 th ▁century . ▁To ▁distinguish ▁it ▁from ▁similar ▁gen res ▁from ▁other ▁countries ▁( such ▁as ▁son ▁mex icano ▁and ▁son ▁gu atem al te co ), ▁the ▁term ▁son ▁cub ano ▁is ▁most ▁commonly ▁used . ▁In ▁Cuba , ▁various ▁qual ifiers ▁are ▁used ▁to ▁distinguish ▁the ▁regional ▁variants ▁of ▁the ▁genre . ▁These ▁include ▁son ▁mont uno , ▁son ▁orient al , ▁son ▁s anti agu ero ▁and ▁son ▁hab an ero . ▁ ▁Son ▁sing ers ▁are ▁generally ▁known ▁as ▁son eros , ▁and ▁the ▁verb ▁s one ar ▁describes ▁not ▁only ▁their ▁singing ▁but ▁also ▁their ▁vocal ▁impro vis ation . ▁The ▁ad jective ▁s one ado ▁refers ▁to ▁songs ▁and ▁styles ▁which ▁incorpor ate ▁the ▁tempo ▁and ▁sync op ation ▁of ▁the ▁son , ▁or ▁even ▁its ▁mont unos . ▁Gener ally , ▁there ▁is ▁an ▁explicit ▁difference ▁between ▁styles ▁that ▁incorpor ate ▁elements ▁of ▁the ▁son ▁partially ▁or ▁totally , ▁as ▁ev iden ced ▁by ▁the ▁distinction ▁between ▁bol ero ▁s one ado ▁and ▁bol ero - son . ▁The ▁term ▁son ora ▁refers ▁to ▁conj unt os ▁with ▁sm o other ▁tr ump et ▁sections ▁such |
▁as ▁Son ora ▁Mat anc era ▁and ▁Son ora ▁P once ña . ▁ ▁History ▁ ▁Orig ins ▁ ▁Although ▁the ▁history ▁of ▁Cub an ▁music ▁dates ▁back ▁to ▁the ▁ 1 6 th ▁century , ▁the ▁son ▁is ▁a ▁relatively ▁recent ▁musical ▁in vention ▁whose ▁prec urs ors ▁emer ged ▁in ▁the ▁mid - to - late ▁ 1 9 th ▁century . ▁Histor ically , ▁most ▁music olog ists ▁have ▁supported ▁the ▁hypothesis ▁that ▁the ▁direct ▁ancest ors ▁( or ▁earliest ▁forms ) ▁of ▁the ▁son ▁appeared ▁in ▁Cuba ' s ▁Ori ente ▁Province , ▁particularly ▁in ▁mountain ous ▁regions ▁such ▁as ▁Sierra ▁Ma estra . ▁These ▁early ▁styles , ▁which ▁include ▁chang ü í , ▁n eng ón , ▁ki rib á ▁and ▁reg ina , ▁were ▁developed ▁by ▁pe as ants , ▁many ▁of ▁which ▁were ▁of ▁B ant u ▁origin , ▁in ▁contrast ▁to ▁the ▁Af ro - C ub ans ▁of ▁the ▁western ▁side ▁of ▁the ▁island , ▁which ▁primarily ▁desc ended ▁from ▁West ▁African ▁slaves ▁( Y or uba , ▁E we , ▁etc .). ▁These ▁forms ▁fl our ished ▁in ▁the ▁context ▁of ▁rural ▁parties ▁such ▁as ▁gu ate ques , ▁where ▁b ung as ▁were ▁known ▁to ▁perform ; ▁these ▁groups ▁consisted ▁of ▁sing ers ▁and ▁guitar ists ▁playing ▁variants ▁such ▁as ▁the ▁ti ple , ▁band ur ria ▁and ▁band ola . ▁Such ▁early ▁gu it ars ▁are ▁thought ▁to ▁have ▁given ▁rise ▁to ▁the ▁tres ▁some ▁time ▁around ▁ 1 8 9 |
0 ▁in ▁Bar aco a . ▁The ▁addition ▁of ▁a ▁rh ythm ▁section ▁composed ▁of ▁per cussion ▁instruments ▁such ▁as ▁the ▁b ong ó ▁and ▁the ▁bot ija / mar ím b ula ▁gave ▁rise ▁to ▁the ▁first ▁son ▁groups ▁proper . ▁Non eth eless , ▁it ▁has ▁become ▁increasing ly ▁clear ▁for ▁music olog ists ▁that ▁different ▁versions ▁of ▁the ▁son , ▁i . e . ▁styles ▁that ▁fall ▁within ▁the ▁so - called ▁son ▁complex , ▁appeared ▁throughout ▁the ▁rural ▁parts ▁of ▁the ▁island ▁by ▁the ▁end ▁of ▁the ▁ 1 8 9 0 s . ▁Music ologist ▁Mart a ▁Es qu en azi ▁Pérez ▁div ides ▁the ▁son ▁complex ▁into ▁three ▁regional ▁variants : ▁chang ü í ▁in ▁Gu ant án amo , ▁su cu - s uc u ▁in ▁Is la ▁de ▁la ▁Ju vent ud , ▁and ▁an ▁array ▁of ▁styles ▁which ▁fall ▁under ▁the ▁den om ination ▁of ▁son ▁mont uno ▁and ▁were ▁developed ▁in ▁places ▁such ▁as ▁Bay amo , ▁Man zan illo , ▁Maj agua ▁and ▁Pin ar ▁del ▁Río . ▁For ▁this ▁reason , ▁some ▁academ ics ▁such ▁as ▁Rad am és ▁G iro ▁and ▁Jes ús ▁Gó mez ▁C airo ▁indicate ▁that ▁aw aren ess ▁of ▁the ▁son ▁was ▁w ides p read ▁in ▁the ▁whole ▁island , ▁including ▁Hav ana , ▁before ▁the ▁actual ▁expansion ▁of ▁the ▁genre ▁in ▁the ▁ 1 9 1 0 s . ▁ ▁Music ologist ▁Peter ▁Manuel ▁proposed ▁an ▁alternative ▁hypothesis ▁according ▁to ▁which ▁a ▁great ▁deal |
▁of ▁the ▁son ' s ▁structure ▁origin ated ▁from ▁the ▁contrad anza ▁in ▁Hav ana ▁around ▁the ▁second ▁half ▁of ▁the ▁ 1 9 th ▁century . ▁The ▁contrad anza ▁included ▁many ▁of ▁the ▁tra its ▁that ▁are ▁shown ▁in ▁the ▁son , ▁such ▁as ▁du ets ▁with ▁mel od ies ▁in ▁parallel ▁third s , ▁the ▁presence ▁of ▁a ▁suggested ▁cla ve ▁rh ythm , ▁implicit ▁short ▁vocal ▁ref ra ins ▁borrow ed ▁from ▁popular ▁songs , ▁distinct ive ▁sync op ations , ▁as ▁well ▁as ▁the ▁two - parts ▁song ▁form ▁with ▁an ▁ost in ato ▁section . ▁ ▁Ap oc ry phal ▁orig ins ▁of ▁the ▁son ▁ ▁Due ▁to ▁the ▁very ▁limited ▁histor i ographical ▁and ▁eth nom us ic ological ▁research ▁devoted ▁to ▁the ▁son ▁( cons ider ed ▁by ▁Dí az ▁Ay ala ▁the ▁" le ast ▁studied " ▁Cub an ▁genre ), ▁until ▁the ▁mid - 2 0 th ▁century ▁its ▁orig ins ▁were ▁incorrectly ▁trac ed ▁back ▁to ▁the ▁ 1 6 th ▁century ▁by ▁many ▁writers . ▁This ▁f alla cy ▁stem med ▁from ▁the ▁ap oc ry phal ▁origin ▁story ▁of ▁a ▁folk ▁song ▁known ▁as ▁" S on ▁de ▁M á ▁Te od ora ". ▁Such ▁story ▁was ▁first ▁mentioned ▁by ▁Cub an ▁historian ▁Jo aqu ín ▁José ▁García ▁in ▁ 1 8 4 5 , ▁who ▁" c ited " ▁a ▁chron icle ▁supposed ly ▁written ▁by ▁Hern ando ▁de ▁la ▁Par ra ▁in ▁the ▁ 1 6 th ▁century . |
▁Par ra ' s ▁story ▁was ▁picked ▁up , ▁rec yc led ▁and ▁expanded ▁by ▁various ▁authors ▁throughout ▁the ▁second ▁half ▁of ▁the ▁ 1 9 th ▁century , ▁perpet u ating ▁the ▁idea ▁that ▁such ▁song ▁was ▁the ▁first ▁example ▁of ▁the ▁son ▁genre . ▁Despite ▁being ▁given ▁cred ence ▁by ▁some ▁authors ▁in ▁the ▁first ▁half ▁of ▁the ▁ 2 0 th ▁century , ▁including ▁Fernando ▁Ort iz , ▁the ▁Cr ón icas ▁were ▁repeatedly ▁shown ▁to ▁be ▁ap oc ry phal ▁in ▁subsequent ▁studies ▁by ▁Manuel ▁Pérez ▁Be ato , ▁José ▁Juan ▁Ar rom , ▁Max ▁Hen rí quez ▁U re ña ▁and ▁Alberto ▁M ug uer cia . ▁ ▁Early ▁ 2 0 th ▁century ▁ ▁The ▁emer gence ▁of ▁son ▁significantly ▁increased ▁the ▁interaction ▁of ▁cult ures ▁derived ▁from ▁Africa ▁and ▁Spain . ▁ ▁A ▁large ▁number ▁of ▁former ▁black ▁slaves , ▁recently ▁liber ated ▁after ▁the ▁abol ition ▁of ▁sla very ▁in ▁ 1 8 8 6 ▁went ▁to ▁live ▁in ▁the ▁sl ums ▁" sol ares " ▁of ▁low ▁class ▁neighborhood s ▁in ▁Hav ana , ▁and ▁numerous ▁labor ers ▁also ▁arrived ▁from ▁all ▁over ▁the ▁country ▁and ▁some ▁rural ▁areas , ▁looking ▁to ▁improve ▁their ▁living ▁conditions . ▁Many ▁of ▁them ▁brought ▁their ▁Af ro - C ub an ▁rum ba ▁trad itions , ▁and ▁others ▁brought ▁their ▁rum bit as ▁and ▁mont unos . ▁ ▁It ▁was ▁in ▁Hav ana ▁where ▁the ▁encounter ▁of ▁the ▁rum ba ▁rural ▁and ▁the ▁rum ba ▁urb ana |
▁that ▁had ▁been ▁developing ▁separately ▁during ▁the ▁second ▁half ▁of ▁the ▁ 1 9 th ▁century ▁took ▁place . ▁The ▁gu ar ach eros ▁and ▁r umber os ▁who ▁used ▁to ▁play ▁with ▁the ▁ti ple ▁and ▁the ▁gu iro ▁finally ▁met ▁other ▁r umber os ▁who ▁sang ▁and ▁dan ced ▁accompanied ▁by ▁the ▁wooden ▁box ▁( ca j ón ) ▁and ▁the ▁Cub an ▁cla ve , ▁and ▁the ▁result ▁was ▁the ▁fusion ▁of ▁both ▁styles ▁in ▁a ▁new ▁genre ▁called ▁son . ▁Ar ound ▁ 1 9 1 0 ▁the ▁son ▁most ▁likely ▁adopted ▁the ▁cla ve ▁rh ythm ▁from ▁the ▁Hav ana - based ▁rum ba , ▁which ▁had ▁been ▁developed ▁in ▁the ▁late ▁ 1 9 th ▁century ▁in ▁Hav ana ▁and ▁Mat anz as . ▁ ▁After ▁trov ador ▁S indo ▁Gar ay ▁settled ▁in ▁Hav ana ▁in ▁ 1 9 0 6 , ▁many ▁other ▁trov adores ▁followed ▁him ▁hoping ▁to ▁obtain ▁a ▁recording ▁contract ▁with ▁one ▁of ▁the ▁American ▁Comp an ies ▁such ▁as ▁R CA ▁Victor ▁and ▁Columbia ▁Records . ▁Those ▁trov adores ▁from ▁different ▁parts ▁of ▁the ▁country ▁met ▁others ▁who ▁already ▁lived ▁in ▁Hav ana ▁such ▁as ▁María ▁Ter esa ▁V era ▁and ▁Rafael ▁Ze que ira . ▁They ▁brought ▁their ▁re per to ires ▁of ▁can ciones ▁( C ub an ▁songs ) ▁and ▁bol eros ▁that ▁also ▁included ▁r umb as , ▁gu ar ach as ▁and ▁rural ▁rum bit as . ▁▁ ▁Fam ous ▁trov ador ▁Ch ico ▁Ib á |
ñ ez ▁said ▁that ▁he ▁composed ▁his ▁first ▁" mont uno " ▁called ▁" P obre ▁E var isto " ▁( Po or ▁E var isto ) ▁in ▁ 1 9 0 6 : ▁" It ▁was ▁a ▁ton ada ▁with ▁three ▁or ▁four ▁words ▁that ▁you ▁put ▁on , ▁and ▁after ▁it , ▁we ▁placed ▁a ▁repeated ▁phrase , ▁the ▁real ▁mont uno ▁to ▁be ▁s ung ▁by ▁everybody … ". ▁Ned ▁Sub lette ▁states ▁about ▁another ▁famous ▁trov ador ▁and ▁son ero : ▁" As ▁a ▁child , ▁Miguel ▁Mat am or os ▁played ▁d anz ones ▁and ▁son es ▁on ▁his ▁harm onica ▁to ▁entertain ▁the ▁workers ▁at ▁a ▁local ▁cig ar ▁factory . ▁He ▁said : ▁' the ▁son es ▁that ▁were ▁composed ▁at ▁that ▁time ▁were ▁nothing ▁more ▁than ▁two ▁or ▁three ▁words ▁that ▁were ▁repeated ▁all ▁night ▁long . ▁ ▁A ▁partial ▁list ▁of ▁trov adores ▁that ▁recorded ▁r umb as , ▁gu ar ach as ▁and ▁son es ▁in ▁Hav ana ▁at ▁the ▁beginning ▁of ▁the ▁ 2 0 th ▁century ▁included : ▁S indo ▁Gar ay , ▁Manuel ▁Cor ona , ▁María ▁Ter esa ▁V era , ▁Alberto ▁Vill al ón , ▁José ▁Cast illo , ▁Juan ▁Cruz , ▁Juan ▁de ▁la ▁Cruz , ▁N ano ▁León , ▁Rom án ▁Martínez , ▁as ▁well ▁as ▁the ▁du os ▁of ▁Fl oro ▁and ▁Z orr illa , ▁P abl ito ▁and ▁L una , ▁Z al azar ▁and ▁Or iche , ▁and ▁also ▁Ad ol fo |
▁Col om bo , ▁who ▁was ▁not ▁a ▁trov ador ▁but ▁a ▁solo ist ▁at ▁Teatro ▁Al h amb ra . ▁ ▁In ▁the ▁Hav ana ▁neighborhood s , ▁the ▁son ▁groups ▁played ▁in ▁any ▁possible ▁format ▁they ▁could ▁gather ▁and ▁most ▁of ▁them ▁were ▁semi - prof essional . ▁One ▁of ▁those ▁groups , ▁The ▁Ap aches , ▁was ▁invited ▁in ▁ 1 9 1 6 ▁to ▁a ▁party ▁held ▁by ▁President ▁Mario ▁Men ocal ▁at ▁the ▁exclusive ▁V ed ado ▁Tennis ▁Club , ▁and ▁that ▁same ▁year ▁some ▁members ▁of ▁the ▁group ▁were ▁re organ ized ▁in ▁a ▁quart et ▁named ▁Cu art eto ▁Oriental . ▁Those ▁members ▁were : ▁Ric ardo ▁Martínez ▁from ▁Santiago ▁de ▁Cuba ▁( con duct or ▁and ▁tres ), ▁Ger ardo ▁Martínez ▁( first ▁voice ▁and ▁cla ve ), ▁Gu ill ermo ▁Cast illo ▁( bot ij uela ), ▁and ▁F eli pe ▁N eri ▁Cab rera ▁( mar ac as ). ▁According ▁to ▁Jes ús ▁Blan co , ▁quoted ▁by ▁Dí az ▁Ay ala , ▁after ▁a ▁few ▁months ▁from ▁its ▁foundation ▁the ▁b ong oc ero ▁Jo aqu ín ▁Vel az co ▁joined ▁the ▁group . ▁ ▁In ▁ 1 9 1 7 , ▁the ▁Cu art eto ▁Oriental ▁recorded ▁the ▁first ▁son ▁documented ▁on ▁the ▁catalog ▁of ▁Columbia ▁Records ▁which ▁was ▁entered ▁as ▁" P are ▁motor ista - son ▁s anti agu ero ". ▁Une x pected ly , ▁a ▁fifth ▁member ▁of ▁the ▁quart et ▁is ▁mentioned , ▁Carlos ▁God í |
nez , ▁who ▁was ▁a ▁soldier ▁in ▁the ▁standing ▁army ▁( E j ército ▁P erman ente ). ▁Sub sequently , ▁the ▁R CA ▁Victor ▁contract ed ▁God í nez ▁in ▁ 1 9 1 8 ▁to ▁organ ize ▁a ▁group ▁and ▁record ▁several ▁songs . ▁For ▁that ▁recording , ▁the ▁new ▁group ▁was ▁called ▁" S ext eto ▁H aban ero ▁God í nez ", ▁which ▁included : ▁Carlos ▁God í nez ▁( con duct or ▁and ▁tres ero ), ▁María ▁Ter esa ▁V era ▁( first ▁voice ▁and ▁cla ve ), ▁Manuel ▁Cor ona ▁( second ▁voice ▁and ▁guitar ), ▁Sin son te ▁( third ▁voice ▁and ▁mar ac as ), ▁Alfred o ▁B olo ña ▁( b ongo ), ▁and ▁another ▁unknown ▁perform er ▁who ▁was ▁not ▁included ▁in ▁the ▁list . ▁▁ 1 9 2 0 s ▁ ▁In ▁ 1 9 2 0 , ▁the ▁Cu art eto ▁Oriental ▁became ▁a ▁se xt et ▁and ▁was ▁renamed ▁as ▁Se xt eto ▁H aban ero . ▁This ▁group ▁established ▁the ▁" class ical " ▁configuration ▁of ▁the ▁son ▁se xt et ▁composed ▁of ▁guitar , ▁tres , ▁b ong os , ▁cla ves , ▁mar ac as ▁and ▁double ▁bass . ▁The ▁se xt et ▁members ▁were : ▁Gu ill ermo ▁Cast illo ▁( con duct or , ▁guitar ▁and ▁second ▁voice ), ▁Ger ardo ▁Martínez ▁( first ▁voice ), ▁F eli pe ▁N eri ▁Cab rera ▁( mar ac as ▁and ▁backing ▁vocals ), ▁Ric ardo ▁Martínez ▁( |
tres ), ▁Jo aqu ín ▁Vel az co ▁( b ong os ), ▁and ▁Antonio ▁Bac alla o ▁( bot ija ). ▁Ab el ardo ▁Bar ro so , ▁one ▁of ▁the ▁most ▁famous ▁son eros , ▁joined ▁the ▁group ▁in ▁ 1 9 2 5 . ▁ ▁Popular ization ▁began ▁in ▁earnest ▁with ▁the ▁arrival ▁of ▁radio ▁broadcast ing ▁in ▁ 1 9 2 2 , ▁which ▁came ▁at ▁the ▁same ▁time ▁as ▁Hav ana ' s ▁reputation ▁as ▁an ▁att raction ▁for ▁Americans ▁ev ading ▁Pro hib ition ▁laws . ▁The ▁city ▁became ▁a ▁haven ▁for ▁the ▁M af ia , ▁g amb ling ▁and ▁prost itution ▁in ▁Cuba , ▁and ▁also ▁became ▁a ▁second ▁home ▁for ▁tr end y ▁and ▁influ ential ▁bands ▁from ▁New ▁York ▁City . ▁The ▁son ▁experienced ▁a ▁period ▁of ▁transformation ▁from ▁ 1 9 2 5 ▁to ▁ 1 9 2 8 , ▁when ▁it ▁evol ved ▁from ▁a ▁marg inal ▁genre ▁of ▁music ▁to ▁perhaps ▁the ▁most ▁popular ▁type ▁of ▁music ▁in ▁Cuba . ▁ ▁A ▁turning ▁point ▁that ▁made ▁this ▁transformation ▁possible ▁occurred ▁when ▁then - pres ident ▁Mach ado ▁public ly ▁asked ▁La ▁Son ora ▁Mat anc era ▁to ▁perform ▁at ▁his ▁birth day ▁party . ▁In ▁addition , ▁the ▁accept ance ▁of ▁son ▁as ▁a ▁popular ▁music ▁genre ▁in ▁other ▁countries ▁contributed ▁to ▁more ▁accept ance ▁of ▁son ▁in ▁main stream ▁Cuba . ▁At ▁that ▁time ▁many ▁se xt ets ▁were ▁founded ▁such ▁as ▁B olo ña , ▁Ag abama , |
▁Bot ón ▁de ▁Rosa ▁and ▁the ▁famous ▁Se xt eto ▁Occ idente ▁conducted ▁by ▁María ▁Ter esa ▁V era . ▁ ▁A ▁few ▁years ▁later , ▁in ▁the ▁late ▁ 1 9 2 0 s , ▁son ▁se xt ets ▁became ▁sept ets ▁and ▁son ' s ▁popular ity ▁continued ▁to ▁grow ▁with ▁artists ▁like ▁Sept eto ▁Nacional ▁and ▁its ▁leader ▁Ig na cio ▁Pi ñ e iro ▁(" E ch ale ▁s als ita ", ▁" Don de ▁estab as ▁ano che "). ▁In ▁ 1 9 2 8 , ▁R ita ▁Mont an er ' s ▁" El ▁Man ic ero " ▁became ▁the ▁first ▁Cub an ▁song ▁to ▁be ▁a ▁major ▁hit ▁in ▁Paris ▁and ▁elsewhere ▁in ▁Europe . ▁In ▁ 1 9 3 0 , ▁Don ▁Az p ia zu ' s ▁Hav ana ▁Cas ino ▁Orchestra ▁took ▁the ▁song ▁to ▁the ▁United ▁States , ▁where ▁it ▁also ▁became ▁a ▁big ▁hit . ▁ ▁The ▁instrument ation ▁was ▁expanded ▁to ▁include ▁cor net s ▁or ▁tr ump ets , ▁forming ▁the ▁se xt ets ▁and ▁the ▁sept ets ▁of ▁the ▁ 1 9 2 0 s . ▁Later ▁these ▁conj unt os ▁added ▁piano , ▁other ▁per cussion ▁instruments , ▁more ▁tr ump ets , ▁and ▁even ▁dance ▁or chestra ▁instruments ▁in ▁the ▁style ▁of ▁jazz ▁big ▁bands . ▁ ▁Tr ío ▁Mat am or os ▁ ▁The ▁presence ▁of ▁the ▁Tr ío ▁Mat am or os ▁in ▁the ▁history ▁of ▁Cub an ▁son ▁is ▁so ▁important ▁that ▁it |
▁deser ves ▁a ▁separate ▁section . ▁Its ▁development ▁constit utes ▁an ▁example ▁of ▁the ▁process ▁that ▁the ▁trov adores ▁usually ▁followed ▁until ▁they ▁became ▁son eros . ▁The ▁Tr ío ▁was ▁founded ▁by ▁Miguel ▁Mat am or os ▁( v oc als ▁and ▁first ▁guitar ), ▁who ▁was ▁born ▁in ▁Santiago ▁de ▁Cuba ▁( Ori ente ) ▁in ▁ 1 8 9 4 . ▁There , ▁he ▁became ▁involved ▁with ▁the ▁traditional ▁trova ▁movement ▁and ▁in ▁ 1 9 2 5 ▁joined ▁S iro ▁Rodríguez ▁( v oc als ▁and ▁mar ac as ) ▁and ▁Rafael ▁Cu eto ▁( v oc als ▁and ▁second ▁guitar ) ▁to ▁create ▁the ▁famous ▁group . ▁ ▁They ▁synth es ized ▁the ▁style ▁of ▁the ▁se xt ets ▁and ▁sept ets , ▁adapt ing ▁it ▁to ▁their ▁ensemble . ▁The ▁different ▁rh yth mic ▁layers ▁of ▁the ▁son ▁style ▁were ▁distributed ▁between ▁their ▁three ▁voices , ▁gu it ars ▁and ▁mar ac as . ▁Cu eto ▁pl uck ed ▁the ▁strings ▁of ▁his ▁guitar ▁instead ▁of ▁str um ming ▁them ▁as ▁it ▁was ▁usual , ▁providing ▁the ▁patterns ▁of ▁the ▁gu aje o ▁in ▁the ▁tre ble ▁range , ▁and ▁the ▁sync op ated ▁rh yth ms ▁of ▁the ▁tum ba o ▁on ▁the ▁bass ▁strings . ▁The ▁counter point ▁was ▁completed ▁by ▁the ▁first ▁guitar , ▁played ▁by ▁Mat am or os . ▁They ▁also ▁occasionally ▁included ▁other ▁instruments ▁such ▁as ▁the ▁b ongo , ▁and ▁later ▁they ▁decided ▁to ▁expand ▁the ▁tri o ▁format ▁to |
▁create ▁a ▁son ▁conjunto ▁by ▁adding ▁a ▁piano , ▁more ▁gu it ars , ▁tres ▁and ▁other ▁voices . ▁This ▁project ▁was ▁joined ▁by ▁such ▁important ▁figures ▁as ▁Lorenzo ▁H ierre z uel o , ▁Francisco ▁Rep il ado ▁( Comp ay ▁Seg undo ) ▁and ▁Ben y ▁Mor é . ▁ ▁In ▁ 1 9 2 8 , ▁they ▁travel led ▁to ▁New ▁York ▁with ▁a ▁recording ▁contract ▁by ▁R CA ▁Victor , ▁and ▁their ▁first ▁album ▁caused ▁such ▁a ▁great ▁impact ▁in ▁the ▁public ▁that ▁they ▁soon ▁became ▁very ▁famous ▁at ▁a ▁national ▁as ▁well ▁as ▁an ▁international ▁level . ▁The ▁Tr ío ▁Mat am or os ▁maintained ▁great ▁prom in ence ▁until ▁their ▁official ▁ret irement ▁in ▁ 1 9 6 0 . ▁▁ 1 9 3 0 s ▁ ▁By ▁the ▁late ▁ 1 9 3 0 s , ▁the ▁he yd ay ▁of ▁" Class ic ▁son " ▁had ▁largely ▁ended . ▁The ▁se xt et os ▁and ▁sept et os ▁that ▁had ▁enjoyed ▁wide ▁commercial ▁popular ity ▁increasing ly ▁lost ▁ground ▁to ▁jazz ▁bands ▁and ▁ampl ified ▁conj unt os . ▁The ▁very ▁music ▁that ▁son ▁had ▁helped ▁to ▁create ▁was ▁now ▁replacing ▁son ▁as ▁the ▁more ▁popular ▁and ▁most ▁requested ▁music ▁in ▁Cuba . ▁Original ▁son ▁conj unt os ▁were ▁faced ▁with ▁the ▁options ▁of ▁either ▁to ▁dis band ▁and ▁ref ocus ▁on ▁newer ▁styles ▁of ▁Cub an ▁music , ▁or ▁go ▁back ▁to ▁their ▁roots . ▁▁ 1 9 4 0 s ▁ ▁In ▁the |
