texts stringlengths 40 104k | questions stringlengths 3 63 | answers dict |
|---|---|---|
Kim Brown may refer to:
Kim Brown (The Unit), a fictional character on the CBS television series The Unit
Kim Brown (musician) (1945–2011), British-born Finland-based musician with The Renegades
Kimberly J. Brown (born 1984), American actress | pseudonym | {
"answer_start": [
0
],
"text": [
"Kim Brown"
]
} |
Gilbert Lafayette Laws (March 11, 1838 – April 25, 1907) was an American politician, newspaper publisher and businessman. He served as the Nebraska Secretary of State and as a member of the United States House of Representatives during the 1800s.
Early life
Born on a farm near Olney, Illinois, Laws was the son of James Laws and Lucinda (Calhoun) Laws. In 1845, he moved to Iowa County, Wisconsin, with his parents. He attended Haskell University and Milton College which he financed by working in the lumber business during the summers. After graduation, he taught school until 1861 in Richland Center, Wisconsin.During the American Civil War, Laws enlisted in the 5th Wisconsin Infantry Regiment. His left leg was amputated below the knee as a result of being wounded in the Battle of Williamsburg on May 5, 1862. He was discharged in July 1862 and settled in Richland County, Wisconsin.
Career
Laws was elected as the Richland County Clerk in 1862 and reelected twice. While serving as county clerk, he also published the Republican newspaper, "Richland County Observer". After selling his share of the newspaper in 1864, he manufactured lumber, wagon materials and bedsteads. He was a member of the Richland Center, Wisconsin city council in 1868 and 1869, and the city's mayor in 1869. In 1869 and 1870, he was the chairman of the county board of supervisors and from 1866 to 1876 the postmaster. He resigned his posts in 1876 and moved to Orleans, Nebraska.
Laws moved to Nebraska in 1876. In 1883, Laws was appointed register of the United States Land Office in McCook, Nebraska. He served in that position until November 1, 1886, when he was elected Secretary of State of Nebraska. He was Secretary of State until 1888.Elected as a Republican candidate to the 51st United States Congress to fill the vacancy caused by the death of James Laird, Laws served as a United States Representative for the second district of Nebraska from December 2, 1889, to March 3, 1891.He did not run for reelection, instead moving to Enid, Oklahoma, where he sold real estate. He returned to Lincoln, Nebraska, in 1895, and became secretary of the State board of transportation from 1896 to 1900.
Death
Laws died on April 25, 1907 (age 69 years, 45 days), in Lincoln, Nebraska. He is interred at Wyuka Cemetery in Lincoln.
Personal life
Laws married Josephine Lawrence on October 25, 1868. They had three daughters, Gertrude H. Laws, Theodosia C. Laws and Helen Lucile Laws.
References
External links
"Laws, Gilbert Lafayette". Biographical Directory of the United States Congress. Retrieved January 28, 2006. | place of birth | {
"answer_start": [
279
],
"text": [
"Olney"
]
} |
Gilbert Lafayette Laws (March 11, 1838 – April 25, 1907) was an American politician, newspaper publisher and businessman. He served as the Nebraska Secretary of State and as a member of the United States House of Representatives during the 1800s.
Early life
Born on a farm near Olney, Illinois, Laws was the son of James Laws and Lucinda (Calhoun) Laws. In 1845, he moved to Iowa County, Wisconsin, with his parents. He attended Haskell University and Milton College which he financed by working in the lumber business during the summers. After graduation, he taught school until 1861 in Richland Center, Wisconsin.During the American Civil War, Laws enlisted in the 5th Wisconsin Infantry Regiment. His left leg was amputated below the knee as a result of being wounded in the Battle of Williamsburg on May 5, 1862. He was discharged in July 1862 and settled in Richland County, Wisconsin.
Career
Laws was elected as the Richland County Clerk in 1862 and reelected twice. While serving as county clerk, he also published the Republican newspaper, "Richland County Observer". After selling