▁ 1 9 4 0 s , ▁Ar sen io ▁Rodríguez ▁became ▁the ▁most ▁influ ential ▁player ▁of ▁son . ▁He ▁used ▁impro vised ▁sol os , ▁to ques , ▁con gas , ▁extra ▁tr ump ets , ▁per cussion ▁and ▁pian os , ▁although ▁all ▁these ▁elements ▁had ▁been ▁used ▁previously ▁(" P apa uba ", ▁" Par a ▁b ail ar ▁son ▁mont uno "). ▁Ben y ▁Mor é ▁( known ▁as ▁El ▁B ár bar o ▁del ▁R it mo , ▁" The ▁Master ▁of ▁Rh ythm ") ▁further ▁evol ved ▁the ▁genre , ▁adding ▁gu ar ach a , ▁bol ero ▁and ▁m am bo ▁influ ences . ▁He ▁was ▁perhaps ▁the ▁greatest ▁son ero ▁(" Cast ell ano ▁que ▁bu eno ▁b ail a ▁u sted ", ▁" Vert iente ▁Cam ague y "); ▁another ▁important ▁son ero ▁was ▁Roberto ▁F az . ▁ ▁By ▁the ▁late ▁ 1 9 4 0 s , ▁son ▁had ▁lost ▁its ▁controvers ial ity ▁even ▁among ▁conserv ative ▁Cub ans ▁which ▁made ▁it ▁even ▁less ▁appe aling ▁to ▁Cub ans . ▁A ▁development ▁that ▁led ▁to ▁the ▁decrease ▁in ▁popular ity ▁of ▁the ▁original ▁son ▁occurred ▁in ▁the ▁ 1 9 4 0 s . ▁The ▁son ▁grew ▁more ▁s oph istic ated ▁as ▁it ▁was ▁adopted ▁by ▁conj unt os , ▁which ▁disp la ced ▁se xt et os ▁and ▁sept et os . ▁This ▁led ▁to ▁big ▁bands ▁replacing ▁the ▁conj unt os , ▁which ▁managed ▁to ▁keep ▁its |
▁flav or ▁despite ▁elaborate ▁arrang ements . ▁ ▁During ▁the ▁ 1 9 4 0 s ▁and ▁ 1 9 5 0 s , ▁the ▁tour ism ▁bo om ▁in ▁Cuba ▁and ▁the ▁popular ity ▁of ▁jazz ▁and ▁American ▁music ▁in ▁general ▁fost ered ▁the ▁development ▁of ▁big ▁bands ▁and ▁comb os ▁on ▁the ▁island . ▁ ▁These ▁bands ▁consisted ▁of ▁a ▁relatively ▁small ▁horn ▁section , ▁piano , ▁double ▁bass , ▁a ▁full ▁array ▁of ▁Cub an ▁per cussion ▁instruments ▁and ▁a ▁vocal ist ▁front ing ▁the ▁ensemble . ▁Their ▁pol ished ▁sound ▁and ▁" cos m opol itan " ▁– ▁read ▁" com mer cial " ▁– ▁re per toire ▁capt iv ated ▁both ▁Cub an ▁and ▁foreign ▁aud ien ces . ▁ ▁The ▁commercial ism ▁of ▁this ▁new ▁music ▁movement ▁led ▁Cub an ▁night club ▁own ers ▁to ▁recognize ▁the ▁re venue ▁potential ▁of ▁hosting ▁these ▁types ▁of ▁bands ▁to ▁attract ▁the ▁growing ▁flow ▁of ▁tour ists . ▁Additionally , ▁as ▁a ▁result ▁of ▁the ▁increasing ▁popular ity ▁of ▁big ▁band ▁music ▁and ▁in ▁an ▁effort ▁to ▁increase ▁reven ues , ▁the ▁recording ▁industry ▁focused ▁on ▁producing ▁newer ▁types ▁of ▁music ▁and ▁essentially ▁removing ▁son ▁from ▁their ▁music ▁re per to ires . ▁These ▁develop ments ▁were ▁a ▁big ▁blow ▁to ▁the ▁prospect s ▁of ▁son ▁and ▁its ▁popular ity ▁amongst ▁even ▁Cub ans . ▁ ▁With ▁the ▁arrival ▁of ▁cha - cha - ch á ▁and ▁m am bo ▁in ▁the ▁United ▁States , ▁son ▁also ▁became ▁extremely ▁popular |
. ▁After ▁the ▁Cub an ▁Revolution ▁separated ▁Cuba ▁from ▁the ▁U . S ., ▁son , ▁m am bo ▁and ▁rum ba , ▁along ▁with ▁other ▁forms ▁of ▁Af ro - C ub an ▁music ▁contributed ▁to ▁the ▁development ▁of ▁s als a ▁music , ▁initially ▁in ▁New ▁York . ▁ ▁The ▁mass ▁popular ization ▁of ▁son ▁music ▁led ▁to ▁an ▁increased ▁valor ization ▁of ▁Af ro - C ub an ▁street ▁culture ▁and ▁of ▁the ▁artists ▁who ▁created ▁it . ▁It ▁also ▁opened ▁the ▁door ▁for ▁other ▁music ▁gen res ▁with ▁Af ro - C ub an ▁roots ▁to ▁become ▁popular ▁in ▁Cuba ▁and ▁throughout ▁the ▁world . ▁ ▁Current ▁state ▁of ▁the ▁son ▁ ▁At ▁present , ▁the ▁traditional - style ▁son ▁is ▁s eld om ▁heard ▁but ▁has ▁been ▁assim il ated ▁into ▁other ▁gen res ▁and ▁is ▁present ▁in ▁them . ▁Thus , ▁other ▁types ▁of ▁popular ▁Cub an ▁music ▁and ▁other ▁Latin ▁styles ▁of ▁music ▁continue ▁using ▁the ▁essential ▁style ▁of ▁the ▁son . ▁ ▁Another ▁important ▁contribution ▁of ▁the ▁son ▁was ▁the ▁introduction ▁of ▁the ▁drum ▁to ▁main stream ▁music . ▁The ▁increase ▁in ▁popular ity ▁of ▁the ▁son ▁un ve iled ▁the ▁potential ▁of ▁music ▁with ▁Af ro - C ub an ▁rh yth ms . ▁This ▁led ▁to ▁the ▁development ▁and ▁mass ▁distribution ▁of ▁newer ▁types ▁of ▁Latin ▁music . ▁Additionally , ▁gen res ▁of ▁the ▁later ▁ 1 9 4 0 s ▁such ▁as ▁m am bo ▁manifest ▁many ▁characteristics ▁derived ▁from ▁son . |
▁Char anga ▁orch est ras , ▁also ▁developed ▁dance ▁music ▁heavily ▁influenced ▁by ▁son . ▁ ▁Perhaps ▁the ▁most ▁significant ▁contribution ▁of ▁son ▁is ▁its ▁influence ▁on ▁present ▁day ▁Latin ▁music . ▁Son ▁is ▁specifically ▁considered ▁to ▁be ▁the ▁foundation ▁on ▁which ▁s als a ▁was ▁created . ▁ ▁Although ▁the ▁" class ic ▁son " ▁continues ▁to ▁be ▁a ▁very ▁important ▁musical ▁foundation ▁for ▁all ▁kinds ▁of ▁Latin ▁music , ▁it ▁is ▁no ▁longer ▁a ▁popular ▁music ▁genre ▁in ▁Cuba . ▁Young er ▁gener ations ▁of ▁Cub ans ▁prefer ▁the ▁faster , ▁dance - orient ed ▁son - der iv atives ▁such ▁as ▁tim ba ▁or ▁s als a . ▁Old er ▁gener ations ▁continue ▁to ▁preserve ▁the ▁son ▁as ▁one ▁of ▁the ▁music ▁gen res ▁they ▁listen ▁to , ▁specifically ▁in ▁Ori ente , ▁where ▁they ▁tend ▁to ▁maintain ▁more ▁traditional ▁versions ▁of ▁the ▁son ▁compared ▁to ▁Hav ana . ▁ ▁The ▁dem ise ▁of ▁the ▁USS R ▁( C uba ' s ▁major ▁economic ▁main st ay ) ▁in ▁ 1 9 9 1 ▁forced ▁Cuba ▁to ▁encou rage ▁tour ism ▁to ▁attract ▁sor ely ▁needed ▁foreign ▁currency . ▁ ▁Al ong ▁with ▁tour ism , ▁music ▁became ▁one ▁of ▁Cuba ' s ▁major ▁assets . ▁ ▁The ▁Bu ena ▁V ista ▁Social ▁Club ▁album ▁and ▁film ▁as ▁well ▁as ▁a ▁stream ▁of ▁CD s ▁triggered ▁a ▁world wide ▁Cub an ▁music ▁bo om . ▁In ▁addition ▁to ▁the ▁original ▁Bu ena ▁V ista ▁Social ▁Club ▁album , ▁there ▁has |
▁been ▁a ▁stream ▁of ▁solo ▁CD s ▁by ▁the ▁members ▁of ▁the ▁" Cl ub ". ▁These ▁individuals ▁were ▁subsequently ▁offered ▁individual ▁contract s , ▁ens uring ▁a ▁continued ▁flow ▁of ▁CD s ▁that ▁include ▁many ▁original ▁Cub an ▁son ▁class ics . ▁ ▁Thanks ▁to ▁the ▁Bu ena ▁V ista ▁Social ▁Club ▁album , ▁film , ▁and ▁follow - up ▁solo ▁albums ▁there ▁has ▁been ▁a ▁rev ival ▁of ▁the ▁traditional ▁son ▁and ▁a ▁redis cover y ▁of ▁older ▁son ▁perform ers ▁who ▁had ▁often ▁fallen ▁by ▁the ▁way side . ▁ ▁Although ▁most ▁Cub ans ▁don ’ t ▁see ▁the ▁value ▁of ▁the ▁Bu ena ▁V ista ▁Social ▁Club ▁album ▁and ▁feel ▁it ▁doesn ' t ▁represent ▁present - day ▁Cuba , ▁it ▁has ▁introduced ▁the ▁Cub an ▁son ▁to ▁younger ▁gener ations ▁of ▁people ▁from ▁around ▁the ▁world ▁who ▁had ▁never ▁heard ▁of ▁son . ▁It ▁has ▁also ▁introduced ▁foreign ▁aud ien ces ▁to ▁an ▁important ▁part ▁of ▁Cub an ▁music ▁history . ▁ ▁Inst rument ation ▁ ▁The ▁basic ▁son ▁ensemble ▁of ▁early ▁ 2 0 th - century ▁Hav ana ▁consisted ▁of ▁guitar , ▁tres , ▁cla ves , ▁b ong os , ▁mar ím b ula ▁or ▁bot ija , ▁and ▁mar ac as . ▁The ▁tres ▁plays ▁the ▁typical ▁Cub an ▁ost in ato ▁figure ▁known ▁as ▁gu aje o . ▁The ▁rh yth mic ▁pattern ▁of ▁the ▁following ▁generic ▁gu aje o ▁is ▁used ▁in ▁many ▁different ▁songs . ▁Note ▁that ▁the ▁first ▁measure ▁consists |
▁of ▁all ▁off be ats . ▁The ▁figure ▁can ▁begin ▁in ▁the ▁first ▁measure , ▁or ▁the ▁second ▁measure , ▁depending ▁upon ▁the ▁structure ▁of ▁the ▁song . ▁ ▁Later ▁on , ▁the ▁double ▁bass ▁replaced ▁the ▁mar ím b ula ▁and ▁b ong os ▁and ▁a ▁tr ump et ▁were ▁added , ▁giving ▁rise ▁to ▁se xt et os ▁and ▁sept et os . ▁ ▁See ▁also ▁ ▁Music ▁of ▁Cuba ▁Dance ▁in ▁Cuba ▁ ▁References ▁ ▁Bibli ography ▁ ▁Ar gel iers , ▁Leon . ▁" Not es ▁toward ▁a ▁Pan or ama ▁of ▁Popular ▁and ▁Fol k ▁Music ." ▁Ess ays ▁on ▁Cub an ▁Music : ▁North ▁American ▁and ▁Cub an ▁Pers pect ives . ▁Ed . ▁Peter ▁Manuel . ▁Maryland : ▁University ▁Press ▁of ▁America , ▁ 1 9 9 1 . ▁ 1 – 2 3 . ▁Print . ▁Ben ite z - Ro jo , ▁Antonio . ▁" Music ▁and ▁Nation ." ▁Cuba : ▁Ide a ▁of ▁a ▁Nation ▁Dis pla ced . ▁Ed . ▁Andrea ▁O ’ Re illy ▁Herr era . ▁New ▁York : ▁State ▁University ▁of ▁New ▁York ▁Press , ▁ 2 0 0 7 . ▁ 3 2 8 – 3 4 0 . ▁Print . ▁Le ym arie , ▁Isabel le . ▁Cub an ▁Fire : ▁The ▁Story ▁of ▁S als a ▁and ▁Latin ▁Jazz . ▁New ▁York , ▁Cont inu um ▁Publishing , ▁ 2 0 0 2 . ▁Print . ▁Lo za , ▁Steven . ▁" P on cho ▁San |
chez , ▁Latin ▁Jazz , ▁and ▁the ▁Cub an ▁Son : ▁A ▁St y list ic ▁and ▁Social ▁Analysis ." ▁Situ ating ▁S als a . ▁Ed . ▁L ise ▁W ax er . ▁New ▁York : ▁Rout ledge , ▁ 2 0 0 2 . ▁ 2 0 1 – 2 1 5 . ▁Print . ▁Manuel , ▁Peter , ▁with ▁Kenneth ▁Bil by ▁and ▁Michael ▁Lar ge y . ▁Car ib bean ▁C urr ents : ▁Car ib bean ▁Music ▁from ▁Rum ba ▁to ▁Reg ga e . ▁ 2 nd ▁edition . ▁Temple ▁University ▁Press , ▁ 2 0 0 6 . ▁. ▁Moore , ▁Robin . ▁" S als a ▁and ▁Social ism : ▁Dance ▁Music ▁in ▁Cuba , ▁ 1 9 5 9 – 9 9 ." ▁Situ ating ▁S als a . ▁Ed . ▁L ise ▁W ax er . ▁New ▁York : ▁Rout ledge , ▁ 2 0 0 2 . ▁ 5 1 – 7 4 . ▁Print . ▁Moore , ▁Robin . ▁" A f roc ub an ismo ▁and ▁Son ." ▁The ▁Cuba ▁Re ader : ▁History , ▁Culture , ▁Polit ics . ▁Ed . ▁Ch om sky , ▁Car r , ▁and ▁Sm ork al off . ▁Dur ham : ▁Duke ▁University ▁Press , ▁ 2 0 0 4 . ▁ 1 9 2 – 2 0 0 . ▁Print . ▁Pe ñ al osa , ▁David . ▁The ▁Cla ve ▁Matrix ; ▁Af ro - C ub an ▁Rh ythm : |
▁Its ▁Princi ples ▁and ▁African ▁Orig ins . ▁Red way , ▁CA : ▁B em be ▁Inc ., ▁ 2 0 0 9 . ▁. ▁P erna , ▁V inc en zo . ▁Tim ba : ▁The ▁Sound ▁of ▁the ▁Cub an ▁Cris is . ▁Bur ling ton , ▁V T : ▁Ash gate ▁Publishing ▁Company , ▁ 2 0 0 5 . ▁Print . ▁Rodríguez ▁R uid í az , ▁Arm ando : ▁The ▁origin ▁of ▁Cub an ▁music . ▁M yth s ▁and ▁facts : ▁https :// www . ac adem ia . edu / 8 0 4 1 7 9 5 / The _ origin _ of _ C ub an _ music ._ M yth s _ and _ Fact s , ▁p . 8 9 ▁Thomas , ▁Susan . ▁" C os m opol itan , ▁International , ▁Trans n ational : ▁Loc ating ▁Cub an ▁Music ." ▁Cuba ▁Trans n ational . ▁Ed . ▁Dam ian ▁J . ▁Fern ande z . ▁G aines ville : ▁University ▁Press ▁of ▁Florida , ▁ 2 0 0 5 . ▁ 1 0 4 – 1 2 0 . ▁Print . ▁ ▁External ▁links ▁▁ ▁L lo pis , ▁Frank . ▁La ▁música ▁b ailable ▁cub ana ▁( in ▁Spanish ) ▁ ▁Cub an ▁son ▁complex ▁More ▁about ▁the ▁traditional ▁evolution ▁of ▁Cub an ▁son ▁ ▁Category : S on ▁cub ano <0x0A> </s> ▁C ald ay ▁G range ▁Gram mar ▁School ▁( ab bre vi ated ▁to ▁CG |
GS ; ▁also ▁known ▁as ▁C ald ay , ▁C ald ay ▁G range ) ▁is ▁a ▁non - den omin ational ▁select ive ▁state - fund ed ▁grammar ▁school , ▁founded ▁in ▁ 1 6 3 6 , ▁situated ▁on ▁C ald y ▁Hill ▁in ▁the ▁town ▁of ▁West ▁Kir by ▁on ▁the ▁Wir ral ▁pen ins ula , ▁England . ▁The ▁school ▁adm its ▁boys ▁from ▁age ▁ 1 1 ▁to ▁ 1 8 , ▁and ▁since ▁ 1 9 8 5 ▁girls ▁for ▁the ▁sixth ▁form ▁only . ▁The ▁school ▁has ▁a cademy ▁status , ▁hosts ▁the ▁Wir ral ▁A ble ▁Children ▁Centre , ▁and ▁has ▁been ▁awarded ▁Sports mark ▁Gold ▁and ▁In vest ors ▁in ▁People ▁status . ▁ ▁Geography ▁The ▁school ▁stands ▁in ▁a ▁resident ial ▁area ▁of ▁Wir ral ▁close ▁to ▁the ▁De e ▁Est u ary . ▁Stud ents ▁come ▁primarily ▁from ▁Wir ral , ▁De es ide ▁and ▁Ch esh ire ▁areas . ▁The ▁main ▁site ▁at ▁the ▁top ▁of ▁C ald y ▁Hill ▁is ▁occupied ▁by ▁the ▁school ▁buildings , ▁sports ▁c ages ▁and ▁field , ▁with ▁a ▁larger ▁field ▁located ▁over ▁Gram mar ▁School ▁Lane . ▁A ▁mile ▁sout heast ▁of ▁the ▁main ▁school ▁buildings , ▁along ▁Column ▁Road / Te legraph ▁Road , ▁are ▁the ▁G lass pool ▁Field s ▁Sports ▁Fac ility ▁including ▁ 3 ▁rugby ▁pitch es , ▁a ▁cr icket ▁square ▁and ▁a ▁sand - based ▁artificial ▁hockey ▁field . ▁The ▁school ▁is ▁surrounded ▁by ▁sub urban ▁housing ▁development |
▁and ▁the ▁protected ▁he ath lands ▁and ▁woods ▁of ▁G range , ▁C ald y ▁and ▁Th urst ast on . ▁ ▁School ▁history ▁and ▁status ▁ ▁F ounded ▁in ▁ 1 6 3 6 , ▁C ald ay ▁G range ▁Gram mar ▁School ▁is ▁Wir ral ' s ▁oldest ▁surv iving ▁grammar ▁school . ▁It ▁was ▁established ▁as ▁a ▁free ▁grammar ▁school ▁on ▁the ▁present ▁site ▁by ▁local ▁land owner ▁William ▁G leg g . ▁From ▁when ▁it ▁started ▁with ▁ 1 2 ▁pup ils , ▁the ▁school ▁has ▁grown ▁into ▁an ▁establishment ▁of ▁over ▁ 1 3 0 0 ▁students ▁– ▁which ▁includes ▁over ▁ 4 0 0 ▁male ▁and ▁female ▁students ▁in ▁the ▁Six th ▁Form . ▁ ▁C ald ay ▁G range ▁Gram mar ▁School ▁became ▁a ▁trust ▁school ▁on ▁ 1 ▁January ▁ 2 0 0 9 , ▁transfer ring ▁ownership ▁of ▁the ▁school ▁land ▁and ▁buildings ▁to ▁a ▁Char itable ▁Trust ▁called ▁" The ▁C ald ay ▁G range ▁Trust ". ▁The ▁C ald ay ▁G range ▁Trust ▁is ▁a ▁partners hip ▁between ▁C ald ay ▁G range ▁Gram mar ▁School , ▁The ▁University ▁of ▁Liverpool , ▁Un ile ver ▁Research ▁and ▁Development ▁and ▁Ma estro ▁Services ▁Ltd . ▁C ald ay ▁G range ▁Gram mar ▁School ▁was ▁the ▁first ▁Wir ral ▁School ▁to ▁convert ▁to ▁Trust ▁Status . ▁ ▁In ▁September ▁ 2 0 1 1 , ▁the ▁school ▁informed ▁parents ▁that ▁" The ▁School ▁has ▁received ▁notification ▁from ▁Comp an ies ▁House ▁that ▁the ▁C |
ald ay ▁G range ▁Trust ▁Company ▁has ▁been ▁dissol ved . ▁This ▁has ▁been ▁not ified ▁to ▁the ▁G over ning ▁Body ▁who ▁contact ed ▁Wir ral ▁Local ▁Author ity ▁and ▁indicated ▁their ▁wish ▁to ▁revert ▁to ▁the ▁Foundation ▁School s ▁Inst rument ▁of ▁Government ". ▁ ▁In ▁July ▁ 2 0 1 1 , ▁the ▁process ▁for ▁converting ▁to ▁an ▁Academy ▁school ▁was ▁begun , ▁and ▁the ▁school ▁converted ▁to ▁a cademy ▁status ▁with ▁effect ▁from ▁ 1 ▁January ▁ 2 0 1 3 . ▁ ▁Performance ▁ ▁In ▁ 2 0 1 9 ▁the ▁school ▁was ▁ins pected ▁and ▁jud ged ▁Good . ▁ ▁In ▁ 2 0 1 6 ▁the ▁school ▁was ▁again ▁jud ged ▁Good . ▁ ▁In ▁ 2 0 1 5 ▁ 9 6 % ▁of ▁the ▁year ▁group ▁achieved ▁ 5 ▁GC SE ▁passes ▁at ▁gr ades ▁A * ▁to ▁C ▁with ▁ 9 6 . 2 % ▁gain ing ▁at ▁ 5 ▁A * ▁to ▁C ▁gr ades ▁including ▁English ▁and ▁Math s . ▁Four ▁students ▁achieved ▁the ▁highest ▁possible ▁level ▁of ▁ 1 0 ▁or ▁more ▁A * ▁gr ades . ▁ ▁In ▁ 2 0 1 5 ▁C ald ay ▁School ▁received ▁its ▁best ▁A ▁level ▁results ▁since ▁ 2 0 1 0 ▁with ▁a ▁pass ▁rate ▁of ▁ 9 9 . 2 % ▁at ▁A * - E ▁gr ades . ▁ ▁In ▁ 2 0 1 0 ▁the ▁school ▁was ▁ins pected ▁and ▁jud ged ▁Good . ▁ ▁Ext rac urr |
icular ▁ ▁Sport ▁The ▁school ▁is ▁the ▁ 7 th ▁state ▁school ▁for ▁sport ing ▁achiev ement . ▁The ▁top ▁state ▁schools ▁were ▁revealed ▁in ▁the ▁November ▁ 2 0 1 9 ▁edition ▁of ▁School ▁Sport ▁magazine ▁and ▁it ▁places ▁the ▁school ▁in ▁the ▁top ▁ 1 % ▁of ▁schools ▁in ▁the ▁country ▁for ▁sport ing ▁out comes . ▁ ▁Com b ined ▁Cad et ▁Force ▁The ▁school ▁maintain s ▁a ▁Com b ined ▁Cad et ▁Force . ▁The ▁combined ▁Cad et ▁force ▁has ▁been ▁at ▁C ald ay ▁since ▁ 1 9 1 6 , ▁when ▁a ▁unit ▁of ▁the ▁Offic ers ' ▁Training ▁Corps ▁was ▁first ▁formed . ▁ ▁Other ▁ ▁Vol unte ering ▁opportun ities ▁include ▁supporting ▁the ▁Re fil we ▁Community ▁Project ▁in ▁South ▁Africa ▁which ▁the ▁school ▁has ▁been ▁involved ▁in ▁for ▁over ▁ 9 ▁years . ▁Stud ents ▁have ▁also ▁been ▁involved ▁with ▁various ▁independent ▁entrepr ene ur ial ▁purs uits . ▁ ▁H ouses ▁The ▁school ▁has ▁three ▁H ouses ▁named ▁after ▁past ▁benef act ors ▁and ▁head master s . ▁M embers ▁of ▁each ▁house ▁are ▁identified ▁by ▁different ▁col oured ▁stri pes ▁on ▁the ▁school ▁tie ▁from ▁years ▁ 7 ▁to ▁ 1 1 . ▁Ben nett ▁– ▁N amed ▁after ▁Thomas ▁Ben nett , ▁House ▁colour ▁Blue . ▁G leg g ▁– ▁N amed ▁after ▁William ▁G leg g , ▁House ▁colour ▁Red . ▁H ollow ell ▁– ▁N amed ▁after ▁Rev . ▁William ▁H ollow ell , ▁House ▁colour ▁Green . ▁There |
▁was ▁a ▁fourth ▁house , ▁named ▁after ▁Sir ▁Alfred ▁Pat on , ▁with ▁yellow ▁as ▁its ▁colour . ▁It ▁was ▁taken ▁out ▁of ▁the ▁house ▁system ▁in ▁the ▁ 1 9 9 0 s . ▁ ▁Notable ▁former ▁students ▁▁ ▁Andrew ▁Bad de ley ▁- ▁Ath lete ▁in ▁the ▁ 2 0 0 8 ▁and ▁ 2 0 1 2 ▁Olympics . ▁ ▁Matthew ▁Bar nes ▁– ▁Music ian , ▁performing ▁as ▁Forest ▁S words ▁ ▁David ▁Bel bin ▁- ▁author ▁ ▁William ▁Ben nett ▁Bond ▁– ▁Arch bishop ▁of ▁Montreal ▁ ▁John ▁B owe ▁– ▁actor ▁ ▁Steve ▁B ower ▁– ▁Form er ▁Set anta ▁present er ; ▁football ▁comment ator ▁for ▁the ▁BBC ▁and ▁I TV ▁ ▁Daniel ▁Craig ▁- ▁A ctor ▁ ▁Bobby ▁Cr utch ley ▁- ▁Head ▁Co ach ▁of ▁the ▁England ▁and ▁Great ▁Britain ▁Hockey ▁teams ▁ ▁Steve ▁C umm ings - ▁English ▁racing ▁cycl ist ▁for ▁World ▁Tour ▁cy cling ▁team ▁ ▁Sam ▁Dick inson ▁- ▁England ▁Sax ons ▁and ▁North am pton ▁Sain ts ▁rugby ▁union ▁player ▁ ▁Chris ▁E ak in ▁- ▁BBC ▁News ▁present er ▁ ▁Michael ▁E ak in ▁- ▁Chief ▁Executive ▁of ▁the ▁Royal ▁Liverpool ▁Phil harm onic ▁ ▁Sir ▁Herbert ▁William ▁Em erson ▁( 1 8 8 1 – 1 9 6 2 ), ▁Governor ▁of ▁P un j ab ▁ ▁Will ▁F oster ▁– ▁Member ▁of ▁rock ▁band ▁The ▁T ears ▁ ▁Cy ril ▁Edward ▁G our ley ▁– ▁Victoria ▁Cross ▁recip ient ▁ ▁Raymond ▁Tow ers ▁Hol mes ▁– |
▁R AF ▁pilot ▁in ▁Battle ▁of ▁Britain ▁ ▁Isaac ▁Hold en ▁– ▁W riter ▁and ▁activ ist ▁ ▁Paul ▁Hum ph re ys ▁– ▁member ▁of ▁band ▁Or ch est ral ▁M ano e uv res ▁in ▁the ▁Dark ▁James ▁H ype ▁- ▁DJ , ▁producer ▁and ▁rem ix ▁artist ▁ ▁Geoff rey ▁An ket ell ▁Stud der t ▁Kennedy ▁– ▁" W ood bine ▁Wil ly "; ▁First ▁World ▁War ▁poet ; ▁taught ▁at ▁C ald ay ▁ 1 9 0 5 – 1 9 0 7 . ▁ ▁Craig ▁Lind field ▁– ▁Form er ly ▁Liverpool ▁F . C . ▁player , ▁now ▁at ▁F . C . ▁United ▁of ▁Manchester ▁ ▁Philip ▁May ▁– ▁husband ▁of ▁Ther esa ▁May . ▁ ▁Andy ▁Mc Cl us key ▁– ▁member ▁of ▁band ▁Or ch est ral ▁M ano e uv res ▁in ▁the ▁Dark ▁ ▁Jack ▁P atter son ▁- ▁member ▁of ▁band ▁C lean ▁Band it ▁▁ ▁Luke ▁P atter son ▁- ▁member ▁of ▁band ▁C lean ▁Band it ▁ ▁Nick ▁Power ▁- ▁Organ ist ▁and ▁song writer ▁with ▁the ▁band ▁The ▁Cor al ▁ ▁Sam ▁Que k ▁MB E ▁- ▁Team ▁GB ▁field ▁hockey ▁gold ▁med all ist ▁ ▁C . ▁N . ▁R . ▁R ao ▁– ▁scient ist ▁ ▁David ▁R aven ▁– ▁former ▁Liverpool ▁FC ▁football ▁player ▁now ▁at ▁W arr ington ▁ ▁Bill ▁Ste er ▁– ▁guitar ist ▁in ▁the ▁band ▁Nap alm ▁Death ▁ 1 9 8 7 – 1 9 8 9 , ▁member |
▁of ▁gr ind - p ione ers ▁Car c ass ▁ ▁Ray ▁St ub bs ▁– ▁B T ▁Sport ▁and ▁Tal ks port ▁present er ▁ ▁Dick ▁U ren ▁– ▁England ▁international ▁rugby ▁union ▁player . ▁ ▁Sir ▁David ▁We ather all ▁– ▁Oxford ▁phys ician ; ▁editor ▁Oxford ▁Text book ▁of ▁Medicine ; ▁former ▁Chan cell or ▁K ee le ▁University ▁ ▁Dr . ▁David ▁W yn n - Will iams ▁( 1 9 4 6 – 2 0 0 2 ) ▁– ▁British ▁ast ro - bi ologist , ▁head ▁of ▁the ▁Ant ar ctic ▁ast ro bi ology ▁project , ▁British ▁Ant ar ctic ▁Survey . ▁ ▁Doug al ▁Wilson , ▁director ▁of ▁advert is ements ▁and ▁music ▁videos ▁ ▁Head te ach ers ▁ ▁References ▁ ▁S ources ▁ ▁Pro ther oe , ▁M . ▁J . ▁( 1 9 7 6 ). ▁A ▁History ▁of ▁C ald ay ▁G range ▁Gram mar ▁School , ▁West ▁Kir by , ▁ 1 6 3 6 – 1 9 7 6 . ▁West ▁Kir by : ▁The ▁Par ents ' ▁Association . ▁ ▁External ▁links ▁▁▁ ▁C ald ay ▁Al umn i ▁ ▁Official ▁Facebook ▁page ▁ ▁C ald ay ▁G range ▁Sw imming ▁Pool ▁Trust ▁ ▁Category : Bo ys ' ▁schools ▁in ▁Mer se ys ide ▁Category : 1 6 3 6 ▁establish ments ▁in ▁England ▁Category : E du c ational ▁institutions ▁established ▁in ▁the ▁ 1 6 3 0 s ▁Category : G ram mar ▁schools ▁in |
▁the ▁Metropolitan ▁Bor ough ▁of ▁Wir ral ▁Category : A cadem ies ▁in ▁the ▁Metropolitan ▁Bor ough ▁of ▁Wir ral <0x0A> </s> ▁B idor pit ia ▁col um na ▁is ▁a ▁species ▁of ▁moth ▁of ▁the ▁family ▁T ort ric idae . ▁It ▁is ▁found ▁in ▁Lo ja ▁Province , ▁E cuador . ▁ ▁The ▁wings pan ▁is ▁about ▁ 1 4 mm ▁for ▁males ▁and ▁ 2 7 mm ▁for ▁females . ▁The ▁ground ▁colour ▁of ▁the ▁for ew ings ▁is ▁pale ▁fer ru gin ous ▁to ▁the ▁middle ▁and ▁dark ▁brown ish ▁fer ru gin ous ▁in ▁the ▁posterior ▁are , ▁with ▁ref ract ive ▁suff us ions ▁and ▁rust - b rown ▁str ig ulation ▁( f ine ▁stre aks ). ▁The ▁mark ings ▁are ▁brown ▁with ▁a ▁rust ▁ad mi xture . ▁The ▁h ind w ings ▁are ▁cre am ▁t ing ed ▁with ▁orange ▁in ▁the ▁terminal ▁third . ▁ ▁Et ym ology ▁The ▁species ▁name ▁refers ▁to ▁shape ▁of ▁the ▁un cus ▁and ▁is ▁derived ▁from ▁Latin ▁col um na ▁( mean ing ▁column ). ▁ ▁References ▁ ▁Category : M oth s ▁described ▁in ▁ 2 0 0 8 ▁Category : E uli ini ▁Category : M oth s ▁of ▁South ▁America ▁Category : T ax a ▁named ▁by ▁Jó zef ▁Raz owski <0x0A> </s> ▁Sign ific ant ▁phys i olog ic ▁changes ▁in ▁breath ing ▁take ▁place ▁during ▁normal ▁sleep ▁related ▁to ▁alter ations ▁in ▁resp ir atory ▁drive ▁and ▁mus cul ature |
. ▁ ▁Normal ▁ ▁S leep ▁on set ▁Set ▁point ▁of ▁vent ilation ▁is ▁different ▁in ▁w ake ful ness ▁and ▁sleep . ▁p CO 2 ▁is ▁higher ▁and ▁vent ilation ▁is ▁lower ▁in ▁sleep . ▁S leep ▁on set ▁in ▁normal ▁subjects ▁is ▁not ▁immediate , ▁but ▁oscill ates ▁between ▁ar ous al , ▁stage ▁I ▁and ▁II ▁sleep ▁before ▁steady ▁N RE M ▁sleep ▁is ▁obtained . ▁So ▁falling ▁as leep ▁results ▁in ▁decre ased ▁vent ilation ▁and ▁a ▁higher ▁p CO 2 , ▁above ▁the ▁w ake ful ness ▁set ▁point . ▁On ▁w ake ful ness , ▁this ▁constit utes ▁an ▁error ▁signal ▁which ▁prov okes ▁hyper vent ilation ▁until ▁the ▁w ake ful ness ▁set ▁point ▁is ▁reached . ▁When ▁the ▁subject ▁falls ▁as leep , ▁vent ilation ▁decre ases ▁and ▁p CO 2 ▁r ises , ▁resulting ▁in ▁hyp ov ent ilation ▁or ▁even ▁ap nea . ▁These ▁oscill ations ▁continue ▁until ▁steady ▁state ▁sleep ▁is ▁obtained . ▁The ▁med ulla ▁ob long ata ▁controls ▁our ▁resp iration . ▁ ▁Ste ady ▁N RE M ▁( Non - RE M ) ▁sleep ▁ ▁Vent ilation ▁Bre ath ing ▁is ▁remark ably ▁regular , ▁both ▁in ▁amplitude ▁and ▁frequency ▁in ▁steady ▁N RE M ▁sleep . ▁Ste ady ▁N RE M ▁sleep ▁has ▁the ▁lowest ▁indices ▁of ▁vari ability ▁of ▁all ▁sleep ▁stages . ▁Min ute ▁vent ilation ▁decre ases ▁by ▁ 1 3 % ▁in ▁steady ▁stage ▁II ▁sleep ▁and ▁by ▁ 1 5 % ▁in ▁steady |
▁slow ▁wave ▁sleep ▁( Stage ▁III ▁and ▁Stage ▁IV ▁sleep ). ▁Mean ▁inspir atory ▁flow ▁is ▁decre ased ▁but ▁inspir atory ▁duration ▁and ▁resp ir atory ▁cycle ▁duration ▁are ▁un changed , ▁resulting ▁in ▁an ▁overall ▁decre ased ▁tid al ▁volume . ▁ ▁In ▁a ▁study ▁of ▁ 1 9 ▁health y ▁adult s , ▁the ▁minute ▁vent ilation ▁in ▁N RE M ▁sleep ▁was ▁ 7 . 1 8 ▁ ± ▁ 0 . 3 9 ( SE M ) ▁lit ers / min ute ▁compared ▁to ▁ 7 . 6 6 ▁ ± ▁ 0 . 3 4 ▁lit ers / min ute ▁when ▁aw ake . ▁ ▁Rib ▁c age ▁and ▁ab dom inal ▁mus cle ▁contributions ▁Rib ▁c age ▁contribution ▁to ▁vent ilation ▁increases ▁during ▁N RE M ▁sleep , ▁mostly ▁by ▁later al ▁movement , ▁and ▁is ▁detected ▁by ▁an ▁increase ▁in ▁EM G ▁amplitude ▁during ▁breath ing . ▁Dia ph rag m ▁activity ▁is ▁little ▁increased ▁or ▁un changed ▁and ▁ab dom inal ▁mus cle ▁activity ▁is ▁slightly ▁increased ▁during ▁these ▁sleep ▁stages . ▁ ▁Upper ▁air way ▁resistance ▁Air way ▁resistance ▁increases ▁by ▁about ▁ 2 3 0 % ▁during ▁N RE M ▁sleep . ▁El astic ▁and ▁flow ▁resist ive ▁properties ▁of ▁the ▁lung ▁do ▁not ▁change ▁during ▁N RE M ▁sleep . ▁The ▁increase ▁in ▁resistance ▁comes ▁primarily ▁from ▁the ▁upper ▁air way ▁in ▁the ▁retro ep ig l ott ic ▁region . ▁T onic ▁activity ▁of ▁the ▁ph ary n ge al ▁dil |
ator ▁mus cles ▁of ▁the ▁upper ▁air way ▁decre ases ▁during ▁the ▁N RE M ▁sleep , ▁contrib uting ▁to ▁the ▁increased ▁resistance , ▁which ▁is ▁reflected ▁in ▁increased ▁es oph age al ▁pressure ▁sw ings ▁during ▁sleep . ▁The ▁other ▁vent il atory ▁mus cles ▁compens ate ▁for ▁the ▁increased ▁resistance , ▁and ▁so ▁the ▁air flow ▁decre ases ▁much ▁less ▁than ▁the ▁increase ▁in ▁resistance . ▁ ▁Ar ter ial ▁blood ▁g ases ▁The ▁Ar ter ial ▁blood ▁g ass es ▁p CO 2 ▁increases ▁by ▁ 3 - 7 mm H g , ▁p O 2 ▁dro ps ▁by ▁ 3 - 9 mm H g ▁and ▁Sa O 2 ▁dro ps ▁by ▁ 2 % ▁or ▁less . ▁These ▁changes ▁occur ▁despite ▁a ▁reduced ▁met abol ic ▁rate , ▁reflected ▁by ▁a ▁ 1 0 - 2 0 % ▁decrease ▁in ▁O 2 ▁consumption , ▁suggesting ▁overall ▁hyp ov ent ilation ▁instead ▁of ▁decre ased ▁production / met abol ism . ▁ ▁Pul mon ary ▁ar ter ial ▁pressure ▁Period ic ▁oscill ations ▁of ▁the ▁pul mon ary ▁ar ter ial ▁pressure ▁occur ▁with ▁resp iration . ▁Pul mon ary ▁ar ter ial ▁syst ol ic ▁and ▁di ast ol ic ▁pressure ▁and ▁P AD ▁increase ▁by ▁ 4 - 5 mm ▁in ▁N RE M ▁sleep ▁ ▁Effect s ▁of ▁ar ous als ▁Ind u ced ▁trans ient ▁ar ous al ▁from ▁N RE M ▁sleep ▁cause ▁the ▁following : ▁In cre ase ▁EM G ▁activity ▁of ▁the |
▁dia ph rag m ▁ 1 5 0 %, ▁increased ▁activity ▁of ▁upper ▁air way ▁dil ating ▁mus cles ▁ 2 5 0 %, ▁increased ▁air flow ▁and ▁tid al ▁volume ▁ 1 6 0 % ▁and ▁decre ased ▁upper ▁air way ▁resistance . ▁ ▁Ste ady ▁RE M ▁S leep ▁ ▁Vent ilation ▁Ir regular ▁breath ing ▁with ▁sudden ▁changes ▁in ▁both ▁amplitude ▁and ▁frequency ▁at ▁times ▁interrupted ▁by ▁central ▁ap ne as ▁last ing ▁ 1 0 – 3 0 ▁seconds ▁are ▁noted ▁in ▁Rap id ▁E ye ▁Mov ement ▁( RE M ) ▁sleep . ▁( Th ese ▁are ▁phys i olog ic ▁changes ▁and ▁are ▁different ▁from ▁ab normal ▁breath ing ▁patterns ▁noted ▁in ▁sleep ▁dis ordered ▁breath ing ). ▁These ▁breath ing ▁irregular ities ▁are ▁not ▁random , ▁but ▁correspond ▁to ▁burst s ▁of ▁eye ▁movements . ▁This ▁breath ing ▁pattern ▁is ▁not ▁controlled ▁by ▁the ▁chem ore cept ors , ▁but ▁is ▁due ▁to ▁the ▁activation ▁of ▁behavior al ▁resp ir atory ▁control ▁system ▁by ▁RE M ▁sleep ▁processes . ▁Quant itative ▁measure ▁of ▁air flow ▁is ▁quite ▁variable ▁in ▁this ▁sleep ▁stage ▁and ▁has ▁been ▁shown ▁to ▁be ▁increased , ▁decre ased ▁or ▁un changed . ▁T idal ▁volume ▁has ▁also ▁been ▁shown ▁to ▁be ▁increased , ▁decre ased ▁or ▁un changed ▁by ▁quant itative ▁measures ▁in ▁RE M ▁sleep . ▁So ▁breath ing ▁during ▁RE M ▁sleep ▁is ▁somewhat ▁disc ord ant . ▁ ▁In ▁a ▁study ▁of ▁ 1 9 ▁health y ▁adult s |
, ▁the ▁minute ▁vent ilation ▁in ▁RE M ▁sleep ▁was ▁ 6 . 4 6 ▁+ /- ▁ 0 . 2 9 ( SE M ) ▁lit ers / min ute ▁compared ▁to ▁ 7 . 6 6 ▁+ /- ▁ 0 . 3 4 ▁lit ers / min ute ▁when ▁aw ake . ▁ ▁Rib ▁c age ▁and ▁ab dom inal ▁mus cle ▁contributions ▁Inter cost al ▁mus cle ▁activity ▁decre ases ▁in ▁RE M ▁sleep ▁and ▁contribution ▁of ▁rib ▁c age ▁to ▁resp iration ▁decre ases ▁during ▁RE M ▁sleep . ▁This ▁is ▁due ▁to ▁RE M ▁related ▁su pr asp inal ▁in hib ition ▁of ▁alpha ▁mot one ur on ▁drive ▁and ▁specific ▁de pression ▁of ▁fus im ot or ▁function . ▁Dia ph rag hm atic ▁activity ▁corresponding ly ▁increases ▁during ▁RE M ▁sleep . ▁Although ▁par ado x ical ▁thor aco ab dom inal ▁movements ▁are ▁not ▁observed , ▁the ▁thor ac ic ▁and ▁ab dom inal ▁disp lac ements ▁are ▁not ▁exactly ▁in ▁phase . ▁This ▁decrease ▁in ▁inter cost al ▁mus cle ▁activity ▁is ▁primarily ▁responsible ▁for ▁hyp ov ent ilation ▁that ▁occurs ▁in ▁patients ▁with ▁border line ▁pul mon ary ▁function . ▁ ▁Upper ▁air way ▁function ▁Upper ▁air way ▁resistance ▁is ▁expected ▁to ▁be ▁highest ▁during ▁RE M ▁sleep ▁because ▁of ▁at onia ▁of ▁the ▁ph ary n ge al ▁dil ator ▁mus cles ▁and ▁partial ▁air way ▁collapse . ▁Many ▁studies ▁have ▁shown ▁this , ▁but ▁not ▁all . ▁Some ▁have ▁shown ▁un |
changed ▁air way ▁resistance ▁during ▁RE M ▁sleep , ▁others ▁have ▁shown ▁it ▁to ▁increase ▁to ▁N RE M ▁levels . ▁ ▁Ar ter ial ▁blood ▁g ases ▁Hy po x emia ▁due ▁to ▁hyp ov ent ilation ▁is ▁noted ▁in ▁RE M ▁sleep ▁but ▁this ▁is ▁less ▁well ▁studied ▁than ▁N RE M ▁sleep . ▁These ▁changes ▁are ▁equal ▁to ▁or ▁greater ▁than ▁N RE M ▁sleep ▁ ▁Pul mon ary ▁ar ter ial ▁pressure ▁Pul mon ary ▁ar ter ial ▁pressure ▁fl uct u ates ▁with ▁resp iration ▁and ▁r ises ▁during ▁RE M ▁sleep . ▁ ▁Effect ▁of ▁ar ous als ▁Ar ous als ▁cause ▁return ▁of ▁air way ▁resistance ▁and ▁air flow ▁to ▁near ▁aw ake ▁values . ▁Refer ▁ar ous als ▁in ▁N RE M ▁sleep . ▁ ▁S leep ▁and ▁Bre ath ing ▁in ▁High ▁Alt itudes ▁ ▁At ▁a ▁lower ▁alt itude , ▁the ▁link ▁between ▁breath ing ▁and ▁sleep ▁has ▁been ▁established . ▁At ▁a ▁higher ▁alt itude , ▁dis ru ptions ▁in ▁sleep ▁are ▁often ▁linked ▁to ▁changes ▁in ▁the ▁resp ir atory ▁( bre ath ing ▁) ▁rh ythm . ▁Ch anges ▁in ▁alt itude ▁cause ▁variations ▁in ▁sleep ▁time ▁( redu ced ▁to ▁ 0 % ▁up ▁to ▁ 9 3 % ), ▁as ▁shown ▁in ▁a ▁study ▁that ▁exam ined ▁people ▁at ▁sea ▁level ▁and ▁P ikes ▁Pe ak ▁( 4 3 0 0 ▁meters ). ▁These ▁subjects ▁also ▁experienced ▁more ▁frequent ▁ar ous als ▁and ▁dimin ished ▁stage ▁ 3 |
▁and ▁stage ▁ 4 ▁sleep . ▁A ▁poor er ▁quality ▁of ▁sleep ▁was ▁indicated , ▁but ▁not ▁due ▁to ▁less ▁sleep ▁time , ▁but ▁more ▁frequent ▁aw aken ings ▁during ▁the ▁night . ▁ ▁S leep - dis ordered ▁breath ing ▁( ab normal ▁sleep ▁and ▁breath ing ▁or ▁sleep - related ▁breath ing ▁dis orders ) ▁ ▁Primary ▁sn oring ▁Sn oring ▁is ▁a ▁condition ▁character ized ▁by ▁no isy ▁breath ing ▁during ▁sleep . ▁Usually , ▁any ▁medical ▁condition ▁where ▁the ▁air way ▁is ▁blocked ▁during ▁sleep ing , ▁like ▁ob struct ive ▁sleep ▁ap nea , ▁may ▁give ▁rise ▁to ▁sn oring . ▁Sn oring , ▁when ▁not ▁associated ▁with ▁an ▁ob struct ive ▁phenomen on ▁is ▁known ▁as ▁primary ▁sn oring . ▁A part ▁from ▁the ▁specific ▁condition ▁of ▁ob struct ive ▁sleep ▁ap nea , ▁other ▁causes ▁of ▁sn oring ▁include ▁alco hol ▁int ake ▁prior ▁to ▁sleep ing , ▁stuff y ▁nose , ▁sin us itis , ▁ob es ity , ▁long ▁tongue ▁or ▁u v ula , ▁large ▁tons il ▁or ▁ad en oid , ▁smaller ▁lower ▁j aw , ▁devi ated ▁nas al ▁sept um , ▁ast h ma , ▁sm oking ▁and ▁sleep ing ▁on ▁one ' s ▁back . ▁Primary ▁sn oring ▁is ▁also ▁known ▁as ▁" simple " ▁or ▁" ben ign " ▁sn oring , ▁and ▁is ▁not ▁associated ▁with ▁sleep ▁ap nea . ▁ ▁Upper ▁air way ▁resistance ▁synd rome ▁ ▁Ob struct ive ▁sleep ▁ap nea ▁( including ▁hyp |
op nea ) ▁synd rome ▁ ▁Ob struct ive ▁sleep ▁ap nea ▁is ▁ap nea ▁either ▁as ▁the ▁result ▁of ▁obst ruction ▁of ▁the ▁air ▁pass ages ▁or ▁in ade qu ate ▁resp ir atory ▁mus cle ▁activity . ▁ ▁Central ▁sleep ▁ap nea ▁synd rome ▁ ▁S leep ▁ap nea ▁( or ▁sleep ▁ap no ea ▁in ▁British ▁English ; ▁/ æ p ˈ ni ː ə /) ▁is ▁a ▁sleep ▁dis order ▁character ized ▁by ▁p aus es ▁in ▁breath ing ▁or ▁instances ▁of ▁shall ow ▁or ▁inf re quent ▁breath ing ▁during ▁sleep . ▁Each ▁pause ▁in ▁breath ing , ▁called ▁an ▁ap nea , ▁can ▁last ▁for ▁several ▁seconds ▁to ▁several ▁minutes , ▁and ▁may ▁occur ▁ 5 ▁to ▁ 3 0 ▁times ▁or ▁more ▁in ▁an ▁hour . ▁ ▁Complex ▁sleep ▁dis ordered ▁synd rome ▁ ▁S leep ▁related ▁hyp ov ent ilation ▁synd rom es ▁ ▁References ▁ ▁Category : S leep ▁phys i ology <0x0A> </s> ▁Am ar je et ▁K ush w aha ▁( altern atively ▁Am ar j it ▁K ush w aha ) ▁is ▁an ▁Indian ▁activ ist , ▁lawyer ▁and ▁politician . ▁He ▁is ▁a ▁leader ▁in ▁the ▁Commun ist ▁Party ▁of ▁India ▁( Mar x ist – Len in ist ) ▁Liber ation . ▁He ▁was ▁the ▁national ▁president ▁of ▁the ▁Revolution ary ▁Youth ▁Association ▁in ▁India . ▁ ▁Personal ▁life ▁and ▁education ▁ ▁Am ar je et ▁K ush w aha ▁was ▁brought ▁up ▁in ▁the ▁Si wan ▁district ▁of |
▁Bi har . ▁He ▁attended ▁the ▁M . M . M . ▁P G ▁College , ▁B hat par ran i , ▁De oria ▁and ▁graduated ▁with ▁a ▁Bach elor ▁of ▁Arts ▁degree . ▁Later ▁he ▁got ▁a ▁gradu ation ▁for ▁a ▁second ▁time ▁with ▁a ▁Bach elor ▁of ▁La ws ▁degree ▁from ▁Gor akh pur ▁University . ▁K ush w aha ▁is ▁married ▁to ▁May a ▁De vi . ▁ ▁Activ ism ▁ ▁During ▁his ▁course ▁in ▁Gor akh pur ▁University , ▁K ush w aha ▁joined ▁the ▁Commun ist ▁Party ▁of ▁India ▁( Mar x ist – Len in ist ) ▁Liber ation . ▁After ▁comple ting ▁his ▁course ▁in ▁U tt ar ▁Pr adesh , ▁he ▁returned ▁to ▁Si wan ▁as ▁a ▁party ▁activ ist . ▁In ▁Si wan , ▁K ush w aha ▁became ▁an ▁activ ist ▁for ▁far mer ' s ▁and ▁dal it ' s ▁rights ▁and ▁was ▁reported ▁to ▁have ▁become ▁a ▁rival ▁of ▁Moh amm ad ▁Shah ab ud din ▁due ▁to ▁his ▁activ ism . ▁He ▁has ▁been ▁involved ▁in ▁ag itations ▁for ▁poor ▁far mers ▁in ▁getting ▁possession ▁of ▁their ▁land . ▁▁ ▁In ▁ 2 0 0 7 , ▁he ▁became ▁the ▁state ▁president ▁of ▁the ▁Revolution ary ▁Youth ▁Association ▁and ▁then ▁its ▁national ▁president ▁in ▁ 2 0 1 0 . ▁He ▁was ▁elected ▁to ▁the ▁state ▁committee ▁of ▁the ▁Commun ist ▁Party ▁of ▁India ▁( Mar x ist – Len in ist ) ▁Liber ation ▁in ▁ 2 0 1 |
2 . ▁He ▁was ▁also ▁nominated ▁to ▁contest ▁the ▁ 2 0 1 5 ▁Bi har ▁Legisl ative ▁Assembly ▁election ▁from ▁the ▁Z ira de i ▁constitu ency . ▁Following ▁the ▁nom ination , ▁he ▁was ▁arrested ▁in ▁the ▁case ▁of ▁a ▁land ▁dispute ▁and ▁later ▁released ▁in ▁ 2 0 1 6 . ▁It ▁was ▁alleg ed ▁that ▁the ▁arrest ▁had ▁been ▁made ▁on ▁the ▁beh est ▁of ▁Moh amm ad ▁Shah ab ud din . ▁ ▁During ▁the ▁ 2 0 1 9 ▁Indian ▁general ▁election , ▁K ush w aha ▁worked ▁for ▁the ▁campaign ▁of ▁Am arn ath ▁Y ad av ▁in ▁the ▁Si wan ▁constitu ency . ▁ ▁References ▁▁ ▁Category : L iving ▁people ▁Category : 1 9 7 3 ▁birth s ▁Category : Activ ists ▁from ▁Bi har ▁Category : 2 1 st - century ▁Indian ▁polit icians ▁Category : Comm un ist ▁Party ▁of ▁India ▁( Mar x ist – Len in ist ) ▁Liber ation ▁polit icians <0x0A> </s> ▁Every day ▁People ▁is ▁a ▁novel ▁by ▁the ▁American ▁writer ▁Stewart ▁O ' N an . ▁ ▁It ▁is ▁set ▁in ▁ 1 9 9 8 ▁in ▁East ▁Liber ty ▁and ▁brings ▁together ▁the ▁stories ▁of ▁its ▁residents , ▁mostly ▁African - American ▁during ▁one ▁f ateful ▁week ▁in ▁the ▁early ▁fall . ▁The ▁novel ▁cent ers ▁around ▁Chris ▁" C rest " ▁Tol bert — an ▁eigh teen - year - old ▁left ▁par al yz ed ▁and ▁ha unted ▁by ▁the ▁loss ▁of ▁his |
▁best ▁friend ▁after ▁a ▁recent ▁accident — and ▁O ' N an ▁we aves ▁together ▁the ▁lives ▁of ▁friends ▁and ▁family , ▁lo vers ▁and ▁str angers , ▁and ▁their ▁emot ions , ▁mem ories , ▁and ▁dream s . ▁ ▁References ▁ ▁Category : 2 0 0 1 ▁American ▁nov els ▁Category : F iction ▁set ▁in ▁ 1 9 9 8 ▁Category : Nov els ▁set ▁in ▁the ▁ 1 9 9 0 s ▁Category : Nov els ▁set ▁in ▁Pitts burgh <0x0A> </s> ▁Jose ▁Maria ▁Tor rij os ▁y ▁Uri arte ▁( M arch ▁ 2 0 , ▁ 1 7 9 1 Dec ember ▁ 1 1 , ▁ 1 8 3 1 ), ▁Count ▁of ▁Tor rij os , ▁a ▁title ▁granted ▁post hum ously ▁by ▁the ▁Queen ▁Governor , ▁also ▁known ▁as ▁General ▁Tor rij os , ▁was ▁a ▁Spanish ▁Liberal ▁soldier . ▁He ▁fought ▁in ▁the ▁Spanish ▁War ▁of ▁Independ ence ▁and ▁after ▁the ▁rest oration ▁of ▁absol ut ism ▁by ▁Ferdinand ▁VII ▁in ▁ 1 8 1 4 ▁he ▁participated ▁in ▁the ▁pron oun cement ▁of ▁John ▁Van ▁Hal en ▁of ▁ 1 8 1 7 ▁that ▁sought ▁to ▁restore ▁the ▁Constitution ▁of ▁ 1 8 1 2 , ▁for ▁which ▁he ▁spent ▁two ▁years ▁in ▁prison ▁until ▁he ▁was ▁released ▁after ▁the ▁triumph ▁of ▁the ▁R iego ▁u pr ising ▁in ▁ 1 8 2 0 . ▁He ▁returned ▁to ▁fight ▁the ▁French ▁when ▁the ▁H undred ▁Th ous and ▁S ons ▁of ▁Saint |
▁Louis ▁inv aded ▁Spain ▁to ▁restore ▁the ▁absolute ▁power ▁of ▁Ferdinand ▁VII ▁and ▁when ▁those ▁triumph ed ▁ending ▁the ▁liberal ▁tri en ni um ▁ex iled ▁to ▁England . ▁There ▁he ▁prepared ▁a ▁statement ▁which ▁he ▁himself ▁led , ▁landing ▁on ▁the ▁coast ▁of ▁Mal aga ▁from ▁Gib ral tar ▁on ▁December ▁ 2 , ▁ 1 8 3 1 , ▁with ▁si xty ▁men ▁accomp any ing ▁him , ▁but ▁they ▁fell ▁into ▁the ▁trap ▁that ▁had ▁been ▁laid ▁before ▁him ▁by ▁the ▁absol ut ist ▁authorities ▁and ▁were ▁arrested . ▁N ine ▁days ▁later , ▁on ▁December ▁ 1 1 , ▁Tor rij os ▁and ▁ 4 8 ▁of ▁his ▁fellow ▁surv iv ors ▁were ▁shot ▁without ▁trial ▁on ▁the ▁beach ▁of ▁San ▁And res ▁de ▁M ál aga , ▁a ▁fact ▁that ▁was ▁imm ort al ized ▁by ▁a ▁son net ▁of ▁José ▁de ▁Es pr on ced a ▁entitled ▁To ▁the ▁death ▁of ▁Tor rij os ▁and ▁his ▁Comp an ions , ▁' s ▁A ▁la ▁mem oria ▁del ▁General ▁Tor rij os , ▁and ▁by ▁a ▁famous ▁painting ▁that ▁was ▁painted ▁in ▁ 1 8 8 8 ▁by ▁Antonio ▁G is bert . ▁" The ▁trag ic ▁outcome ▁of ▁his ▁life ▁explains ▁what ▁has ▁happened ▁to ▁history , ▁in ▁all ▁fair ness , ▁as ▁a ▁great ▁symbol ▁of ▁the ▁struggle ▁against ▁desp ot ism ▁and ▁ty ran ny , ▁with ▁the ▁tra its ▁of ▁ep ic ▁nob ility ▁and ▁ser en ity ▁typical ▁of ▁the ▁rom antic ▁hero |
, ▁et ernal ized ▁in ▁the ▁famous ▁painting ▁by ▁Antonio ▁G is bert ." ▁The ▁city ▁of ▁Mal aga ▁ere cted ▁a ▁monument ▁to ▁Tor rij os ▁and ▁his ▁compan ions ▁in ▁the ▁Pla za ▁de ▁la ▁Mer ced , ▁next ▁to ▁the ▁birth place ▁of ▁the ▁painter ▁Pablo ▁Pic asso . ▁Under ▁the ▁monument ▁to ▁Tor rij os ▁in ▁the ▁middle ▁of ▁the ▁square ▁are ▁the ▁tomb s ▁of ▁ 4 8 ▁of ▁the ▁ 4 9 ▁men ▁shot ; ▁One ▁of ▁them , ▁British , ▁was ▁buried ▁in ▁the ▁English ▁c emetery ▁( Mal aga ). ▁ ▁Biography ▁ ▁Child hood ▁and ▁youth ▁ ▁Tor rij os ▁was ▁born ▁March ▁ 2 0 , ▁ 1 7 9 1 , ▁in ▁Madrid ▁to ▁a ▁family ▁of ▁And alus ian ▁b ureau cr ats ▁in ▁the ▁service ▁of ▁the ▁Mon archy . ▁He ▁was ▁the ▁third ▁of ▁four ▁children ▁born ▁to ▁Crist ó bal ▁de ▁Tor rij os ▁and ▁Ch ac ón , ▁of ▁Se ville , ▁and ▁Maria ▁Pet ron ila ▁Uri arte ▁and ▁Bor ja , ▁in ▁El ▁Puerto ▁de ▁Santa ▁María . ▁His ▁pat ernal ▁grand father , ▁Bern ardo ▁de ▁Tor rij os , ▁was ▁from ▁Mal aga , ▁and ▁belonged ▁to ▁the ▁Royal ▁Council ▁and ▁was ▁pro sec utor ▁of ▁the ▁Royal ▁Ch anc ery ▁of ▁Gran ada . ▁His ▁father ▁was ▁kn ight ▁of ▁the ▁Order ▁of ▁Carlos ▁III ▁and ▁help ▁of ▁camera ▁of ▁the ▁king ▁Carlos ▁IV . ▁Thanks ▁to ▁the ▁position ▁he ▁held ▁Jose |
▁Maria ▁served ▁ten ▁years ▁as ▁the ▁king ' s ▁page . ▁He ▁immediately ▁decided ▁on ▁a ▁military ▁career ▁and , ▁at ▁the ▁age ▁of ▁th ir teen , ▁he ▁entered ▁the ▁Academy ▁of ▁Engine ers ▁where ▁he ▁special ized ▁in ▁engineering . ▁ ▁War ▁of ▁Independ ence ▁( 1 8 0 8 – 1 8 1 4 ) ▁ ▁Tor rij os ▁participation ▁in ▁the ▁War ▁of ▁Independ ence ▁began ▁the ▁same ▁day ▁that ▁the ▁war ▁began , ▁May ▁ 2 , ▁ 1 8 0 8 . ▁He ▁came ▁to ▁the ▁aid ▁of ▁the ▁officers ▁Luis ▁D ao iz ▁and ▁Pedro ▁Vel arde ▁who ▁were ▁out ▁of ▁am mun ition ▁in ▁the ▁art illery ▁park ▁of ▁Madrid . ▁They ▁sent ▁him ▁to ▁negoti ate ▁with ▁the ▁French ▁general ▁Go bert ▁but ▁in ▁the ▁middle ▁of ▁the ▁mission , ▁the ▁popular ▁anti - F rench ▁revol t ▁er u pts ▁in ▁the ▁capital ▁and ▁so ▁he ▁is ▁arrested . ▁He ▁was ▁only ▁saved ▁from ▁being ▁shot ▁by ▁the ▁inter vention ▁of ▁a ▁field ▁helper ▁who ▁knew ▁Jo aqu in ▁Mur at . ▁At ▁that ▁time ▁he ▁was ▁sevent een ▁and ▁had ▁the ▁rank ▁of ▁captain . ▁▁ ▁He ▁later ▁joined ▁the ▁defence ▁of ▁Val encia , M ur cia ▁and ▁those ▁of ▁Catal onia , ▁being ▁" one ▁of ▁the ▁few ▁military ▁cad res ▁of ▁the ▁old ▁army ▁who ▁put ▁themselves ▁at ▁the ▁head ▁of ▁the ▁national ▁resistance ▁in ▁the ▁name ▁of ▁the ▁liberal ▁principles ▁of ▁freedom ▁and ▁independence . ▁He ▁det ached |
▁himself ▁from ▁the ▁French ▁and ▁collaboration ist ▁camp ▁chosen ▁by ▁many ▁illustrated ▁and ▁clearly ▁confront ed ▁with ▁absol ut ism . ▁" ▁In ▁ 1 8 1 0 , ▁at ▁nin ete en ▁years ▁old , ▁he ▁reached ▁the ▁rank ▁of ▁lieutenant ▁colon el . ▁He ▁was ▁taken ▁prisoner ▁by ▁the ▁French , ▁after ▁being ▁wounded , ▁but ▁escaped ▁and ▁returned ▁to ▁fight ▁in ▁the ▁war , ▁" con sec rating ▁like ▁a ▁military ▁of ▁great ▁bold ness ▁and ▁value ". ▁He ▁was ▁appreciated ▁by ▁the ▁two ▁sides ▁– ▁the ▁French ▁general ▁Such et ▁offered ▁him ▁the ▁chance ▁to ▁defect , ▁and ▁the ▁British ▁Do yle ▁asked ▁of ▁the ▁Cort es ▁of ▁Cad iz ▁that ▁he ▁be ▁given ▁a ▁distinguished ▁command ▁in ▁the ▁re organ ised ▁forces ▁in ▁the ▁Island ▁of ▁Leon . ▁It ▁was ▁under ▁the ▁orders ▁of ▁the ▁Duke ▁of ▁Well ington ▁in ▁the ▁decis ive ▁Battle ▁of ▁V itor ia , ▁that ▁was ▁going ▁to ▁lead ▁to ▁the ▁end ▁of ▁the ▁war . ▁Three ▁months ▁earlier , ▁in ▁March ▁ 1 8 1 3 , ▁he ▁had ▁married ▁Lu isa ▁Carl ota ▁S á enz ▁de ▁Vin ie gra , ▁daughter ▁of ▁an ▁honor ary ▁int endant ▁of ▁the ▁army , ▁with ▁whom ▁he ▁would ▁have ▁a ▁daughter ▁in ▁ 1 8 1 5 ▁who ▁died ▁shortly ▁after ▁birth . ▁ ▁Tor rij os ▁ended ▁the ▁war ▁with ▁the ▁rank ▁of ▁brig ad ier ▁general ▁at ▁only ▁twenty - three ▁years ▁of ▁age . ▁ ▁Failed ▁pron oun cement ▁against |
▁Ferdinand ▁VII ▁and ▁prison ▁( 1 8 1 7 – 1 8 2 0 ) ▁ ▁After ▁the ▁return ▁of ▁Ferdinand ▁VII ▁and ▁the ▁rest oration ▁of ▁the ▁Ab solute ▁Mon archy ▁in ▁ 1 8 1 4 , ▁Tor rij os ▁was ▁appointed ▁military ▁governor ▁of ▁Mur cia , ▁Cart ag ena ▁and ▁A lic ante , ▁receiving ▁in ▁ 1 8 1 6 ▁the ▁Great ▁Cross ▁of ▁San ▁Fernando ▁for ▁his ▁military ▁mer its . ▁But ▁Tor rij os ▁soon ▁became ▁involved ▁in ▁the ▁liberal ▁consp ir atorial ▁plot ▁that ▁was ▁intended ▁to ▁end ▁at ▁last ▁the ▁absolute ▁power ▁of ▁the ▁king ▁and ▁re inst ate ▁the ▁Constitution ▁of ▁Cad iz . ▁In ▁order ▁to ▁do ▁so ▁he ▁apparently ▁joined ▁the ▁Mason ry ▁by ▁adopt ing ▁the ▁name ▁" Ar ist og it on ." ▁▁ ▁The ▁consp i racy ▁in ▁which ▁he ▁participated ▁directly ▁was ▁the ▁attempt ▁of ▁pron oun cement ▁led ▁by ▁the ▁soldier ▁Juan ▁Van ▁Hal en , ▁and ▁that ▁was ▁going ▁to ▁take ▁place ▁in ▁the ▁zone ▁that ▁was ▁under ▁his ▁command . ▁He ▁engaged ▁in ▁the ▁attempt ▁to ▁en list ▁Lor raine ▁who ▁was ▁in ▁charge , ▁with ▁the ▁help ▁of ▁his ▁friend ▁the ▁Lieutenant ▁Colonel ▁Juan ▁López ▁P into , ▁and ▁contact ed ▁various ▁c land est ine ▁liberal ▁groups ▁in ▁his ▁territory . ▁But ▁Tor rij os ▁was ▁discovered ▁and ▁det ained ▁on ▁December ▁ 2 6 , ▁ 1 8 1 7 , ▁first ▁imprison ed ▁in ▁the ▁Santa ▁Barbara ▁Castle ▁A lic |
ante ▁and ▁then ▁in ▁the ▁prison ▁of ▁the ▁In quisition ▁of ▁Mur cia . ▁There ▁he ▁would ▁spend ▁the ▁next ▁two ▁years , ▁although ▁he ▁did ▁not ▁give ▁up ▁consp ir atorial ▁activity ▁thanks ▁to ▁his ▁wife ▁who ▁visited ▁him ▁in ▁j ail ▁and ▁sent ▁him ▁the ▁c land est ine ▁papers , ▁as ▁she ▁narr ated ▁herself , ▁" ▁either ▁putting ▁the ▁papers ▁inside ▁the ▁b ones ▁of ▁the ▁flesh ▁, ▁or ▁in ▁the ▁handles ▁of ▁the ▁silver ware ▁or ▁in ▁the ▁hem ▁of ▁the ▁table cl oth s ▁and ▁nap kins . ▁" ▁For ▁his ▁part ▁Van ▁Hal en ▁escaped ▁in ▁ 1 8 1 8 ▁from ▁the ▁pr isons ▁of ▁the ▁Holy ▁Office . ▁ ▁The ▁liberal ▁tri en ni um ▁( 1 8 2 0 – 1 8 2 3 ) ▁ ▁He ▁left ▁the ▁prison ▁thanks ▁to ▁the ▁triumph ▁of ▁the ▁Ir rig ation ▁pron oun cement ▁and ▁on ▁February ▁ 2 9 , ▁ 1 8 2 0 ▁which ▁led ▁the ▁pro clam ation ▁of ▁the ▁Constitution ▁of ▁ 1 8 1 2 ▁in ▁Mur cia . ▁King ▁Fernando ▁VII , ▁after ▁being ▁forced ▁to ▁accept ▁the ▁Constitution al ▁Mon archy , ▁tried ▁to ▁attract ▁Tor rij os ▁to ▁his ▁side ▁and ▁offered ▁to ▁transfer ▁him ▁to ▁Madrid ▁with ▁the ▁position ▁of ▁colon el ▁of ▁the ▁regiment ▁that ▁bore ▁his ▁name , ▁but ▁Tor rij os ▁flat ly ▁refused . ▁Which ▁was ▁worth ▁the ▁marg inal ization ▁of ▁any ▁responsibility ▁on ▁the ▁part ▁of ▁the ▁" mod |
er ate " ▁liberal ▁govern ments . ▁▁ ▁He ▁supported ▁the ▁patri otic ▁soci eties ▁def ended ▁by ▁the ▁liber als ▁" ex alt ados " ▁and ▁was ▁induct ed ▁in ▁June ▁ 1 8 2 0 ▁into ▁the ▁famous ▁Font ana ▁de ▁O ro ▁and ▁in ▁the ▁Lo vers ▁of ▁the ▁Constitution al ▁Order . ▁Tor rij os ▁and ▁other ▁" ex alt ed " ▁Liber als ▁created ▁a ▁secret ▁society ▁known ▁as ▁La ▁Comun er ía , ▁whose ▁purpose ▁was ▁to ▁defend ▁the ▁Constitution , ▁and ▁which ▁shortly ▁before ▁the ▁end ▁of ▁Tri en io ▁was ▁split ▁between ▁a ▁" rad ical " ▁sector ▁linked ▁to ▁the ▁newspaper ▁" Z ur ri ago " ▁and ▁that ▁of ▁the ▁" const itution al ▁comun eros ", ▁of ▁which ▁Tor rij os ▁was ▁a ▁part . ▁▁ ▁When ▁the ▁royal ist ▁u pr is ings ▁took ▁place , ▁Tor rij os ▁participated ▁in ▁the ▁war ▁against ▁the ▁royal ist ▁parties ▁in ▁Navar re ▁and ▁in ▁Catal onia ▁– ▁where ▁he ▁was ▁the ▁lieutenant ▁of ▁General ▁Esp oz ▁and ▁M ina ▁- , ▁which ▁earned ▁him ▁the ▁promotion ▁to ▁Field ▁Marshall ▁by ▁order ▁of ▁the ▁" ex alt ed " ▁government ▁of ▁E var isto ▁San ▁Miguel . ▁ ▁Short ly ▁there after , ▁on ▁February ▁ 2 8 , ▁ 1 8 2 3 , ▁he ▁was ▁appointed ▁Minister ▁of ▁War ▁but ▁failed ▁to ▁take ▁office ▁when ▁the ▁king ▁rev oked ▁the ▁" ex alt ed " ▁government ▁of ▁which ▁Tor rij os |
▁was ▁a ▁part . ▁▁ ▁When ▁in ▁May ▁ 1 8 2 3 ▁the ▁invasion ▁of ▁the ▁H undred ▁Th ous and ▁S ons ▁of ▁Saint ▁Louis ▁sent ▁by ▁the ▁Holy ▁Alliance ▁to ▁restore ▁the ▁absolute ▁power ▁of ▁the ▁King ▁Ferdinand ▁VII , ▁acted ▁under ▁the ▁orders ▁of ▁general ▁Ball ester os . ▁But ▁this , ▁so ▁that ▁Tor rij os ▁did ▁not ▁bother ▁him ▁in ▁his ▁intended ▁man eu ver ▁of ▁not ▁offering ▁any ▁resistance ▁to ▁the ▁enemy , ▁sent ▁it ▁dest ined ▁for ▁Cart ag ena ▁to ▁the ▁control ▁of ▁the ▁VIII ▁military ▁District . ▁There ▁he ▁def ended ▁the ▁pla za ▁along ▁with ▁Francisco ▁Val d és ▁and ▁Juan ▁López ▁P into ▁until ▁a ▁month ▁after ▁the ▁government ▁and ▁the ▁Cort es ▁had ▁capit ulated ▁before ▁the ▁Duke ▁of ▁Ang oul ême ▁in ▁September ▁Of ▁ 1 8 2 3 ▁after ▁the ▁fall ▁of ▁the ▁fort ▁Tro c ad ero ▁of ▁Cad iz , ▁that ▁would ▁end ▁up ▁giving ▁name ▁to ▁a ▁celebrated ▁square ▁of ▁Paris . ▁Thus ▁Tor rij os ▁in ▁Cart ag ena , ▁along ▁with ▁Esp oz ▁and ▁M ina ▁in ▁Barcelona , ▁were ▁the ▁last ▁military ▁that ▁resist ed . ▁In ▁the ▁act ▁of ▁surrender ▁to ▁the ▁French ▁troops ▁signed ▁on ▁November ▁ 3 , ▁ 1 8 2 3 - it ▁had ▁been ▁a ▁month ▁since ▁Ferdinand ▁VII ▁had ▁restored ▁absol ut ism - T or rij os ▁got ▁the ▁officers ▁who ▁went ▁into ▁ex ile ▁to ▁collect ▁their ▁sal aries ▁in ▁the ▁em igration |
, ▁according ▁to ▁their ▁condition ▁of ▁Ref uge es , ▁not ▁political ▁prisoners . ▁" It ▁surrender ed ▁with ▁all ▁the ▁hon ors : ▁the ▁arms ▁were ▁seized , ▁but ▁no ▁one ▁was ▁shot , ▁neither ▁were ▁prisoners ▁nor ▁repr is als . ▁In ▁the ▁few ▁days , ▁on ▁November ▁ 7 , ▁ 1 8 2 3 , ▁Rafael ▁del ▁R iego ▁was ▁Exec uted ▁on ▁the ▁Pla za ▁de ▁la ▁C eb ada ▁in ▁Madrid , ▁was ▁the ▁sad ▁symbol ▁of ▁the ▁defeat ▁of ▁the ▁liber als ▁at ▁the ▁hands ▁of ▁the ▁Holy ▁Alliance , ▁and ▁on ▁November ▁ 1 8 ▁Tor rij os ▁and ▁his ▁wife ▁emb ark ed ▁for ▁Marse illes , ▁where ▁they ▁arrived ▁on ▁ 1 ▁December . ▁Thus ▁began ▁an ▁ex ile ▁that ▁would ▁irre vers ibly ▁change ▁their ▁lives ." ▁ ▁Ex ile ▁in ▁England ▁( 1 8 2 4 – 1 8 3 0 ) ▁ ▁In ▁France ▁he ▁stayed ▁only ▁five ▁months ▁because ▁of ▁the ▁host ility ▁shown ▁by ▁his ▁government ▁to ▁the ▁Spanish ▁liberal ▁ex iles , ▁who ▁were ▁heavily ▁guard ed ▁by ▁the ▁police ▁and ▁who ▁were ▁not ▁allowed ▁to ▁res ide ▁in ▁the ▁border ▁depart ments ▁with ▁Spain . ▁At ▁that ▁time ▁Tor rij os ▁claimed ▁for ▁him ▁and ▁for ▁his ▁sub ordinates ▁the ▁sal ary ▁st ip ulated ▁in ▁the ▁agreement ▁of ▁surrender ▁of ▁Cart ag ena ▁which ▁the ▁government ▁refused ▁to ▁pay ▁– ▁they ▁would ▁only ▁collect ▁after ▁the ▁revolution ▁of ▁ 1 8 3 0 ] ▁triumph |
ed ▁in ▁France ▁– ▁and ▁entered ▁in ▁Contact ▁with ▁the ▁general ▁La f ay ette , ▁deput y ▁and ▁one ▁of ▁the ▁main ▁leaders ▁of ▁the ▁liberal ▁opposition ▁to ▁the ▁Mon archy ▁of ▁Louis ▁XVIII , ▁with ▁which ▁it ▁would ▁maintain ▁an ▁active ▁correspond ence ▁of ▁the ▁one ▁that ▁created ▁a ▁long ▁friendship . ▁▁ ▁On ▁April ▁ 2 4 , ▁ 1 8 2 4 ▁Tor rij os ▁and ▁his ▁wife ▁emb ark ed ▁for ▁England ▁and ▁during ▁the ▁first ▁two ▁years ▁lived ▁in ▁a ▁mod est ▁house ▁of ▁Black he ath ▁until ▁at ▁the ▁end ▁of ▁ 1 8 2 6 ▁they ▁moved ▁to ▁London . ▁During ▁that ▁time ▁he ▁lived ▁on ▁the ▁help ▁of ▁his ▁former ▁b oss ▁the ▁Duke ▁of ▁Well ington , ▁then ▁British ▁Prime ▁Minister , ▁which ▁held ▁until ▁July ▁ 1 8 2 9 ▁when ▁he ▁was ▁with dra wn ▁because ▁of ▁the ▁increase ▁in ▁his ▁consp ir atorial ▁activity . ▁As ▁this ▁grant ▁was ▁not ▁very ▁large ▁he ▁had ▁to ▁dev ote ▁work ▁to ▁translation . ▁Thus ▁he ▁translated ▁from ▁French ▁into ▁Cast ilian ▁the ▁Napoleon ' s ▁Mem ories , ▁preced ed ▁by ▁an ▁introduction ▁– ▁in ▁which ▁he ▁showed ▁his ▁adm iration ▁for ▁Bon ap arte ▁as ▁a ▁for ger ▁of ▁a ▁" n ational " ▁army , ▁among ▁other ▁reasons ▁– ▁and ▁supp lement ed ▁by ▁numerous ▁notes , ▁and ▁from ▁English ▁into ▁Spanish ▁the ▁" Mem oir s ▁of ▁General ▁Miller ," ▁who ▁had ▁participated ▁in ▁the ▁Per uv ian ▁war |
. ▁Tor rij os ▁had ▁personally ▁met ▁General ▁Miller ▁in ▁ 1 8 1 2 ▁during ▁the ▁campaign s ▁of ▁the ▁Spanish ▁War ▁of ▁Independ ence . ▁In ▁the ▁pro log ue ▁of ▁the ▁latter ▁Tor rij os ▁emphas ized ▁that ▁Miller ▁had ▁left ▁his ▁land ▁to ▁fight ▁for ▁the ▁freedom ▁" of ▁South ▁America ", ▁without ▁even ▁knowing ▁the ▁language , ▁and ▁that ▁" it ▁always ▁served ▁to ▁the ▁hom eland ▁that ▁had ▁adopted , ▁doing ▁as ▁it ▁should ▁abstra ction ▁of ▁people ▁and ▁matches . ▁" ▁ ▁A ▁few ▁months ▁after ▁going ▁to ▁live ▁in ▁London , ▁the ▁most ▁radical ▁Spanish ▁liberal ▁ex iles ▁created ▁on ▁ 1 ▁February ▁ 1 8 2 7 ▁a ▁" Board ▁of ▁the ▁u pr ising ▁in ▁Spain " ▁that ▁was ▁pres ided ▁over ▁by ▁Tor rij os , ▁thus ▁becoming ▁the ▁top ▁leader ▁of ▁this ▁liberal ▁sector ▁" ▁Ex alt ed ▁" who ▁had ▁dist anced ▁himself ▁from ▁the ▁more ▁moder ate ▁positions ▁of ▁Francisco ▁Esp oz ▁and ▁M ina , ▁who ▁until ▁then ▁had ▁been ▁the ▁leader ▁of ▁liber als ▁ex iled ▁in ▁England ▁and ▁who ▁at ▁the ▁time ▁was ▁quite ▁ske pt ical ▁about ▁the ▁ch ances ▁of ▁success ▁of ▁a ▁pron oun cement ▁in ▁Spain ▁against ▁the ▁absol ut ism ▁of ▁Fernando ▁VII . ▁ ▁The ▁pron oun cement ▁of ▁ 1 8 3 1 ▁▁ ▁Rock ▁of ▁Gib ral tar ▁during ▁the ▁times ▁of ▁Tor rij os . ▁In ▁May ▁of ▁ 1 8 3 0 ▁Tor rij os ▁presented |
▁his ▁plan ▁for ▁the ▁ins urre ction ▁consisting ▁in ▁the ▁pen etr ation ▁" in ▁circum ference " ▁in ▁the ▁Pen ins ula ▁to ▁attack ▁the ▁center , ▁Madrid , ▁from ▁several ▁points , ▁which ▁would ▁begin ▁the ▁" break ", ▁that ▁is ▁to ▁say , ▁the ▁entrance ▁in ▁Spain ▁of ▁the ▁consp ir ators ▁in ▁London ▁led ▁by ▁himself ▁would ▁be ▁the ▁signal ▁for ▁the ▁u pr ising . ▁On ▁July ▁ 1 6 , ▁ 1 8 3 0 , ▁the ▁Board ▁of ▁London ▁was ▁dissol ved . ▁App oint ed ▁on ▁an ▁inter im ▁basis ▁until ▁the ▁nation ▁was ▁" fre ely ▁assemble d " ▁an ▁Executive ▁Commission ▁of ▁the ▁u pr ising ▁was ▁created ▁led ▁by ▁Tor rij os ▁himself , ▁as ▁the ▁chief ▁military ▁officer , ▁and ▁by ▁Manuel ▁Fl ores ▁Cal der ón , ▁former ▁president ▁of ▁the ▁Cort es ▁del ▁Tri en io ▁Liberal ▁as ▁a ▁civil ▁authority . ▁Tor rij os ▁and ▁his ▁follow ers ▁arrived ▁in ▁Gib ral tar ▁at ▁the ▁beginning ▁of ▁September ▁via ▁Paris ▁and ▁Marse illes . ▁In ▁Gib ral tar ▁they ▁would ▁remain ▁for ▁a ▁whole ▁year ▁until ▁the ▁end ▁of ▁November ▁ 1 8 3 1 , ▁and ▁from ▁there ▁Tor rij os ▁promoted ▁several ▁ins urre ction al ▁con quest s ▁in ▁February ▁and ▁March ▁ 1 8 3 1 , ▁which ▁were ▁answered ▁by ▁a ▁brut al ▁repr ession ▁of ▁the ▁absol ut ist ▁government ▁of ▁Ferdinand ▁VII , ▁whose ▁most ▁famous ▁victim ▁was ▁Mar iana ▁P |
ined a , ▁executed ▁in ▁Gran ada ▁the ▁ 2 6 ▁of ▁May ▁of ▁that ▁year . ▁▁ ▁In ▁September ▁ 1 8 3 1 ▁the ▁captain ▁general ▁of ▁And alus ia ▁proposed ▁to ▁the ▁government ▁" to ▁se ize ▁the ▁revolution ary ▁ca ud illo ▁Tor rij os ▁by ▁surprise ▁or ▁strat agem ". ▁The ▁main ▁protagon ist ▁of ▁this ▁would ▁be ▁the ▁governor ▁of ▁Mal aga , ▁Vic ente ▁González ▁Mor eno , ▁who ▁from ▁the ▁previous ▁month ▁had ▁initi ated ▁an ▁active ▁correspond ence ▁with ▁Tor rij os ▁under ▁the ▁pseud onym ▁of ▁' V iri ato ' ▁', ▁pos ing ▁as ▁a ▁liberal ▁who ▁assured ▁him ▁that ▁the ▁best ▁place ▁for ▁the ▁landing ▁would ▁be ▁the ▁coast ▁of ▁Mal aga , ▁where ▁he ▁would ▁have ▁secured ▁the ▁support ▁of ▁the ▁g arr isons ▁and ▁where ▁all ▁the ▁liber als ▁were ▁willing ▁to ▁second ▁him . ▁" ▁ ▁Unfortunately ▁Tor rij os ▁paid ▁more ▁attention ▁to ▁" V iri ato ", ▁and ▁to ▁some ▁genu ine ▁liber als ▁who ▁also ▁wrote ▁him ▁encourag ing ▁him , ▁than ▁to ▁the ▁Jun ta ▁de ▁M ál aga ▁that ▁tried ▁to ▁dis su ade ▁him ▁from ▁landing ▁on ▁those ▁sh ores ▁if ▁he ▁did ▁not ▁have ▁enough ▁forces . ▁▁ ▁On ▁November ▁ 3 0 , ▁two ▁boats ▁with ▁si xty ▁men ▁head ed ▁by ▁Tor rij os , ▁who ▁were ▁sufficient ▁for ▁the ▁project ▁since ▁the ▁landing ▁did ▁not ▁have ▁a ▁military ▁character , ▁only ▁intended ▁to ▁t read ▁Spanish ▁land ▁and |
▁" pr on ounce ", ▁which ▁would ▁const itute ▁the ▁" break " ▁that ▁would ▁trigger ▁the ▁Liberal ▁u pr ising ▁throughout ▁Spain . ▁They ▁had ▁printed ▁a ▁Man if esto ▁to ▁the ▁Nation , ▁in ▁addition ▁to ▁several ▁pro clam ations . ▁" As ▁symbol ic ▁elements , ▁uniform s , ▁tr icol or ▁flags ▁( red ▁and ▁yellow , ▁with ▁two ▁blue - blue ▁stri pes ) ▁and ▁em blem s ▁with ▁arms ▁of ▁Spain . ▁Their ▁m ott os :" ▁Pat ria , ▁Libert ad ▁e ▁Indep endencia ▁", ▁and ▁the ▁cry ▁of " ▁Long ▁live ▁the ▁freedom ! ▁ ▁" ▁ ▁On ▁the ▁morning ▁of ▁December ▁ 2 , ▁they ▁saw ▁the ▁city ▁of ▁Mal aga , ▁after ▁almost ▁forty ▁hours ▁of ▁travel . ▁Ar riv ing ▁at ▁the ▁coast ▁they ▁were ▁surprised ▁by ▁the ▁ship ▁ ▁Ne pt une ▁'', ▁which ▁opened ▁fire ▁on ▁the ▁liber als . ▁With ▁no ▁more ▁shelter ▁than ▁the ▁land ▁itself , ▁Tor rij os ▁and ▁his ▁men ▁hurried ▁to ▁the ▁beach ▁of ▁El ▁Char c ón . ▁Then ▁the ▁group ▁of ▁Tor rij os ▁began ▁its ▁way ▁towards ▁the ▁Sierra ▁de ▁M ij as . ▁When ▁they ▁were ▁near ▁the ▁town ▁of ▁M ij as ▁they ▁saw ▁form ations ▁arranged ▁to ▁cut ▁off ▁their ▁passage ▁and ▁to ▁capture ▁them ▁and ▁the ▁men ▁Tor rij os ▁orders ▁in ▁that ▁border ▁the ▁town . ▁After ▁several ▁days ▁of ▁walking , ▁they ▁desc ended ▁along ▁the ▁north ▁slope ▁of ▁the ▁Sierra ▁de ▁M ij as |
▁and ▁enter ▁the ▁Gu adal hor ce ▁valley ▁towards ▁Al ha ur ín ▁de ▁la ▁Torre , ▁located ▁twenty ▁kilom eters ▁from ▁Mal aga . ▁They ▁took ▁refuge ▁in ▁Tor real quer ía ▁of ▁the ▁Count ▁of ▁M oll ina ▁in ▁Al ha ur ín ▁de ▁la ▁Torre . ▁With ▁the ▁first ▁light ▁of ▁day ▁December ▁ 4 , ▁ 1 8 3 1 , ▁Co in ▁Real ist ▁Vol unte ers ▁fired ▁their ▁weapons ▁to ▁indicate ▁that ▁the ▁liber als ▁had ▁been ▁located ▁and ▁were ▁surrounded . ▁Then ▁the ▁attack ▁began . ▁The ▁Liber als , ▁for ▁their ▁part , ▁opened ▁fire ▁from ▁within . ▁Tor rij os ▁finally ▁decided ▁to ▁surrender ▁and ▁hope ▁that ▁in ▁Mal aga ▁the ▁course ▁of ▁events ▁had ▁changed . ▁ ▁The ▁group ▁was ▁taken ▁prisoner ▁and ▁march ed ▁to ▁the ▁Con vent ▁of ▁San ▁And rés ▁( M ál aga ) ▁| ▁Con vent o ▁de ▁los ▁Car mel itas ▁Des cal zos ▁de ▁San ▁And rés , ▁where ▁they ▁would ▁spend ▁their ▁last ▁hours . ▁At ▁ 1 1 : 3 0 ▁in ▁the ▁morning ▁on ▁Sunday ▁ 1 1 ▁December , ▁Tor rij os ▁and ▁his ▁ 4 8 ▁compan ions ▁were ▁executed . ▁ ▁A ▁monument ▁hon ors ▁the ▁memory ▁of ▁the ▁compan ions ▁who ▁were ▁shot ▁with ▁General ▁Tor rij os . ▁They ▁were ▁shot ▁without ▁trial ▁in ▁two ▁groups ▁on ▁the ▁San ▁And rés ▁beach ▁of ▁M ál aga . ▁ ▁" In ▁the ▁first ▁one ▁was ▁Tor rij os , |
▁who ▁was ▁not ▁allowed ▁to ▁send ▁for ▁the ▁execution ▁squad , ▁as ▁he ▁had ▁requested ." ▁ ▁References ▁ ▁Bibli ography ▁▁▁▁▁▁ ▁Category : 1 7 9 1 ▁birth s ▁Category : 1 8 3 1 ▁death s ▁Category : Pe ople ▁from ▁Madrid ▁Category : Span ish ▁nob ility ▁Category : Span ish ▁gener als ▁Category : Span ish ▁Fre em asons ▁Category : Pe ople ▁of ▁the ▁Pen ins ular ▁War ▁Category : Pe ople ▁executed ▁by ▁Spain ▁by ▁firing ▁squad ▁Category : Span ish ▁military ▁personnel ▁of ▁the ▁Napole onic ▁Wars <0x0A> </s> ▁The ▁Gr iss om ▁Gang ▁is ▁a ▁ 1 9 7 1 ▁American ▁crime ▁ne o ▁no ir ▁directed ▁and ▁produced ▁by ▁Robert ▁Ald rich ▁from ▁a ▁screen play ▁by ▁Leon ▁Griff ith s . ▁The ▁film ▁is ▁the ▁second ▁adaptation ▁of ▁the ▁ 1 9 3 9 ▁novel ▁No ▁Or ch ids ▁for ▁Miss ▁B land ish ▁by ▁James ▁Had ley ▁Ch ase ; ▁a ▁previous ▁version ▁had ▁been ▁made ▁in ▁Britain ▁in ▁ 1 9 4 8 . ▁The ▁cast ▁includes ▁Kim ▁Dar by , ▁Scott ▁Wilson , ▁Tony ▁Mus ante , ▁Robert ▁L ans ing , ▁I rene ▁Da iley , ▁Con nie ▁Stevens , ▁Wes ley ▁Add y , ▁Jo ey ▁F aye ▁and ▁Ralph ▁Wa ite . ▁ ▁Plot ▁In ▁ 1 9 3 1 , ▁a ▁Miss ou rian ▁meat ▁he ir ess ▁is ▁ro bb ed ▁by ▁three ▁men , ▁who ▁pan ic ▁after ▁murder ing ▁her ▁boy friend ▁and |
▁kid nap ▁her . ▁At ▁their ▁hide out , ▁the ▁three ▁are ▁amb ushed ▁and ▁killed ▁by ▁Edd ie ▁H agan , ▁who ▁happened ▁to ▁witness ▁the ▁crime , ▁and ▁the ▁rest ▁of ▁the ▁not orious ▁Gr iss om ▁Gang . ▁ ▁Barbara ▁B land ish ▁is ▁held ▁capt ive ▁by ▁the ▁gang , ▁including ▁S lim ▁Gr iss om , ▁a ▁ment ally ▁hand ic apped ▁th ug ▁who ▁falls ▁in ▁love ▁with ▁her . ▁Ma ▁Gr iss om , ▁the ▁gang ' s ▁b oss , ▁sends ▁a ▁r ans om ▁note ▁to ▁the ▁girl ' s ▁father , ▁John ▁P . ▁B land ish , ▁demand ing ▁a ▁million ▁dollars ▁for ▁her ▁return . ▁But ▁she ▁has ▁no ▁intention ▁of ▁returning ▁Barbara , ▁and ▁the ▁plan ▁to ▁kill ▁her ▁meets ▁the ▁disapp ro val ▁of ▁Ma ' s ▁husband ▁Doc . ▁ ▁Private ▁detect ive ▁Dave ▁Fen ner ▁is ▁h ired ▁by ▁Barbara ' s ▁father ▁as ▁weeks ▁go ▁by . ▁After ▁at ▁first ▁ins ult ing ▁S lim ▁as ▁a ▁" half w it " ▁and ▁rep elling ▁his ▁adv ances , ▁Barbara ▁real izes ▁that ▁the ▁only ▁thing ▁keeping ▁her ▁alive ▁is ▁his ▁desire ▁for ▁her , ▁S lim ▁v ow ing ▁to ▁kill ▁any ▁gang ▁member ▁who ▁har ms ▁her . ▁She ▁rel uct antly ▁becomes ▁S lim ' s ▁lo ver . ▁ ▁Night club ▁singer ▁Anna ▁Borg ▁has ▁no ▁idea ▁what ▁became ▁of ▁her ▁boy friend , ▁one ▁of ▁the ▁kid n app ers ▁who |
▁got ▁killed . ▁She ▁pull s ▁a ▁gun ▁on ▁Edd ie , ▁who ▁lies ▁that ▁Anna ' s ▁boy friend ▁ran ▁off ▁with ▁another ▁woman . ▁Anna ▁allows ▁herself ▁to ▁be ▁s edu ced ▁by ▁Edd ie , ▁who ▁then ▁mur ders ▁two ▁men ▁with ▁knowledge ▁of ▁the ▁crime . ▁ ▁Month s ▁go ▁by . ▁Fen ner , ▁out ▁of ▁ideas , ▁pos es ▁as ▁a ▁the atr ical ▁agent ▁who ▁can ▁help ▁Anna ' s ▁singing ▁career . ▁He ▁gets ▁her ▁talking ▁about ▁past ▁criminal ▁associations ▁and ▁lear ns ▁where ▁the ▁missing ▁girl ▁might ▁be . ▁A ▁fur ious ▁Edd ie ▁k ills ▁Anna , ▁then ▁goes ▁after ▁Barbara ▁only ▁to ▁have ▁S lim ▁st ab ▁him ▁to ▁death . ▁Ma ▁uses ▁a ▁machine ▁gun ▁to ▁fight ▁police ▁and ▁k ills ▁her ▁husband ▁Doc ▁when ▁he ▁tries ▁to ▁surrender . ▁S lim ▁dies ▁in ▁a ▁ha il ▁of ▁bul lets , ▁but ▁when ▁Barbara ▁we eps ▁over ▁him , ▁her ▁dis g usted ▁father ▁wal ks ▁away . ▁ ▁Cast ▁▁ ▁Kim ▁Dar by ▁as ▁Barbara ▁B land ish ▁ ▁Scott ▁Wilson ▁as ▁S lim ▁Gr iss om ▁ ▁Tony ▁Mus ante ▁as ▁Edd ie ▁H agan ▁ ▁Robert ▁L ans ing ▁as ▁Dave ▁Fen ner ▁ ▁I rene ▁Da iley ▁as ▁Glad ys ▁" Ma " ▁Gr iss om ▁ ▁Con nie ▁Stevens ▁as ▁Anna ▁Borg ▁ ▁Wes ley ▁Add y ▁as ▁John ▁P . ▁B land ish ▁ ▁Don ▁K ee fer ▁as ▁Doc ▁ ▁Jo ey ▁F aye |
▁as ▁W opp y ▁ ▁Ralph ▁Wa ite ▁as ▁M ace ▁ ▁Production ▁The ▁film ▁was ▁based ▁on ▁the ▁novel ▁No ▁Or ch ids ▁for ▁Miss ▁B land ish ▁which ▁had ▁been ▁controvers ial ▁ever ▁since ▁originally ▁published . ▁It ▁had ▁been ▁turned ▁into ▁a ▁controvers ial ▁British ▁film ▁in ▁ 1 9 4 8 . ▁ ▁Gene ▁D . ▁Phill ips ▁of ▁Lo y ola ▁University ▁of ▁Chicago ▁wrote ▁that ▁" It ▁is ▁a ▁matter ▁of ▁record ▁that ▁[ the ▁novel ] ▁No ▁Or ch ids ▁for ▁Miss ▁B land ish ▁was ▁heavily ▁inde bt ed ▁to ▁San ctu ary ▁for ▁its ▁plot ▁line ." ▁Therefore ▁he ▁cons iders ▁this ▁film ▁to ▁be ▁inspired ▁by ▁San ctu ary . ▁ ▁The ▁success ▁of ▁The ▁D irty ▁Do zen ▁led ▁to ▁Robert ▁Ald rich ▁signing ▁a ▁multi - picture ▁contract ▁with ▁ABC ▁Pictures . ▁In ▁May ▁ 1 9 7 0 ▁Martin ▁Ba um , ▁president ▁of ▁ABC , ▁announced ▁Ald rich ' s ▁company , ▁Ald rich ▁and ▁Associ ates , ▁would ▁make ▁The ▁Gr iss om ▁Gang , ▁in ▁June , ▁at ▁Ald rich ' s ▁stud ios . ▁Fil ming ▁was ▁pushed ▁back ▁to ▁July . ▁ ▁Ald rich ▁says ▁he ▁was ▁partly ▁inspired ▁to ▁make ▁it ▁by ▁the ▁fact ▁it ▁was ▁set ▁in ▁the ▁ 1 9 3 0 ▁and ▁would ▁not ▁be ▁in ▁as ▁much ▁danger ▁of ▁being ▁dated . ▁" You ▁have ▁to ▁be ▁ter rib ly ▁careful ▁about ▁not ▁making ▁a ▁picture ▁that ▁will ▁be ▁affected |
▁by ▁a ▁change ▁in ▁the ▁audience ' s ▁framework ▁of ▁accept ance ▁between ▁the ▁time ▁you ▁start ▁and ▁the ▁time ▁you ▁finish ," ▁he ▁said . ▁" That ' s ▁an ▁enorm ous ▁problem . ▁Wh atever ▁you ▁say ▁today ▁ris ks ▁strongly ▁going ▁out ▁of ▁date ▁in ▁the ▁fifteen ▁month ▁time - lag ▁between ▁the ▁start ▁of ▁shooting ▁and ▁release ." ▁▁ ▁Le ad ▁roles ▁went ▁to ▁Kim ▁Dar by , ▁best ▁known ▁for ▁True ▁G rit , ▁and ▁Scott ▁Wilson , ▁best ▁known ▁for ▁In ▁Cold ▁Blood . ▁▁ ▁Dar by ▁said ▁" every ▁actress ▁in ▁town ▁had ▁been ▁up ▁for " ▁her ▁role , ▁with ▁Mich elle ▁Phill ips ▁and ▁Barbara ▁H ers he y ▁among ▁those ▁who ▁tested . ▁Dar by ▁says ▁" I ▁really ▁learned ▁a ▁lot ▁from ▁Mr . ▁Ald rich ▁during ▁the ▁shooting ... ▁and ▁I ▁think ▁that ▁it ' s ▁a ▁terrible ▁picture . ▁But ▁working ▁with ▁Ald rich ▁was ▁the ▁most ▁enjoy able ▁and ▁fun ny ▁time ▁I ▁ever ▁had . ▁There ▁was ▁nothing ▁like ▁it ." ▁ ▁Wilson ▁had ▁been ▁offered ▁a ▁lot ▁of ▁roles ▁as ▁murder ers ▁after ▁In ▁Cold ▁Blood ▁and ▁turned ▁them ▁down . ▁He ▁accepted ▁the ▁part ▁of ▁S lim ▁Gr iss om ▁because ▁he ▁" was ▁much ▁more ▁than ▁just ▁a ▁k iller . ▁And ▁there ' s ▁a ▁love ▁story ▁involved ." ▁( B ru ce ▁D ern ▁had ▁tested ▁un success fully ▁for ▁the ▁part .) ▁ ▁Ald rich ▁later ▁said ▁ABC ▁ins isted ▁on ▁certain |
▁people ▁being ▁cast . ▁ ▁The ▁cast ▁had ▁two ▁weeks ▁of ▁re he ars al . ▁Wilson ▁called ▁Ald rich ▁" am az ing . ▁He ' s ▁in ▁such ▁control ▁but ▁he ' s ▁so ▁easy ." ▁ ▁" I ▁don ' t ▁think ▁Mr . ▁Ald rich ▁ever ▁even ▁referenced ▁the ▁novel ▁while ▁we ▁were ▁shooting ," ▁said ▁Dar by . ▁" At ▁that ▁time , ▁I ▁had ▁thought ▁that ▁we ▁were ▁working ▁off ▁of ▁an ▁original ▁screen play ." ▁ ▁The ▁film ▁originally ▁ended ▁with ▁B land ish ▁comm itting ▁suic ide ▁by ▁jump ing ▁in ▁the ▁river . ▁But ▁after ▁test ▁screen ings ▁this ▁was ▁changed ▁as ▁it ▁was ▁felt ▁unnecessary ▁since ▁" her ▁life ▁was ▁lost ▁and ▁useless ▁anyway " ▁according ▁to ▁Ald rich . ▁ ▁D ifference ▁from ▁ 1 9 4 8 ▁adaptation ▁Pre viously ▁fil med ▁in ▁England ▁in ▁ 1 9 4 8 ▁under ▁its ▁original ▁title , ▁the ▁central ▁conce it ▁was ▁that ▁the ▁he ir ess , ▁who ▁felt ▁st if led ▁by ▁her ▁upper - class ▁life - style , ▁fell ▁in ▁love ▁with ▁the ▁ab duct or ▁and ▁his ▁compar ative ▁freedom ▁to ▁live ▁his ▁life ▁on ▁the ▁edge . ▁In ▁this ▁re make , ▁Ald rich ▁and ▁Griff ith s ▁revers ed ▁this ▁angle : ▁the ▁he ir ess ▁merely ▁strings ▁him ▁along ▁in ▁an ▁attempt ▁to ▁escape . ▁This ▁version ▁was ▁also ▁played ▁more ▁for ▁laugh s , ▁in ▁particular ▁the ▁out land ish ly ▁der anged ▁behavior |
▁of ▁the ▁gang . ▁The ▁time ▁period ▁and ▁locale ▁have ▁also ▁been ▁changed ▁from ▁ 1 9 4 8 ▁New ▁York ▁in ▁the ▁first ▁adaptation ▁to ▁ 1 9 3 1 ▁Missouri ▁in ▁the ▁re make . ▁ ▁Release ▁" I ▁think ▁it ' s ▁a ▁good ▁picture ," ▁said ▁Ald rich ▁shortly ▁before ▁the ▁film ▁came ▁out . ▁" It ' s ▁a ▁personal ▁story ; ▁but , ▁yes , ▁it ▁has ▁quite ▁a ▁bit ▁of ▁violence . ▁Gr iss om ▁Gang ▁may ▁or ▁may ▁not ▁make ▁money . ▁It ' s ▁not ▁a ▁commer cially - orient ed ▁picture . ▁It ▁won ' t ▁make ▁money ▁for ▁us ▁because ▁it ' s ▁cross - coll ater al ized ▁back ▁against ▁our ▁law suit ▁with ▁ABC ." ▁( The ▁law suit ▁he ▁was ▁referring ▁to ▁involved ▁ABC ▁can cell ing ▁a ▁proposed ▁Western ▁Ald rich ▁wanted ▁to ▁make ▁called ▁Reb ell ion .) ▁ ▁Crit ical ▁reception ▁At ▁the ▁time ▁of ▁its ▁release , ▁review ers ▁critic ized ▁the ▁mel od ram atic ▁extrem es ▁of ▁the ▁script ▁and ▁the ▁fact ▁that ▁the ▁cast ▁is ▁shown ▁swe ating ▁throughout ▁the ▁entire ▁film . ▁Vincent ▁Can by ▁of ▁The ▁New ▁York ▁Times ▁wrote , ▁" You ▁don ' t ▁really ▁have ▁to ▁think ▁very ▁much ▁about ▁The ▁Gr iss om ▁Gang ▁to ▁call ▁it ▁off ensive , ▁imm oral ▁and ▁perhaps ▁even ▁las c iv ious , ▁although ▁to ▁me , ▁that ▁word , ▁when ▁it ▁is ▁applied ▁to ▁an ▁aim , ▁is |
▁more ▁of ▁a ▁promise ▁than ▁a ▁threat . ▁The ▁Gr iss om ▁Gang , ▁like ▁so ▁many ▁Ald rich ▁films , ▁... ▁car ries ▁l ur id ▁mel od rama ▁and ▁violence ▁to ▁out rage ous ▁limits , ▁for ▁what ▁often ▁seems ▁like ▁the ▁purely ▁per verse ▁hell ▁of ▁it ▁... ▁Every body ▁swe ats ▁constantly , ▁and ▁nobody ▁dies ▁off - screen , ▁always ▁on - screen , ▁in ▁what ▁the ▁newsp apers ▁of ▁the ▁day ▁used ▁to ▁describe ▁as ▁a ▁ha il ▁of ▁bul lets ▁... ▁Ald rich ▁lets ▁his ▁perform ers , ▁especially ▁Miss ▁Da iley ▁and ▁Wilson , ▁behave ▁as ▁if ▁they ▁were ▁in ▁The ▁B ever ly ▁Hill b ill ies ." ▁ ▁Roger ▁E bert ▁of ▁the ▁Chicago ▁Sun - Times ▁was ▁only ▁slightly ▁less ▁har sh , ▁saying , ▁" We ' ve ▁been ▁here ▁before , ▁most ▁memor ably ▁with ▁Bon nie ▁and ▁C ly de , ▁but ▁also ▁with ▁Roger ▁C orm an ' s ▁se amy ▁exam ination ▁of ▁the ▁B ark er ▁family ▁in ▁Blo ody ▁M ama . ▁Robert ▁Ald rich ' s ▁new ▁film ▁ow es ▁something ▁to ▁both . ▁To ▁Bon nie ▁and ▁C ly de ▁for ▁its ▁convin cing ▁period ▁feel , ▁and ▁to ▁Blo ody ▁M ama ▁for ▁its ▁treatment ▁of ▁a ▁violent , ▁sex ually ▁tw isted ▁family ▁of ▁crim inals ," ▁adding ▁"... the ▁movie ▁is ▁deliber ately ▁mel od ram atic , ▁and ▁to ▁such ▁an ▁over done ▁degree ▁that ▁( if ▁you ▁susp |
end ▁your ▁san ity ▁for ▁an ▁hour ▁or ▁so ) ▁you ▁can ▁almost ▁w allow ▁in ▁it . ▁Every one ▁sc ream s , ▁sh outs , ▁flash es ▁kn ives ▁at ▁each ▁other ▁and ▁swe ats ▁a ▁lot ." ▁ ▁Vari ety ▁also ▁added , ▁" Pro v ided ▁with ▁a ▁script ▁that ▁offers ▁absolutely ▁no ▁insight ▁into ▁the ▁inner ▁lives ▁of ▁its ▁people , ▁director ▁Robert ▁Ald rich ▁takes ▁matters ▁a ▁step ▁further ▁by ▁direct ing ▁his ▁actors ▁in ▁performances ▁that ▁stra in ▁the ▁bounds ▁of ▁cred ul ity . ▁Wilson ▁and ▁Kim ▁Dar by , ▁as ▁the ▁kid n apped ▁girl , ▁make ▁st abs ▁at ▁more ▁than ▁one ▁dimension , ▁but ▁when ▁they ▁indul ge ▁in ▁car ic atures ▁of ▁feeling , ▁as ▁they ▁often ▁do , ▁they ▁cancel ▁out ▁the ▁rest ▁of ▁their ▁work ." ▁ ▁Modern ▁critics ▁hold ▁the ▁film ▁in ▁a ▁slightly ▁higher ▁regard , ▁with ▁Time Out ▁saying ▁" For ▁one ▁thing , ▁the ▁e pon ym ous ▁family , ▁who ▁kid nap ▁' 3 0 s ▁he ir ess ▁Miss ▁B land ish , ▁are ▁never ▁gl am or ised ▁but ▁port rayed ▁as ▁a ▁path etic , ▁ignor ant ▁bunch ▁of ▁gro tes ques ; ▁for ▁another , ▁as ▁the ▁pet ul ant ▁and ▁spo ilt ▁hero ine ▁turns ▁the ▁sad istic ▁and ▁murder ous ▁S lim ▁Gr iss om ' s ▁love ▁for ▁her ▁to ▁her ▁own ▁cru elly ▁hum ili ating ▁purposes , ▁the ▁film ▁becomes ▁an ▁uns ent iment al |
▁expl oration ▁of ▁per verse ▁power - g ames ▁played ▁between ▁two ▁characters ▁whose ▁very ▁different ▁family ▁background s ▁cannot ▁conce al ▁the ▁lat ent ▁vulner ability ▁they ▁both ▁share ." ▁ ▁The ▁film ▁holds ▁a ▁ 6 7 % ▁appro val ▁rating ▁on ▁Rotten ▁Tomatoes . ▁ ▁Box ▁office ▁The ▁film ▁earned ▁$ 3 4 0 , 0 0 0 ▁in ▁North ▁American ▁rent als ▁and ▁$ 2 5 0 , 0 0 0 ▁in ▁other ▁countries . ▁It ▁recorded ▁an ▁overall ▁loss ▁of ▁$ 3 , 6 7 0 , 0 0 0 . ▁It ▁had ▁adm issions ▁of ▁ 2 3 9 , 7 6 8 ▁in ▁France . ▁ ▁Ald rich ▁later ▁called ▁it ▁a ▁" f ine ▁movie " ▁and ▁was ▁confused ▁why ▁it ▁did ▁not ▁do ▁better ▁commer cially ▁when ▁so ▁many ▁mov ies ▁set ▁in ▁the ▁ 1 9 3 0 s ▁around ▁this ▁time ▁were ▁popular . ▁" I ▁think ▁the ▁timing ▁was ▁perfect , ▁the ▁style ▁of ▁picture ▁was ▁perfect . ▁If ▁you ' re ▁asking ▁me ▁why ▁that ▁picture ▁wasn ' t ▁a ▁success , ▁I ▁haven ' t ▁a ▁clue ." ▁ ▁Home ▁media ▁The ▁Gr iss om ▁Gang ▁was ▁released ▁to ▁Region ▁ 1 ▁DVD ▁via ▁An chor ▁Bay ▁Entertainment ▁on ▁October ▁ 2 1 , ▁ 2 0 0 0 . ▁A ▁second ▁DVD ▁became ▁available ▁from ▁M GM ▁Home ▁Entertainment ▁on ▁November ▁ 2 , ▁ 2 0 0 4 . ▁ ▁On ▁November ▁ 1 0 , ▁ |
2 0 1 7 , ▁it ▁was ▁announced ▁that ▁The ▁Gr iss om ▁Gang ▁would ▁become ▁available ▁on ▁Bl u - ray ▁via ▁K ino ▁Lor ber ▁in ▁the ▁United ▁States ▁and ▁Canada . ▁The ▁set ▁was ▁expected ▁to ▁arrive ▁in ▁early ▁ 2 0 1 8 , ▁however , ▁its ▁release ▁date ▁was ▁moved ▁and ▁will ▁be ▁available ▁from ▁November ▁ 2 7 , ▁ 2 0 1 8 . ▁An ▁additional ▁DVD ▁set ▁will ▁also ▁be ▁released . ▁ ▁Leg acy ▁▁ ▁In ▁ 2 0 0 9 ▁Empire ▁Magazine ▁named ▁it ▁# 1 2 ▁in ▁a ▁poll ▁of ▁the ▁ 2 0 ▁Great est ▁Gang ster ▁Mov ies ▁You ' ve ▁Never ▁Se en * ▁(* Pro bably ) ▁ ▁See ▁also ▁ ▁List ▁of ▁American ▁films ▁of ▁ 1 9 7 1 ▁ ▁Notes ▁ ▁External ▁links ▁ ▁Category : 1 9 7 1 ▁films ▁Category : American ▁crime ▁drama ▁films ▁Category : American ▁films ▁Category : 1 9 7 0 s ▁crime ▁drama ▁films ▁Category : Fil ms ▁scored ▁by ▁Ger ald ▁Fried ▁Category : Fil ms ▁about ▁kid n apping ▁Category : Fil ms ▁based ▁on ▁British ▁nov els ▁Category : Fil ms ▁based ▁on ▁works ▁by ▁James ▁Had ley ▁Ch ase ▁Category : Fil ms ▁directed ▁by ▁Robert ▁Ald rich ▁Category : Fil ms ▁set ▁in ▁the ▁ 1 9 3 0 s ▁Category : American ▁ne o - no ir ▁films ▁Category : C iner ama ▁Re le asing ▁Corporation ▁films <0x0A> </s> ▁Mr ▁Love |
▁& ▁Justice ▁is ▁the ▁tw elf th ▁studio ▁album ▁by ▁folk - rock ▁music ian ▁Billy ▁B rag g , ▁and ▁the ▁second ▁to ▁be ▁recorded ▁with ▁his ▁backing ▁band ▁The ▁Blo kes . ▁The ▁title ▁is ▁taken ▁from ▁the ▁ 1 9 6 0 ▁novel ▁by ▁Col in ▁Mac In nes . ▁ ▁Two ▁versions ▁are ▁available ▁on ▁CD . ▁The ▁first ▁is ▁a ▁single - dis c ▁album ▁featuring ▁The ▁Blo kes , ▁the ▁second ▁is ▁a ▁limited - ed ition ▁double - dis c ▁release . ▁Disc ▁one ▁is ▁the ▁same ▁as ▁the ▁standard ▁issue , ▁but ▁is ▁referred ▁to ▁as ▁Band ▁Version ; ▁the ▁second ▁disc , ▁Solo ▁Version , ▁contains ▁the ▁same ▁twelve ▁tracks ▁performed ▁just ▁by ▁B rag g ▁with ▁electric ▁and ▁ac oust ic ▁gu it ars . ▁ ▁The ▁album ▁was ▁recorded ▁at ▁Chap el ▁Studios , ▁Lincoln shire ▁in ▁March ▁ 2 0 0 7 , ▁with ▁additional ▁record ings ▁taken ▁from ▁a ▁session ▁that ▁was ▁recorded ▁at ▁The ▁But ch ers ▁Sh op , ▁London ▁N W 5 ▁in ▁September ▁ 2 0 0 6 . ▁The ▁solo ▁version ▁of ▁the ▁album ▁was ▁recorded ▁by ▁B rag g ▁at ▁Mo jo ▁Sound ▁Studios ▁in ▁Dev on ▁in ▁September ▁ 2 0 0 7 . ▁ ▁The ▁first ▁single ▁to ▁be ▁released ▁from ▁the ▁album ▁was ▁" I ▁Keep ▁Fa ith " ▁ ▁which ▁was ▁released ▁on ▁limited ▁edition ▁ 7 " ▁on ▁ 1 7 ▁March ▁ 2 0 0 8 . ▁ |
▁The ▁second ▁single ▁from ▁the ▁album ▁was ▁a ▁double ▁a - side ▁of ▁" The ▁Beach ▁Is ▁Free " ▁and ▁" I ▁Al most ▁Kil led ▁You " ▁which ▁was ▁released ▁as ▁a ▁download ▁single ▁on ▁ 2 1 ▁July ▁ 2 0 0 8 . ▁ ▁Franz ▁Nicol ay , ▁of ▁The ▁Hold ▁Ste ady , ▁listed ▁Mr ▁Love ▁& ▁Justice ▁as ▁one ▁of ▁his ▁favour ite ▁albums ▁of ▁ 2 0 0 8 . ▁ ▁Re ception ▁ ▁The ▁album ▁so ▁far ▁has ▁a ▁score ▁of ▁ 7 1 ▁out ▁of ▁ 1 0 0 ▁from ▁Met ac rit ic ▁based ▁on ▁" gener ally ▁favor able ▁reviews ". ▁Filter ▁gave ▁the ▁album ▁a ▁score ▁of ▁ 8 2 ▁out ▁of ▁ 1 0 0 ▁and ▁said , ▁" Fl our ishes ▁of ▁horn s ▁add ▁to ▁the ▁traditional ▁band ▁instrument ation , ▁giving ▁B rag g ▁a ▁solid ▁foundation ▁on ▁which ▁to ▁convey ▁his ▁message ." ▁P aste ▁gave ▁the ▁album ▁a ▁favor able ▁review ▁and ▁said ▁that ▁" R ather ▁than ▁being ▁a ▁return ▁to ▁form , ▁it ’ s ▁a ▁le ap ▁forward ▁in ▁m atur ity , ▁depth ▁and ▁nu ance ." ▁Billboard ▁gave ▁the ▁album ▁a ▁favor able ▁review ▁and ▁said ▁of ▁B rag g , ▁" Wh ether ▁you ▁prefer ▁him ▁shout ing ▁vit ri ol ▁on ▁the ▁pick et ▁line ▁or ▁whisper ing ▁sweet ▁not h ings ▁in ▁the ▁bed room , ▁you ' ll ▁find ▁plenty ▁to ▁enjoy ▁here ." ▁The ▁Village ▁Vo |
ice ▁like wise ▁gave ▁it ▁a ▁favor able ▁review ▁and ▁called ▁it ▁" class ic ▁B rag g : ▁frequently ▁fant astic ▁folk - rock ▁that ▁keeps ▁both ▁the ▁faith ▁and ▁your ▁attention ." ▁The ▁Boston ▁Glo be ▁like wise ▁gave ▁it ▁a ▁favor able ▁review ▁and ▁stated , ▁" B rag g ▁colors ▁his ▁brilliant ▁C ock ney - ac cent ed ▁disc ourse ▁with ▁App al ach ian ▁folk ▁on ▁the ▁Wo ody ▁Gut hr ie - infl uen ced ▁' O ▁Fre edom ,' ▁where ▁he ▁protest s , ▁' Fre edom , ▁what ▁libert ies ▁are ▁taken ▁in ▁thy ▁name ?' ▁On ▁' I ▁Keep ▁Fa ith ,' ▁which ▁features ▁So ft ▁Machine ▁legend ▁Robert ▁Wy att , ▁he ▁t aps ▁classic ▁soul ." ▁ ▁The ▁Phoenix ▁gave ▁the ▁album ▁three ▁stars ▁out ▁of ▁four ▁and ▁said ▁it ▁isn ’ t ▁without ▁its ▁mis f ires ▁[...] ▁but ▁it ▁is ▁B rag g ’ s ▁most ▁assured ▁statement ▁since ▁hook ing ▁up ▁with ▁Wil co ▁a ▁de cade ▁ago ▁to ▁give ▁life ▁to ▁lost ▁Wo ody ▁Gut hr ie ▁lyr ics ." ▁The ▁A . V . ▁Club ▁gave ▁the ▁album ▁a ▁B ▁and ▁said ▁that ▁while ▁B rag g ▁" does n ' t ▁scale ▁the ▁height s ▁he ▁achieved ▁on ▁earlier ▁albums , ▁at ▁least ▁the ▁mountains ▁are ▁visible ▁from ▁here ." ▁Sp in ▁gave ▁it ▁a ▁score ▁of ▁seven ▁out ▁of ▁ten ▁and ▁said ▁that ▁" B rag g ▁gets ▁the ▁balance ▁of ▁message ▁and ▁music |
▁just ▁about ▁right ." ▁ ▁Other ▁reviews ▁are ▁pretty ▁average ▁or ▁mixed : ▁Q ▁gave ▁the ▁album ▁three ▁stars ▁out ▁of ▁five ▁and ▁said ▁that ▁the ▁Blo kes ▁" to o ▁often ▁imp ede ▁[ B rag g ' s ] ▁thought ful ▁lyr ics ." ▁Hot ▁Press ▁gave ▁the ▁album ▁an ▁average ▁review ▁and ▁stated : ▁" B rag g ▁is ▁taking ▁stock . ▁He ’ s ▁now ▁doing ▁it ▁for ▁himself , ▁at ▁his ▁own ▁pace . ▁Those ▁in ▁search ▁of ▁revel ation ▁from ▁an ▁old ▁punk ▁with ▁a ▁new ▁perspective ▁will ▁be ▁left ▁h anging ." ▁BBC ▁Music ▁gave ▁the ▁album ▁a ▁mixed ▁review ▁and ▁said ▁it ▁was ▁" not ▁at ▁all ▁bad , ▁but ▁compared ▁to ▁B rag g ' s ▁own ▁T alk ing ▁with ▁the ▁Tax man ▁About ▁Po etry ▁or ▁Work ers ▁Play time ▁it ▁doesn ' t ▁fare ▁at ▁all ▁well ." ▁Now ▁gave ▁the ▁album ▁two ▁stars ▁out ▁of ▁five ▁and ▁said ▁that ▁it ▁" find s ▁[ B rag g ] ▁in ▁his ▁comfort ▁zone ▁provided ▁by ▁the ▁Blo kes ▁and ▁producer ▁Grant ▁Show b iz ▁under ▁yet ▁another ▁title ▁co pped ▁from ▁novel ist ▁Col in ▁Mac In nes ." ▁ ▁Track ▁listing ▁All ▁songs ▁written ▁by ▁Billy ▁B rag g . ▁ ▁" I ▁Keep ▁Fa ith " ▁" I ▁Al most ▁Kil led ▁You " ▁" M ▁for ▁Me " ▁" The ▁Beach ▁is ▁Free " ▁" Sing ▁Their ▁Sou ls ▁Back ▁Home " ▁" You ▁Make ▁Me ▁Bra ve |
" ▁" Something ▁H app ened " ▁" Mr ▁Love ▁& ▁Justice " ▁" If ▁You ▁Ever ▁Le ave " ▁" O ▁Fre edom " ▁" The ▁Johnny ▁Car cin ogen ic ▁Show " ▁" F arm ▁Boy " ▁ ▁Japanese ▁bonus ▁tracks ▁ ▁" A sh ▁Wed nes day " ▁" Good bye , ▁Good bye " ▁ ▁Person nel ▁Billy ▁B rag g ▁– ▁vocals , ▁ac oust ic ▁guitar , ▁electric ▁guitar ▁Ben ▁Mand el son ▁– ▁mand olin , ▁bar it one ▁bou z ou ki , ▁harm onica , ▁lap ▁steel ▁guitar , ▁electric ▁bou z ou ki , ▁ten or ▁guitar , ▁electric ▁guitar ▁Lu ▁Ed mond s ▁– ▁c ü mb ü ş , ▁electric ▁guitar . ▁Ian ▁Mc L agan ▁– ▁Hamm ond ▁B 3 , ▁piano , ▁W url itzer ▁Simon ▁Edwards ▁– ▁double ▁bass , ▁electric ▁bass , ▁mar ím b ula , ▁hand c laps ▁Mart yn ▁B ark er ▁– ▁H ang , ▁EF X ▁c ym bal , ▁drums , ▁hand c laps , ▁sh aker , ▁sn are , ▁bass ▁drum , ▁b ong os , ▁re co ▁re co , ▁R ide ▁c ym bal , ▁tamb our ine , ▁c aj ón , ▁ma z har , ▁cal ab ash ▁Nic ▁Water house ▁– ▁tamb our ine ▁on ▁" M ▁for ▁Me " ▁Robert ▁Wy att ▁– ▁backing ▁vocals ▁on ▁" I ▁Keep ▁Fa ith " ▁May ▁Fitz pat rick ▁– ▁backing ▁vocals ▁on ▁" Sing ▁Their |
▁Sou ls ▁Back ▁Home " ▁and ▁" The ▁Johnny ▁Car cin ogen ic ▁Show " ▁ ▁References ▁ ▁External ▁links ▁▁▁ ▁Category : 2 0 0 8 ▁albums ▁Category : Al bum s ▁produced ▁by ▁Grant ▁Show b iz ▁Category : Ant i - ▁( record ▁label ) ▁albums ▁Category : B illy ▁B rag g ▁albums ▁Category : Cook ing ▁Vin yl ▁albums ▁Category : S ho ck ▁Records ▁albums <0x0A> </s> ▁Francis ▁Do yle ▁G le es on , ▁S . J . ▁( J anu ary ▁ 1 7 , ▁ 1 8 9 5 ▁– ▁April ▁ 3 0 , ▁ 1 9 8 3 ) ▁was ▁an ▁American ▁pre late ▁of ▁the ▁Catholic ▁Church . ▁He ▁was ▁the ▁first ▁Bishop ▁of ▁Fair b anks ▁from ▁ 1 9 6 2 ▁to ▁ 1 9 6 8 , ▁previously ▁serving ▁as ▁Vic ar ▁Apost ol ic ▁of ▁Al aska ▁from ▁ 1 9 4 8 ▁to ▁ 1 9 6 2 . ▁ ▁Life ▁and ▁church ▁G le es on ▁was ▁born ▁in ▁Car roll ton , ▁Missouri , ▁to ▁Charles ▁and ▁Mary ▁( Do yle ) ▁G le ason , ▁but ▁later ▁moved ▁with ▁his ▁family ▁to ▁Y ak ima , ▁Washington . ▁He ▁received ▁his ▁early ▁education ▁at ▁the ▁par och ial ▁school ▁of ▁St . ▁Joseph ' s ▁Church , ▁and ▁attended ▁Mar qu ette ▁Catholic ▁High ▁School ▁before ▁studying ▁at ▁Gonz aga ▁University ▁in ▁Sp ok ane . ▁He ▁entered ▁the ▁Society ▁of ▁Jesus ▁( |
more ▁commonly ▁known ▁as ▁the ▁Jes uits ) ▁in ▁ 1 9 1 2 , ▁and ▁studied ▁philosophy ▁at ▁Mount ▁St . ▁Michael ▁Sch ol astic ate ▁in ▁Sp ok ane ▁and ▁the ology ▁at ▁St . ▁Francis ▁X avier ▁in ▁O ña , ▁Spain . ▁ ▁G le es on ▁was ▁ord ained ▁to ▁the ▁priest hood ▁in ▁O ña ▁on ▁July ▁ 2 9 , ▁ 1 9 2 6 . ▁Return ing ▁to ▁Washington , ▁he ▁served ▁as ▁re ctor ▁of ▁Bell arm ine ▁Pre par atory ▁School ▁in ▁Ta com a . ▁He ▁then ▁served ▁as ▁superior ▁of ▁St . ▁Stanis laus ▁Mission ▁in ▁Lew ist on , ▁Id aho ; ▁re ctor ▁of ▁the ▁Jes uit ▁nov iti ate ▁in ▁Sher idan , ▁Oregon ; ▁and ▁superior ▁of ▁St . ▁Mary ' s ▁Indian ▁Mission ▁in ▁Om ak , ▁Washington . ▁ ▁On ▁January ▁ 8 , ▁ 1 9 4 8 , ▁Pope ▁P ius ▁XII ▁named ▁him ▁Tit ular ▁Bishop ▁of ▁C oten na ▁and ▁Vic ar ▁Apost ol ic ▁of ▁Al aska . ▁He ▁was ▁consec r ated ▁a ▁bishop ▁on ▁April ▁ 8 , ▁ 1 9 4 8 , ▁by ▁Arch bishop ▁Edward ▁Daniel ▁Howard ▁of ▁Port land . ▁ ▁The ▁co - con sec rat ors ▁were ▁B ish ops ▁Charles ▁Daniel ▁White ▁of ▁Sp ok ane ▁and ▁Martin ▁Michael ▁Johnson ▁of ▁Nelson , ▁British ▁Columbia , ▁Canada . ▁ ▁The ▁Dioc ese ▁of ▁June au ▁was ▁established ▁on ▁June ▁ 2 |
3 , ▁ 1 9 5 1 , ▁and ▁the ▁area ▁served ▁by ▁Bishop ▁G le es on ▁was ▁reduced ▁to ▁the ▁northern ▁part ▁of ▁Al aska . ▁ ▁On ▁August ▁ 8 , ▁ 1 9 6 2 , ▁Pope ▁B less ed ▁John ▁XX III ▁named ▁Bishop ▁G le es on ▁as ▁the ▁first ▁bishop ▁of ▁the ▁Dioc ese ▁of ▁Fair b anks . ▁ ▁From ▁ 1 9 6 2 – 1 9 6 5 , ▁he ▁attended ▁all ▁four ▁sessions ▁of ▁the ▁Second ▁V at ican ▁Council . ▁ ▁Pope ▁Paul ▁VI ▁accepted ▁his ▁res ignation ▁as ▁Bishop ▁of ▁Fair b anks ▁on ▁November ▁ 1 5 , ▁ 1 9 6 8 , ▁and ▁named ▁him ▁Tit ual ▁Bishop ▁of ▁Cu icul . ▁ ▁References ▁ ▁Category : R oman ▁Catholic ▁b ish ops ▁of ▁Fair b anks ▁Category : 1 8 9 5 ▁birth s ▁Category : 1 9 8 3 ▁death s ▁Category : Pe ople ▁from ▁Car roll ton , ▁Missouri ▁Category : A post ol ic ▁vic ars ▁of ▁Al aska ▁Category : American ▁Roman ▁Catholic ▁b ish ops ▁Category : 2 0 th - century ▁Roman ▁Catholic ▁b ish ops ▁Category : Part icip ants ▁in ▁the ▁Second ▁V at ican ▁Council ▁Category : 1 9 th - century ▁American ▁Jes uits ▁Category : 2 0 th - century ▁American ▁Jes uits ▁Category : J es uit ▁b ish ops ▁Category : C athol ics ▁from ▁Missouri <0x0A> </s> ▁No CG V ▁E |
ig un ▁() ▁is ▁a ▁Norwegian ▁Coast ▁Guard ▁vessel . ▁It ▁is ▁part ▁of ▁the ▁Coast ▁Guard ▁Squadron ▁South , ▁based ▁at ▁Ha ak ons vern ▁Naval ▁Base ▁near ▁Ber gen . ▁It ▁is ▁a ▁former ▁fish ing ▁tra w ler . ▁ ▁Category : Pat rol ▁vessels ▁of ▁the ▁Norwegian ▁Coast ▁Guard ▁Category : Sh ips ▁built ▁in ▁the ▁Netherlands ▁Category : 1 9 5 9 ▁ships <0x0A> </s> ▁In ▁elect rical ▁engineering , ▁a ▁protect ive ▁relay ▁is ▁a ▁relay ▁device ▁designed ▁to ▁trip ▁a ▁circuit ▁break er ▁when ▁a ▁fault ▁is ▁detected . ▁The ▁first ▁protect ive ▁rel ays ▁were ▁elect romagnet ic ▁devices , ▁re lying ▁on ▁co ils ▁operating ▁on ▁moving ▁parts ▁to ▁provide ▁detection ▁of ▁ab normal ▁operating ▁conditions ▁such ▁as ▁over - current , ▁over - vol t age , ▁reverse ▁power ▁flow , ▁over - fre quency , ▁and ▁under - fre quency . ▁ ▁Micro processor - based ▁digital ▁protection ▁rel ays ▁now ▁em ulate ▁the ▁original ▁devices , ▁as ▁well ▁as ▁providing ▁types ▁of ▁protection ▁and ▁super vision ▁imp ract ical ▁with ▁elect rome chan ical ▁rel ays . ▁Elect rome chan ical ▁rel ays ▁provide ▁only ▁rud iment ary ▁indic ation ▁of ▁the ▁location ▁and ▁origin ▁of ▁a ▁fault . ▁In ▁many ▁cases ▁a ▁single ▁micro processor ▁relay ▁provides ▁functions ▁that ▁would ▁take ▁two ▁or ▁more ▁elect rome chan ical ▁devices . ▁By ▁combining ▁several ▁functions ▁in ▁one ▁case , ▁numerical ▁rel ays ▁also ▁save ▁capital ▁cost ▁and ▁maintenance ▁cost ▁over ▁elect |
rome chan ical ▁rel ays . ▁However , ▁due ▁to ▁their ▁very ▁long ▁life ▁span , ▁tens ▁of ▁thousands ▁of ▁these ▁" sil ent ▁sent in els " ▁are ▁still ▁protect ing ▁transmission ▁lines ▁and ▁elect rical ▁appar atus ▁all ▁over ▁the ▁world . ▁Import ant ▁transmission ▁lines ▁and ▁gener ators ▁have ▁cub icles ▁dedicated ▁to ▁protection , ▁with ▁many ▁individual ▁elect rome chan ical ▁devices , ▁or ▁one ▁or ▁two ▁micro processor ▁rel ays . ▁ ▁The ▁theory ▁and ▁application ▁of ▁these ▁protect ive ▁devices ▁is ▁an ▁important ▁part ▁of ▁the ▁education ▁of ▁a ▁power ▁engineer ▁who ▁special izes ▁in ▁power ▁system ▁protection . ▁The ▁need ▁to ▁act ▁quickly ▁to ▁protect ▁circ uits ▁and ▁equipment ▁often ▁requires ▁protect ive ▁rel ays ▁to ▁respond ▁and ▁trip ▁a ▁break er ▁within ▁a ▁few ▁thousand th s ▁of ▁a ▁second . ▁In ▁some ▁instances ▁these ▁clear ance ▁times ▁are ▁pres cribed ▁in ▁legisl ation ▁or ▁operating ▁rules . ▁A ▁maintenance ▁or ▁testing ▁program ▁is ▁used ▁to ▁determine ▁the ▁performance ▁and ▁avail ability ▁of ▁protection ▁systems . ▁ ▁Based ▁on ▁the ▁end ▁application ▁and ▁applicable ▁legisl ation , ▁various ▁standards ▁such ▁as ▁A NS I ▁C 3 7 . 9 0 , ▁IE C 2 5 5 - 4 , ▁IE C 6 0 2 5 5 - 3 , ▁and ▁I AC ▁govern ▁the ▁response ▁time ▁of ▁the ▁relay ▁to ▁the ▁fault ▁conditions ▁that ▁may ▁occur . ▁ ▁Operation ▁principles ▁Elect rome chan ical ▁protect ive ▁rel ays ▁operate ▁by ▁either ▁magnetic ▁att raction , |
▁or ▁magnetic ▁induction . ▁Un like ▁switching ▁type ▁elect rome chan ical ▁rel ays ▁with ▁fixed ▁and ▁usually ▁ill - defined ▁operating ▁voltage ▁th resh olds ▁and ▁operating ▁times , ▁protect ive ▁rel ays ▁have ▁well - est ab lished , ▁select able , ▁and ▁adjust able ▁time ▁and ▁current ▁( or ▁other ▁operating ▁parameter ) ▁operating ▁characteristics . ▁Prote ction ▁rel ays ▁may ▁use ▁arrays ▁of ▁induction ▁dis ks , ▁sh aded - pole , ▁magnet s , ▁operating ▁and ▁rest raint ▁co ils , ▁sol en oid - type ▁operators , ▁tele phone - rel ay ▁contacts , ▁and ▁phase - sh ifting ▁networks . ▁ ▁Prote ct ive ▁rel ays ▁can ▁also ▁be ▁class ified ▁by ▁the ▁type ▁of ▁measurement ▁they ▁make . ▁A ▁protect ive ▁relay ▁may ▁respond ▁to ▁the ▁magnitude ▁of ▁a ▁quantity ▁such ▁as ▁voltage ▁or ▁current . ▁Ind u ction ▁rel ays ▁can ▁respond ▁to ▁the ▁product ▁of ▁two ▁quantities ▁in ▁two ▁field ▁co ils , ▁which ▁could ▁for ▁example ▁represent ▁the ▁power ▁in ▁a ▁circuit . ▁ ▁" It ▁is ▁not ▁practical ▁to ▁make ▁a ▁relay ▁that ▁develop s ▁a ▁tor que ▁equal ▁to ▁the ▁quot ient ▁of ▁two ▁a . c . ▁quantities . ▁This , ▁however ▁is ▁not ▁important ; ▁the ▁only ▁significant ▁condition ▁for ▁a ▁relay ▁is ▁its ▁setting ▁and ▁the ▁setting ▁can ▁be ▁made ▁to ▁correspond ▁to ▁a ▁ratio ▁regardless ▁of ▁the ▁component ▁values ▁over ▁a ▁wide ▁range ." ▁ ▁Several ▁operating ▁co ils ▁can ▁be ▁used ▁to ▁provide ▁" b |
ias " ▁to ▁the ▁relay , ▁allowing ▁the ▁sens itivity ▁of ▁response ▁in ▁one ▁circuit ▁to ▁be ▁controlled ▁by ▁another . ▁Vari ous ▁combinations ▁of ▁" oper ate ▁tor que " ▁and ▁" rest raint ▁tor que " ▁can ▁be ▁produced ▁in ▁the ▁relay . ▁ ▁By ▁use ▁of ▁a ▁permanent ▁magnet ▁in ▁the ▁magnetic ▁circuit , ▁a ▁relay ▁can ▁be ▁made ▁to ▁respond ▁to ▁current ▁in ▁one ▁direction ▁differently ▁from ▁in ▁another . ▁Such ▁polar ized ▁rel ays ▁are ▁used ▁on ▁direct - current ▁circ uits ▁to ▁detect , ▁for ▁example , ▁reverse ▁current ▁into ▁a ▁generator . ▁These ▁rel ays ▁can ▁be ▁made ▁b ist able , ▁maintain ing ▁a ▁contact ▁closed ▁with ▁no ▁co il ▁current ▁and ▁requiring ▁reverse ▁current ▁to ▁reset . ▁For ▁AC ▁circ uits , ▁the ▁principle ▁is ▁extended ▁with ▁a ▁polar izing ▁w inding ▁connected ▁to ▁a ▁reference ▁voltage ▁source . ▁ ▁Light weight ▁contacts ▁make ▁for ▁sensitive ▁rel ays ▁that ▁operate ▁quickly , ▁but ▁small ▁contacts ▁can ' t ▁carry ▁or ▁break ▁heavy ▁curr ents . ▁O ften ▁the ▁meas uring ▁relay ▁will ▁trigger ▁auxili ary ▁tele phone - type ▁arm ature ▁rel ays . ▁ ▁In ▁a ▁large ▁installation ▁of ▁elect rome chan ical ▁rel ays , ▁it ▁would ▁be ▁difficult ▁to ▁determine ▁which ▁device ▁origin ated ▁the ▁signal ▁that ▁tri pped ▁the ▁circuit . ▁This ▁information ▁is ▁useful ▁to ▁operating ▁personnel ▁to ▁determine ▁the ▁likely ▁cause ▁of ▁the ▁fault ▁and ▁to ▁prevent ▁its ▁re - occ urrence . ▁Rel ays ▁may ▁be ▁fitted |
▁with ▁a ▁" target " ▁or ▁" flag " ▁unit , ▁which ▁is ▁released ▁when ▁the ▁relay ▁oper ates , ▁to ▁display ▁a ▁distinct ive ▁colored ▁signal ▁when ▁the ▁relay ▁has ▁tri pped . ▁ ▁Types ▁according ▁to ▁construction ▁ ▁Elect rome chan ical ▁Elect rome chan ical ▁rel ays ▁can ▁be ▁class ified ▁into ▁several ▁different ▁types ▁as ▁follows : ▁ ▁" Arm ature " - type ▁rel ays ▁have ▁a ▁p iv oted ▁lever ▁supported ▁on ▁a ▁h inge ▁or ▁kn ife - edge ▁pivot , ▁which ▁car ries ▁a ▁moving ▁contact . ▁These ▁rel ays ▁may ▁work ▁on ▁either ▁altern ating ▁or ▁direct ▁current , ▁but ▁for ▁altern ating ▁current , ▁a ▁sh ading ▁co il ▁on ▁the ▁pole ▁is ▁used ▁to ▁maintain ▁contact ▁force ▁throughout ▁the ▁altern ating ▁current ▁cycle . ▁Because ▁the ▁air ▁gap ▁between ▁the ▁fixed ▁co il ▁and ▁the ▁moving ▁arm ature ▁becomes ▁much ▁smaller ▁when ▁the ▁relay ▁has ▁operated , ▁the ▁current ▁required ▁to ▁maintain ▁the ▁relay ▁closed ▁is ▁much ▁smaller ▁than ▁the ▁current ▁to ▁first ▁operate ▁it . ▁The ▁" return ing ▁ratio " ▁or ▁" d iffer ential " ▁is ▁the ▁measure ▁of ▁how ▁much ▁the ▁current ▁must ▁be ▁reduced ▁to ▁reset ▁the ▁relay . ▁ ▁A ▁variant ▁application ▁of ▁the ▁att raction ▁principle ▁is ▁the ▁pl ung er - type ▁or ▁sol en oid ▁operator . ▁A ▁re ed ▁relay ▁is ▁another ▁example ▁of ▁the ▁att raction ▁principle . ▁ ▁" M oving ▁co il " ▁meters ▁use ▁a ▁loop ▁of ▁wire |
▁turns ▁in ▁a ▁station ary ▁magnet , ▁similar ▁to ▁a ▁gal van ometer ▁but ▁with ▁a ▁contact ▁lever ▁instead ▁of ▁a ▁pointer . ▁These ▁can ▁be ▁made ▁with ▁very ▁high ▁sens itivity . ▁Another ▁type ▁of ▁moving ▁co il ▁susp ends ▁the ▁co il ▁from ▁two ▁conduct ive ▁lig aments , ▁allowing ▁very ▁long ▁travel ▁of ▁the ▁co il . ▁ ▁Ind u ction ▁disc ▁over current ▁relay ▁ ▁" Ind u ction " ▁disk ▁meters ▁work ▁by ▁indu cing ▁curr ents ▁in ▁a ▁disk ▁that ▁is ▁free ▁to ▁rotate ; ▁the ▁rot ary ▁motion ▁of ▁the ▁disk ▁oper ates ▁a ▁contact . ▁Ind u ction ▁rel ays ▁require ▁altern ating ▁current ; ▁if ▁two ▁or ▁more ▁co ils ▁are ▁used , ▁they ▁must ▁be ▁at ▁the ▁same ▁frequency ▁otherwise ▁no ▁net ▁operating ▁force ▁is ▁produced . ▁These ▁elect romagnet ic ▁rel ays ▁use ▁the ▁induction ▁principle ▁discovered ▁by ▁Gal ile o ▁Ferr aris ▁in ▁the ▁late ▁ 1 9 th ▁century . ▁The ▁magnetic ▁system ▁in ▁induction ▁disc ▁over current ▁rel ays ▁is ▁designed ▁to ▁detect ▁over curr ents ▁in ▁a ▁power ▁system ▁and ▁operate ▁with ▁a ▁pre - det erm ined ▁time ▁delay ▁when ▁certain ▁over current ▁limits ▁have ▁been ▁reached . ▁In ▁order ▁to ▁operate , ▁the ▁magnetic ▁system ▁in ▁the ▁rel ays ▁produces ▁tor que ▁that ▁acts ▁on ▁a ▁metal ▁disc ▁to ▁make ▁contact , ▁according ▁to ▁the ▁following ▁basic ▁current / tor que ▁equation : ▁ ▁Where ▁ ▁and ▁ ▁are ▁the ▁two ▁flux es ▁and ▁ ▁is |
▁the ▁phase ▁angle ▁between ▁the ▁flux es ▁ ▁The ▁following ▁important ▁conclus ions ▁can ▁be ▁drawn ▁from ▁the ▁above ▁equation . ▁Two ▁altern ating ▁flux es ▁with ▁a ▁phase ▁shift ▁are ▁needed ▁for ▁tor que ▁production . ▁Max imum ▁tor que ▁is ▁produced ▁when ▁the ▁two ▁altern ating ▁flux es ▁are ▁ 9 0 ▁degrees ▁apart . ▁The ▁result ant ▁tor que ▁is ▁steady ▁and ▁not ▁a ▁function ▁of ▁time . ▁ ▁The ▁relay ' s ▁primary ▁w inding ▁is ▁supplied ▁from ▁the ▁power ▁systems ▁current ▁transform er ▁via ▁a ▁plug ▁bridge , ▁which ▁is ▁called ▁the ▁plug ▁setting ▁multip lier ▁( ps m ). ▁Usually ▁seven ▁equally ▁spac ed ▁t app ings ▁or ▁operating ▁bands ▁determine ▁the ▁rel ays ▁sens itivity . ▁The ▁primary ▁w inding ▁is ▁located ▁on ▁the ▁upper ▁elect romagnet . ▁The ▁secondary ▁w inding ▁has ▁connections ▁on ▁the ▁upper ▁elect romagnet ▁that ▁are ▁energ ised ▁from ▁the ▁primary ▁w inding ▁and ▁connected ▁to ▁the ▁lower ▁elect romagnet . ▁Once ▁the ▁upper ▁and ▁lower ▁elect romagnet s ▁are ▁energ ised ▁they ▁produce ▁ed dy ▁curr ents ▁that ▁are ▁induced ▁onto ▁the ▁metal ▁disc ▁and ▁flow ▁through ▁the ▁flux ▁paths . ▁This ▁relationship ▁of ▁ed dy ▁curr ents ▁and ▁flux es ▁creates ▁tor que ▁proportional ▁to ▁the ▁input ▁current ▁of ▁the ▁primary ▁w inding , ▁due ▁to ▁the ▁two ▁flux ▁paths ▁being ▁out ▁of ▁phase ▁by ▁ 9 0 ° . ▁ ▁In ▁an ▁over current ▁condition , ▁a ▁value ▁of ▁current ▁will ▁be ▁reached ▁that ▁over comes ▁the ▁control |
▁spring ▁pressure ▁on ▁the ▁sp ind le ▁and ▁the ▁bra king ▁magnet , ▁causing ▁the ▁metal ▁disc ▁to ▁rotate ▁towards ▁the ▁fixed ▁contact . ▁This ▁initial ▁movement ▁of ▁the ▁disc ▁is ▁also ▁held ▁off ▁to ▁a ▁critical ▁positive ▁value ▁of ▁current ▁by ▁small ▁sl ots ▁that ▁are ▁often ▁cut ▁into ▁the ▁side ▁of ▁the ▁disc . ▁The ▁time ▁taken ▁for ▁rotation ▁to ▁make ▁the ▁contacts ▁is ▁not ▁only ▁dependent ▁on ▁current ▁but ▁also ▁the ▁sp ind le ▁back stop ▁position , ▁known ▁as ▁the ▁time ▁multip lier ▁( tm ). ▁The ▁time ▁multip lier ▁is ▁divided ▁into ▁ 1 0 ▁linear ▁divisions ▁of ▁the ▁full ▁rotation ▁time . ▁ ▁Prov iding ▁the ▁relay ▁is ▁free ▁from ▁d irt , ▁the ▁metal ▁disc ▁and ▁the ▁sp ind le ▁with ▁its ▁contact ▁will ▁reach ▁the ▁fixed ▁contact , ▁thus ▁sending ▁a ▁signal ▁to ▁trip ▁and ▁isol ate ▁the ▁circuit , ▁within ▁its ▁designed ▁time ▁and ▁current ▁specific ations . ▁Drop ▁off ▁current ▁of ▁the ▁relay ▁is ▁much ▁lower ▁than ▁its ▁operating ▁value , ▁and ▁once ▁reached ▁the ▁relay ▁will ▁be ▁reset ▁in ▁a ▁reverse ▁motion ▁by ▁the ▁pressure ▁of ▁the ▁control ▁spring ▁govern ed ▁by ▁the ▁bra king ▁magnet . ▁ ▁St atic ▁Application ▁of ▁electronic ▁ampl ifiers ▁to ▁protect ive ▁rel ays ▁was ▁described ▁as ▁early ▁as ▁ 1 9 2 8 , ▁using ▁vac u um ▁t ube ▁ampl ifiers ▁and ▁continued ▁up ▁to ▁ 1 9 5 6 . ▁Dev ices ▁using ▁electron ▁tub es ▁were ▁studied ▁but ▁never ▁applied ▁as ▁commercial |
▁products , ▁because ▁of ▁the ▁limitations ▁of ▁vac u um ▁t ube ▁ampl ifiers . ▁A ▁relatively ▁large ▁stand by ▁current ▁is ▁required ▁to ▁maintain ▁the ▁t ube ▁fil ament ▁temperature ; ▁incon ven ient ▁high ▁volt ages ▁are ▁required ▁for ▁the ▁circ uits , ▁and ▁vac u um ▁t ube ▁ampl ifiers ▁had ▁difficulty ▁with ▁incorrect ▁operation ▁due ▁to ▁noise ▁dist urban ces . ▁ ▁St atic ▁rel ays ▁have ▁no ▁or ▁few ▁moving ▁parts , ▁and ▁became ▁practical ▁with ▁the ▁introduction ▁of ▁the ▁trans istor . ▁Me as uring ▁elements ▁of ▁static ▁rel ays ▁have ▁been ▁successfully ▁and ▁econom ically ▁built ▁up ▁from ▁di odes , ▁z ener ▁di odes , ▁a val anche ▁di odes , ▁un ij unction ▁trans ist ors , ▁p - n - p ▁and ▁n - p - n ▁b ip olar ▁trans ist ors , ▁field ▁effect ▁trans ist ors ▁or ▁their ▁combinations . ▁St atic ▁rel ays ▁offer ▁the ▁advantage ▁of ▁higher ▁sens itivity ▁than ▁purely ▁elect rome chan ical ▁rel ays , ▁because ▁power ▁to ▁operate ▁output ▁contacts ▁is ▁derived ▁from ▁a ▁separate ▁supply , ▁not ▁from ▁the ▁signal ▁circ uits . ▁St atic ▁rel ays ▁elimin ated ▁or ▁reduced ▁contact ▁b ounce , ▁and ▁could ▁provide ▁fast ▁operation , ▁long ▁life ▁and ▁low ▁maintenance . ▁ ▁Digital ▁ ▁Digital ▁protect ive ▁rel ays ▁were ▁in ▁their ▁inf ancy ▁during ▁the ▁late ▁ 1 9 6 0 s . ▁An ▁experimental ▁digital ▁protection ▁system ▁was ▁tested ▁in ▁the ▁lab ▁and ▁in ▁the |
▁field ▁in ▁the ▁early ▁ 1 9 7 0 s . ▁Un like ▁the ▁rel ays ▁mentioned ▁above , ▁digital ▁protect ive ▁rel ays ▁have ▁two ▁main ▁parts : ▁hardware ▁and ▁software . ▁The ▁world ' s ▁first ▁commer cially ▁available ▁digital ▁protect ive ▁relay ▁was ▁introduced ▁to ▁the ▁power ▁industry ▁in ▁ 1 9 8 4 ▁by ▁Schwe itzer ▁Engineering ▁Labor ator ies ▁( SE L ) ▁based ▁in ▁P ull man , ▁Washington . ▁In ▁spite ▁of ▁the ▁develop ments ▁of ▁complex ▁algorithms ▁for ▁implementing ▁protection ▁functions ▁the ▁micro processor ▁based - rel ays ▁market ed ▁in ▁the ▁ 1 9 8 0 s ▁did ▁not ▁incorpor ate ▁them . ▁A ▁micro processor - based ▁digital ▁protection ▁relay ▁can ▁replace ▁the ▁functions ▁of ▁many ▁discrete ▁elect rome chan ical ▁instruments . ▁These ▁rel ays ▁convert ▁voltage ▁and ▁curr ents ▁to ▁digital ▁form ▁and ▁process ▁the ▁resulting ▁measurements ▁using ▁a ▁micro processor . ▁The ▁digital ▁relay ▁can ▁em ulate ▁functions ▁of ▁many ▁discrete ▁elect rome chan ical ▁rel ays ▁in ▁one ▁device , ▁simpl ifying ▁protection ▁design ▁and ▁maintenance . ▁Each ▁digital ▁relay ▁can ▁run ▁self - test ▁rout ines ▁to ▁confirm ▁its ▁read iness ▁and ▁alarm ▁if ▁a ▁fault ▁is ▁detected . ▁Digital ▁rel ays ▁can ▁also ▁provide ▁functions ▁such ▁as ▁communic ations ▁( SC AD A ) ▁interface , ▁monitoring ▁of ▁contact ▁inputs , ▁meter ing , ▁wave form ▁analysis , ▁and ▁other ▁useful ▁features . ▁Digital ▁rel ays ▁can , ▁for ▁example , ▁store ▁multiple ▁sets ▁of ▁protection ▁parameters |
, ▁which ▁allows ▁the ▁behavior ▁of ▁the ▁relay ▁to ▁be ▁changed ▁during ▁maintenance ▁of ▁attached ▁equipment . ▁Digital ▁rel ays ▁also ▁can ▁provide ▁protection ▁strateg ies ▁impossible ▁to ▁implement ▁with ▁elect rome chan ical ▁rel ays . ▁This ▁is ▁particularly ▁so ▁in ▁long - distance ▁high ▁voltage ▁or ▁multi - term inal ▁circ uits ▁or ▁in ▁lines ▁that ▁are ▁series ▁or ▁sh unt ▁compens ated ▁They ▁also ▁offer ▁benefits ▁in ▁self - testing ▁and ▁communication ▁to ▁super vis ory ▁control ▁systems . ▁ ▁N umer ical ▁The ▁distinction ▁between ▁digital ▁and ▁numerical ▁protection ▁relay ▁rest s ▁on ▁points ▁of ▁fine ▁technical ▁detail , ▁and ▁is ▁rarely ▁found ▁in ▁areas ▁other ▁than ▁Prote ction . ▁N umer ical ▁rel ays ▁are ▁the ▁product ▁of ▁the ▁adv ances ▁in ▁technology ▁from ▁digital ▁rel ays . ▁Gener ally , ▁there ▁are ▁several ▁different ▁types ▁of ▁numerical ▁protection ▁rel ays . ▁Each ▁type , ▁however , ▁shares ▁a ▁similar ▁architecture , ▁thus ▁en abling ▁design ers ▁to ▁build ▁an ▁entire ▁system ▁solution ▁that ▁is ▁based ▁on ▁a ▁relatively ▁small ▁number ▁of ▁flexible ▁components . ▁They ▁use ▁high ▁speed ▁process ors ▁executing ▁appropriate ▁algorithms . ▁Most ▁numerical ▁rel ays ▁are ▁also ▁mult if unction al ▁and ▁have ▁multiple ▁setting ▁groups ▁each ▁often ▁with ▁tens ▁or ▁hundreds ▁of ▁settings . ▁ ▁Rel ays ▁by ▁functions ▁The ▁various ▁protect ive ▁functions ▁available ▁on ▁a ▁given ▁relay ▁are ▁denoted ▁by ▁standard ▁A NS I ▁device ▁numbers . ▁For ▁example , ▁a ▁relay ▁including ▁function ▁ 5 1 ▁would ▁be ▁a ▁tim |
ed ▁over current ▁protect ive ▁relay . ▁ ▁Over current ▁relay ▁An ▁over current ▁relay ▁is ▁a ▁type ▁of ▁protect ive ▁relay ▁which ▁oper ates ▁when ▁the ▁load ▁current ▁exceed s ▁a ▁pick up ▁value . ▁It ▁is ▁of ▁two ▁types : ▁instant aneous ▁over ▁current ▁( IO C ) ▁relay ▁and ▁definite ▁time ▁over current ▁( D TO C ) ▁relay . ▁ ▁The ▁A NS I ▁device ▁number ▁is ▁ 5 0 ▁for ▁an ▁IO C ▁relay ▁or ▁a ▁D TO C ▁relay . ▁In ▁a ▁typical ▁application , ▁the ▁over ▁current ▁relay ▁is ▁connected ▁to ▁a ▁current ▁transform er ▁and ▁cal ibr ated ▁to ▁operate ▁at ▁or ▁above ▁a ▁specific ▁current ▁level . ▁When ▁the ▁relay ▁oper ates , ▁one ▁or ▁more ▁contacts ▁will ▁operate ▁and ▁energ ize ▁to ▁trip ▁a ▁circuit ▁break er . ▁The ▁D TO C ▁relay ▁has ▁been ▁used ▁extens ively ▁in ▁the ▁United ▁Kingdom ▁but ▁its ▁inher ent ▁issue ▁of ▁operating ▁slower ▁for ▁fault s ▁closer ▁to ▁the ▁source ▁led ▁to ▁the ▁development ▁of ▁the ▁ID MT ▁relay . ▁ ▁De finite ▁time ▁over - current ▁relay ▁A ▁definite ▁time ▁over - current ▁( D TO C ) ▁relay ▁is ▁a ▁relay ▁that ▁oper ates ▁after ▁a ▁definite ▁period ▁of ▁time ▁once ▁the ▁current ▁exceed s ▁the ▁pick up ▁value . ▁Hence , ▁this ▁relay ▁has ▁current ▁setting ▁range ▁as ▁well ▁as ▁time ▁setting ▁range . ▁ ▁Inst ant aneous ▁over - current ▁relay ▁An ▁instant aneous ▁over - current ▁relay ▁is ▁an ▁over current |
▁relay ▁which ▁has ▁no ▁intent ional ▁time ▁delay ▁for ▁operation . ▁The ▁contacts ▁of ▁the ▁relay ▁are ▁closed ▁instantly ▁when ▁the ▁current ▁inside ▁the ▁relay ▁r ises ▁beyond ▁the ▁oper ational ▁value . ▁The ▁time ▁interval ▁between ▁the ▁instant ▁pick - up ▁value ▁and ▁the ▁closing ▁contacts ▁of ▁the ▁relay ▁is ▁very ▁low . ▁It ▁has ▁low ▁operating ▁time ▁and ▁starts ▁operating ▁instantly ▁when ▁the ▁value ▁of ▁current ▁is ▁more ▁than ▁the ▁relay ▁setting . ▁This ▁relay ▁oper ates ▁only ▁when ▁the ▁imped ance ▁between ▁the ▁source ▁and ▁the ▁relay ▁is ▁less ▁than ▁that ▁provided ▁in ▁the ▁section . ▁ ▁In verse - time ▁over - current ▁relay ▁An ▁inverse - time ▁over - current ▁( IT OC ) ▁relay ▁is ▁an ▁over current ▁relay ▁which ▁oper ates ▁only ▁when ▁the ▁magnitude ▁of ▁their ▁operating ▁current ▁is ▁in vers ely ▁proportional ▁to ▁the ▁magnitude ▁of ▁the ▁energ ize ▁quantities . ▁The ▁operating ▁time ▁of ▁relay ▁decre ases ▁with ▁the ▁increases ▁in ▁the ▁current . ▁The ▁operation ▁of ▁the ▁relay ▁depends ▁on ▁the ▁magnitude ▁of ▁the ▁current . ▁ ▁In verse ▁definite ▁minimum ▁time ▁relay ▁The ▁inverse ▁definite ▁minimum ▁time ▁( ID MT ) ▁relay ▁are ▁protect ive ▁rel ays ▁which ▁were ▁developed ▁to ▁overcome ▁the ▁short com ings ▁of ▁the ▁definite ▁time ▁over current ▁( D TO C ) ▁rel ays . ▁ ▁If ▁the ▁source ▁imped ance ▁remains ▁constant ▁and ▁the ▁fault ▁current ▁changes ▁appreci ably ▁as ▁we ▁move ▁away ▁from ▁the ▁ ▁relay ▁then ▁it ▁is ▁advantage ous ▁to ▁use ▁ID |
MT ▁over current ▁protection ▁to ▁achieve ▁high ▁speed ▁protection ▁over ▁a ▁large ▁section ▁of ▁the ▁protected ▁circuit . ▁However , ▁if ▁the ▁source ▁imped ance ▁is ▁significantly ▁larger ▁than ▁the ▁fe eder ▁imped ance ▁then ▁the ▁characteristic ▁of ▁the ▁ID MT ▁relay ▁cannot ▁be ▁explo ited ▁and ▁D TO C ▁may ▁be ▁util ized . ▁ ▁Second ly ▁if ▁the ▁source ▁imped ance ▁var ies ▁and ▁becomes ▁we aker ▁with ▁less ▁generation ▁during ▁light ▁loads ▁then ▁this ▁leads ▁to ▁slower ▁clear ance ▁time ▁hence ▁neg ating ▁the ▁purpose ▁of ▁the ▁ID MT ▁relay . ▁ ▁IE C ▁standard ▁ 6 0 2 5 5 - 1 5 1 ▁spec ifies ▁the ▁ID MT ▁relay ▁curves ▁as ▁shown ▁below . ▁The ▁four ▁curves ▁in ▁Table ▁ 1 ▁are ▁derived ▁from ▁the ▁now ▁with dra wn ▁British ▁Standard ▁B S ▁ 1 4 2 . ▁The ▁other ▁five , ▁in ▁Table ▁ 2 , ▁are ▁derived ▁from ▁the ▁ ▁A NS I ▁standard ▁C 3 7 . 1 1 2 . ▁ ▁While ▁it ▁is ▁more ▁common ▁to ▁use ▁ID MT ▁rel ays ▁for ▁current ▁ ▁protection ▁it ▁is ▁possible ▁to ▁util ize ▁ID MT ▁mode ▁of ▁operation ▁for ▁voltage ▁protection . ▁It ▁is ▁possible ▁to ▁program ▁custom ised ▁curves ▁in ▁some ▁protect ive ▁rel ays ▁and ▁other ▁manufact ur ers ▁have ▁special ▁curves ▁specific ▁to ▁their ▁rel ays . ▁Some ▁numerical ▁rel ays ▁can ▁be ▁used ▁to ▁provide ▁inverse ▁time ▁over vol t age ▁protection ▁or ▁negative ▁sequence ▁over current ▁protection . ▁ ▁Ir |
▁= ▁is ▁the ▁ratio ▁of ▁the ▁fault ▁current ▁to ▁the ▁relay ▁setting ▁current ▁or ▁a ▁Pl ug ▁Setting ▁Mult ip lier . ▁" Pl ug " ▁is ▁a ▁reference ▁from ▁the ▁elect rome chan ical ▁relay ▁era ▁and ▁were ▁available ▁in ▁discrete ▁steps . ▁ ▁T D ▁is ▁the ▁Time ▁D ial ▁setting . ▁ ▁The ▁above ▁equations ▁result ▁in ▁a ▁" family " ▁of ▁curves ▁ ▁as ▁a ▁result ▁of ▁using ▁different ▁time ▁multip lier ▁setting ▁( T MS ) ▁settings . ▁It ▁is ▁evident ▁from ▁the ▁relay ▁characteristic ▁equations ▁ ▁that ▁a ▁larger ▁T MS ▁will ▁result ▁in ▁a ▁slower ▁clear ance ▁time ▁for ▁a ▁given ▁P MS ▁( I ) ▁value . ▁ ▁Dist ance ▁relay ▁Dist ance ▁rel ays , ▁also ▁known ▁as ▁imped ance ▁relay , ▁differ ▁in ▁principle ▁from ▁other ▁forms ▁of ▁protection ▁in ▁that ▁their ▁performance ▁is ▁not ▁govern ed ▁by ▁the ▁magnitude ▁of ▁the ▁current ▁or ▁voltage ▁in ▁the ▁protected ▁circuit ▁but ▁rather ▁on ▁the ▁ratio ▁of ▁these ▁two ▁quantities . ▁ ▁Dist ance ▁rel ays ▁are ▁actually ▁double ▁actu ating ▁quantity ▁rel ays ▁with ▁one ▁co il ▁energ ized ▁by ▁voltage ▁and ▁other ▁co il ▁by ▁current . ▁ ▁The ▁current ▁element ▁produces ▁a ▁positive ▁or ▁pick ▁up ▁tor que ▁while ▁the ▁voltage ▁element ▁produces ▁a ▁negative ▁or ▁reset ▁tor que . ▁ ▁The ▁relay ▁oper ates ▁only ▁when ▁the ▁V / I ▁ratio ▁falls ▁below ▁a ▁pred et erm ined ▁value ▁( or ▁set ▁value ). ▁ ▁During ▁a ▁fault ▁on ▁the ▁transmission |
▁line ▁the ▁fault ▁current ▁increases ▁and ▁the ▁voltage ▁at ▁the ▁fault ▁point ▁decre ases . ▁ ▁The ▁V / I ▁ ▁ratio ▁is ▁measured ▁at ▁the ▁location ▁of ▁CT s ▁and ▁P T s . ▁ ▁The ▁voltage ▁at ▁the ▁P T ▁location ▁depends ▁on ▁the ▁distance ▁between ▁the ▁P T ▁and ▁the ▁fault . ▁If ▁the ▁measured ▁voltage ▁is ▁less er , ▁that ▁means ▁the ▁fault ▁is ▁near er ▁and ▁vice ▁vers a . ▁Hence ▁the ▁protection ▁called ▁Dist ance ▁relay . ▁The ▁load ▁flow ing ▁through ▁the ▁line ▁appears ▁as ▁an ▁imped ance ▁to ▁the ▁relay ▁and ▁sufficiently ▁large ▁loads ▁( as ▁imped ance ▁is ▁in vers ely ▁proportional ▁to ▁the ▁load ) ▁ ▁can ▁lead ▁to ▁a ▁trip ▁of ▁the ▁relay ▁even ▁in ▁the ▁absence ▁of ▁a ▁fault . ▁ ▁Current ▁differential ▁protection ▁scheme ▁A ▁differential ▁scheme ▁acts ▁on ▁the ▁difference ▁between ▁current ▁entering ▁a ▁protected ▁zone ▁( which ▁may ▁be ▁a ▁bus ▁bar , ▁generator , ▁transform er ▁or ▁other ▁appar atus ) ▁and ▁the ▁current ▁leaving ▁that ▁zone . ▁A ▁fault ▁outside ▁the ▁zone ▁gives ▁the ▁same ▁fault ▁current ▁at ▁the ▁entry ▁and ▁exit ▁of ▁the ▁zone , ▁but ▁fault s ▁within ▁the ▁zone ▁show ▁up ▁as ▁a ▁difference ▁in ▁current . ▁ ▁" The ▁differential ▁protection ▁is ▁ 1 0 0 % ▁select ive ▁and ▁therefore ▁only ▁respond s ▁to ▁fault s ▁within ▁its ▁protected ▁zone . ▁The ▁boundary ▁of ▁the ▁protected ▁zone ▁is ▁uniqu ely ▁defined ▁by ▁the ▁location ▁of ▁the ▁current ▁transform ers . ▁Time |
▁grad ing ▁with ▁other ▁protection ▁systems ▁is ▁therefore ▁not ▁required , ▁allowing ▁for ▁tri pping ▁without ▁additional ▁delay . ▁D iffer ential ▁protection ▁is ▁therefore ▁su ited ▁as ▁fast ▁main ▁protection ▁for ▁all ▁important ▁plant ▁items ." ▁ ▁D iffer ential ▁protection ▁can ▁be ▁used ▁to ▁provide ▁protection ▁for ▁zones ▁with ▁multiple ▁terminal s ▁and ▁can ▁be ▁used ▁to ▁protect ▁lines , ▁gener ators , ▁mot ors , ▁transform ers , ▁and ▁other ▁elect rical ▁plant . ▁ ▁Current ▁transform ers ▁in ▁a ▁differential ▁scheme ▁must ▁be ▁chosen ▁to ▁have ▁near - ident ical ▁response ▁to ▁high ▁over curr ents . ▁If ▁a ▁" through ▁fault " ▁results ▁in ▁one ▁set ▁of ▁current ▁transform ers ▁s atur ating ▁before ▁another , ▁the ▁zone ▁differential ▁protection ▁will ▁see ▁a ▁false ▁" oper ate " ▁current ▁and ▁may ▁false ▁trip . ▁ ▁G F CI ▁( ground ▁fault ▁circuit ▁inter rup ter ) ▁circuit ▁break ers ▁combine ▁over current ▁protection ▁and ▁differential ▁protection ▁( non - ad just able ) ▁in ▁standard , ▁commonly ▁available ▁modules . ▁ ▁D irection al ▁relay ▁A ▁direction al ▁relay ▁uses ▁an ▁additional ▁polar izing ▁source ▁of ▁voltage ▁or ▁current ▁to ▁determine ▁the ▁direction ▁of ▁a ▁fault . ▁D irection al ▁elements ▁respond ▁to ▁the ▁phase ▁shift ▁between ▁a ▁polar izing ▁quantity ▁and ▁an ▁operate ▁quantity . ▁The ▁fault ▁can ▁be ▁located ▁up stream ▁or ▁down stream ▁of ▁the ▁relay ' s ▁location , ▁allowing ▁appropriate ▁protect ive ▁devices ▁to ▁be ▁operated ▁inside ▁or ▁outside ▁of ▁the ▁zone ▁of |
▁protection . ▁ ▁S ynchron ism ▁check ▁A ▁synchron ism ▁checking ▁relay ▁provides ▁a ▁contact ▁closure ▁when ▁the ▁frequency ▁and ▁phase ▁of ▁two ▁sources ▁are ▁similar ▁to ▁within ▁some ▁toler ance ▁margin . ▁A ▁" syn ch ▁check " ▁relay ▁is ▁often ▁applied ▁where ▁two ▁power ▁systems ▁are ▁inter connected , ▁such ▁as ▁at ▁a ▁switch yard ▁connecting ▁two ▁power ▁gr ids , ▁or ▁at ▁a ▁generator ▁circuit ▁break er ▁to ▁ensure ▁the ▁generator ▁is ▁synchron ized ▁to ▁the ▁system ▁before ▁connecting ▁it . ▁ ▁Power ▁source ▁The ▁rel ays ▁can ▁also ▁be ▁class ified ▁on ▁the ▁type ▁of ▁power ▁source ▁that ▁they ▁use ▁to ▁work . ▁▁ ▁Self - power ed ▁rel ays ▁operate ▁on ▁energy ▁derived ▁from ▁the ▁protected ▁circuit , ▁through ▁the ▁current ▁transform ers ▁used ▁to ▁measure ▁line ▁current , ▁for ▁example . ▁This ▁elimin ates ▁the ▁cost ▁and ▁reli ability ▁question ▁of ▁a ▁separate ▁supply . ▁▁ ▁A ux ili ary ▁power ed ▁rel ays ▁rely ▁on ▁a ▁battery ▁or ▁external ▁ac ▁supply . ▁Some ▁rel ays ▁can ▁use ▁either ▁AC ▁or ▁DC . ▁The ▁auxili ary ▁supply ▁must ▁be ▁highly ▁reliable ▁during ▁a ▁system ▁fault . ▁▁ ▁D ual ▁power ed ▁rel ays ▁can ▁be ▁also ▁auxili ary ▁power ed , ▁so ▁all ▁batter ies , ▁charg ers ▁and ▁other ▁external ▁elements ▁are ▁made ▁redundant ▁and ▁used ▁as ▁a ▁backup . ▁ ▁References ▁ ▁External ▁links ▁▁ ▁Sil ent ▁S entin els ▁ 1 9 4 9 ▁edition ▁online ▁text ▁▁ ▁Category : Rel ays ▁Category : |
E lect ric ▁power ▁systems ▁components <0x0A> </s> ▁The ▁Slov ak ia ▁men ' s ▁national ▁ball ▁hockey ▁team ▁is ▁the ▁men ' s ▁national ▁ball ▁hockey ▁team ▁of ▁Slov ak ia , ▁and ▁a ▁member ▁of ▁the ▁International ▁Street ▁and ▁Ball ▁Hockey ▁Federation ▁( I SB H F ). ▁ ▁World ▁Championships ▁ ▁External ▁links ▁ ▁http :// www . ho ke j bal . sk / ▁ ▁I SB H F ▁Official ▁Site ▁ ▁Category : B all ▁hockey ▁Category : Men ' s ▁sport ▁in ▁Slov ak ia <0x0A> </s> ▁Go ond iw indi ▁War ▁Memorial ▁is ▁a ▁her itage - list ed ▁war ▁mem orial ▁at ▁Marshall ▁Street , ▁Go ond iw indi , ▁Go ond iw indi ▁Region , ▁Queensland , ▁Australia . ▁The ▁mem orial ▁includes ▁a ▁life - s ized ▁statue ▁of ▁a ▁D igger ▁( W WI , ▁built ▁in ▁ 1 9 2 2 ) ▁and ▁mem orial ▁gates ▁( W W II , ▁built ▁in ▁ 1 9 4 9 ). ▁It ▁is ▁also ▁known ▁as ▁Memorial ▁G ates ▁and ▁The ▁Sold iers ' ▁Memorial ▁( D igger ▁Stat ue ). ▁It ▁was ▁added ▁to ▁the ▁Queensland ▁Heritage ▁Register ▁on ▁ 2 1 ▁October ▁ 1 9 9 2 . ▁ ▁History ▁▁ ▁The ▁Go ond iw indi ▁War ▁Memorial ▁includes ▁a ▁d igger ▁statue ▁un ve iled ▁ 2 1 ▁September ▁ 1 9 2 2 ▁and ▁a ▁set ▁of ▁gates ▁ere cted ▁in ▁ 1 9 4 9 , ▁as ▁mem |
orial s ▁to ▁the ▁First ▁and ▁Second ▁World ▁Wars ▁respectively . ▁ ▁The ▁Sold iers ' ▁Monument ▁was ▁originally ▁ere cted ▁in ▁Herbert ▁Street , ▁with ▁an ▁iron ▁f ence ▁surrounding ▁the ▁monument . ▁The ▁monument ▁cost ▁ ▁and ▁was ▁un ve iled ▁on ▁ 2 1 ▁September ▁ 1 9 2 2 , ▁by ▁Sir ▁Matthew ▁Nathan , ▁Governor ▁of ▁Queensland , ▁who ▁was ▁in ▁Go ond iw indi ▁to ▁observe ▁an ▁eclipse ▁of ▁the ▁sun . ▁It ▁is ▁likely ▁that ▁the ▁monument ▁was ▁ere cted ▁by ▁a ▁public ▁committee . ▁Although ▁the ▁designer ▁of ▁the ▁monument ▁is ▁unknown , ▁it ▁is ▁possible ▁that ▁it ▁was ▁manufact ured ▁in ▁New ▁South ▁Wales . ▁ ▁In ▁ 1 9 4 9 ▁the ▁monument ▁was ▁re - s ited , ▁pres umably ▁at ▁the ▁time ▁the ▁World ▁War ▁ 2 ▁Memorial ▁G ates ▁were ▁constructed . ▁More ▁than ▁ ▁was ▁spent ▁on ▁transfer ring ▁the ▁monument ▁to ▁the ▁park ▁site ▁and ▁ere ct ing ▁the ▁gates . ▁The ▁gates ▁were ▁ere cted ▁by ▁the ▁Go ond iw indi ▁War ▁Memorial ▁Committee , ▁and ▁were ▁un ve iled ▁in ▁April ▁ 1 9 4 9 ▁by ▁Sir ▁Thomas ▁William ▁Glasgow . ▁At ▁the ▁completion ▁of ▁the ▁ceremony ▁the ▁keys ▁of ▁the ▁gates ▁were ▁handed ▁to ▁Ald erman ▁F ▁V etter , ▁symbol ic ▁of ▁the ▁town ▁accepting ▁responsibility ▁and ▁cust ody ▁of ▁the ▁mem orial . ▁The ▁designer ▁of ▁the ▁gates ▁is ▁also ▁unknown . ▁ ▁Description ▁▁ ▁The ▁Go ond iw indi ▁War ▁Memorial |
▁is ▁located ▁at ▁the ▁western ▁end ▁of ▁Go ond iw indi ' s ▁main ▁street , ▁in ▁the ▁south - e astern ▁corner ▁of ▁the ▁Go ond iw indi ▁Memorial ▁Park . ▁The ▁mem orial ▁consists ▁of ▁a ▁D igger ▁monument ▁( W WI ) ▁and ▁mem orial ▁gates ▁( W W II ). ▁The ▁monument ▁r ises ▁to ▁approximately ▁six ▁metres ▁and ▁is ▁cent r ally ▁placed ▁within ▁a ▁gener ous ▁square ▁en closure ▁whose ▁boundaries ▁are ▁defined ▁by ▁pop lar ▁trees , ▁h ed ges , ▁sil ky ▁o aks ▁and ▁fig s . ▁The ▁monument ▁is ▁ax ial ly ▁aligned ▁with ▁the ▁mem orial ▁gates , ▁which ▁trunc ate ▁the ▁street ▁corner . ▁The ▁monument ▁fr amed ▁by ▁the ▁gates ▁with ▁a ▁back drop ▁of ▁pop lar ▁trees ▁creates ▁an ▁impress ive ▁formal ▁table au . ▁ ▁The ▁monument ▁consists ▁of ▁a ▁life - s ized ▁grey ▁sand stone ▁D igger ▁on ▁a ▁red ▁and ▁grey ▁pol ished ▁gran ite ▁column , ▁which ▁s its ▁on ▁a ▁pol ished ▁blocked ▁tra chy te ▁ped est al ▁and ▁a ▁stepped ▁concrete ▁base . ▁The ▁ped est al ▁has ▁gilt ▁ins cri ptions , ▁and ▁the ▁column ▁has ▁a ▁grey ▁gran ite ▁base ▁and ▁capital ▁with ▁a ▁red ▁gran ite ▁sh aft . ▁The ▁D igger ▁stands ▁with ▁his ▁left ▁foot ▁forward , ▁holding ▁the ▁top ▁of ▁the ▁rif le ▁bar rel ▁in ▁his ▁right ▁hand . ▁ ▁The ▁mem orial ▁gates ▁are ▁formed ▁with ▁sand stone ▁pill ars ▁and ▁decor ative |
▁steel ▁gates , ▁and ▁compr ise ▁a ▁central ▁gateway ▁fl ank ed ▁by ▁two ▁smaller ▁gate ways . ▁The ▁pill ars ▁have ▁sand stone ▁n ib s , ▁and ▁are ▁to pped ▁with ▁rect il ine ar ▁oct ag onal ▁light ▁f itt ings . ▁The ▁gates ▁have ▁circular ▁mot ifs ▁and ▁cr ests . ▁ ▁The ▁monument ▁is ▁well - craft ed ▁in ▁fine ▁materials , ▁and ▁the ▁formal ▁table au ▁of ▁the ▁monument ▁and ▁pop l ars ▁fr amed ▁by ▁the ▁gates ▁makes ▁a ▁strong ▁a est h etic ▁contribution ▁to ▁the ▁Go ond iw indi ▁towns cape . ▁ ▁Heritage ▁listing ▁ ▁Go ond iw indi ▁War ▁Memorial ▁was ▁listed ▁on ▁the ▁Queensland ▁Heritage ▁Register ▁on ▁ 2 1 ▁October ▁ 1 9 9 2 ▁having ▁satisfied ▁the ▁following ▁criteria . ▁ ▁The ▁place ▁is ▁important ▁in ▁demonstr ating ▁the ▁evolution ▁or ▁pattern ▁of ▁Queensland ' s ▁history . ▁ ▁The ▁Go ond iw indi ▁War ▁Memorial ▁is ▁important ▁in ▁demonstr ating ▁the ▁pattern ▁of ▁Queensland ' s ▁history , ▁as ▁evidence ▁of ▁an ▁era ▁of ▁w ides p read ▁expression ▁of ▁Australian ▁patri ot ism ▁and ▁national ism , ▁during ▁and ▁following ▁the ▁First ▁World ▁War . ▁ ▁The ▁place ▁is ▁important ▁because ▁of ▁its ▁a est h etic ▁significance . ▁ ▁It ▁exhib its ▁a est h etic ▁characteristics ▁val ued ▁by ▁the ▁community : ▁the ▁monument ▁is ▁well - craft ed ▁in ▁unusual ▁and ▁fine ▁materials ; ▁and ▁the ▁formal ▁table au ▁of ▁the ▁monument ▁and ▁pop |
l ars ▁fr amed ▁by ▁the ▁gates ▁makes ▁an ▁a est h etic ▁contribution ▁to ▁the ▁Go ond iw indi ▁towns cape . ▁ ▁The ▁place ▁has ▁a ▁strong ▁or ▁special ▁association ▁with ▁a ▁particular ▁community ▁or ▁cultural ▁group ▁for ▁social , ▁cultural ▁or ▁spiritual ▁reasons . ▁ ▁It ▁has ▁a ▁strong ▁association ▁with ▁the ▁community ▁as ▁evidence ▁of ▁the ▁impact ▁of ▁a ▁major ▁historical ▁event . ▁ ▁References ▁ ▁Att ribution ▁ ▁External ▁links ▁▁▁ ▁Monument ▁Australia ▁ ▁Category : World ▁War ▁I ▁mem orial s ▁in ▁Queensland ▁Category : World ▁War ▁II ▁mem orial s ▁in ▁Queensland ▁Category : Que ens land ▁Heritage ▁Register ▁Category : Go ond iw indi ▁Category : Art icles ▁incorpor ating ▁text ▁from ▁the ▁Queensland ▁Heritage ▁Register <0x0A> </s> ▁The ▁Botan ischer ▁G arten ▁Mar burg ▁( 2 0 ▁hect ares ), ▁also ▁known ▁as ▁the ▁Ne uer ▁Botan ischer ▁G arten ▁Mar burg , ▁is ▁a ▁botan ical ▁garden ▁maintained ▁by ▁the ▁University ▁of ▁Mar burg , ▁located ▁on ▁Karl - von - Fr isch - St ra ße , ▁Mar burg , ▁H esse , ▁Germany , ▁and ▁open ▁daily . ▁An ▁ad mission ▁fee ▁is ▁charged . ▁ ▁The ▁garden ▁was ▁created ▁between ▁ 1 9 6 1 - 1 9 7 7 ▁to ▁replace ▁the ▁Alter ▁Botan ischer ▁G arten ▁Mar burg , ▁d ating ▁from ▁ 1 8 1 0 . ▁Its ▁construction ▁involved ▁movement ▁of ▁some ▁ 8 0 , 0 0 0 ▁m ³ ▁of ▁earth , ▁creating ▁a |
▁p ond ▁and ▁a ▁bro ok ▁about ▁ 1 km ▁long , ▁as ▁well ▁as ▁a ▁major ▁effort ▁to ▁build ▁green h ouses . ▁The ▁garden ▁was ▁inaugur ated ▁in ▁June ▁ 1 9 7 7 ▁to ▁celebr ate ▁the ▁university ' s ▁ 4 5 0 th ▁anni versary . ▁ ▁Out door ▁areas ▁of ▁the ▁garden ▁are ▁organized ▁as ▁follows : ▁▁ ▁Al pin um ▁- ▁rock ▁garden ▁representing ▁plants ▁from ▁the ▁high ▁mountains ▁of ▁Europe , ▁western ▁Asia , ▁the ▁H imal ay as , ▁Australia , ▁and ▁New ▁Zealand . ▁ ▁Ar bor et um ▁- ▁foc using ▁on ▁con if ers , ▁including ▁Se qu oi ad end ron ▁gig ante um ▁and ▁Met ase qu o ia ▁g ly pt ost ro bo ides , ▁as ▁well ▁as ▁al ders , ▁ash , ▁bir ches , ▁g ink g os , ▁ha z els , ▁map les , ▁o aks , ▁decid uous ▁pop l ars , ▁sy cam ores , ▁and ▁will ows , ▁representing ▁both ▁native ▁and ▁ex otic ▁species . ▁ ▁Bur ial ▁m ounds ▁- ▁bronze ▁age ▁gra ves . ▁ ▁Fern ▁collection ▁- ▁ 8 0 ▁f ern ▁species . ▁ ▁Forest ▁- ▁spring - blo oming ▁plants ▁including ▁An em one , ▁G age a , ▁I ris , ▁N arc iss us , ▁P uls at illa , ▁Sc illa , ▁and ▁Tul ip a . ▁ ▁He ather ▁and ▁rh od od end ron ▁garden ▁- ▁numerous ▁he |
ather ▁and ▁rh od od end ron ▁species ▁including ▁Call una ▁vul gar is , ▁Er ica ▁car nea , ▁Er ica ▁cin erea , ▁and ▁Er ica ▁t et ral ix . ▁ ▁Medic inal ▁and ▁useful ▁plants ▁- ▁including ▁c ere als ▁and ▁other ▁car bo h yd r ates , ▁succ ul ents , ▁veget ables , ▁fi ber ▁plants , ▁to b acco ▁plants , ▁rub ber ▁plants , ▁and ▁d ye ▁plants . ▁ ▁System atic ▁garden ▁- ▁represent atives ▁of ▁seed ▁plant ▁families ▁organized ▁by ▁bi ological ▁classification ▁ ▁In ▁addition , ▁the ▁garden ' s ▁green h ouses ▁cover ▁total ▁area ▁of ▁ 1 , 7 0 0 ▁square ▁meters ▁as ▁follows : ▁tropical ▁house ▁( 5 4 5 ▁m ², ▁ 1 2 ▁m ▁height ); ▁Can ary ▁Islands ▁house ▁( 1 8 2 ▁m ² ▁+ ▁ 8 2 ▁m ², ▁ 7 ▁m ); ▁tropical ▁c rop ▁house ▁( 1 8 2 ▁m ², ▁ 7 ▁m ) ▁with ▁plants ▁including ▁An anas ▁com os us ▁and ▁C off ea ▁arab ica ; ▁Amazon ▁house ▁( 1 2 3 ▁m ², ▁ 6 ▁m ) ▁containing ▁aqu atic ▁plants ▁of ▁the ▁Amazon ▁region ▁including ▁Bru gu iera ▁sex ang ula ▁and ▁Victoria ▁amazon ica ; ▁tropical ▁f ern ▁house ▁( 1 8 2 ▁m ², ▁ 7 ▁m ); ▁succ ul ent ▁house ▁( 2 2 7 ▁m ², ▁ 7 ▁m ); ▁Australian ▁out back ▁house ▁( 1 8 2 ▁m ², |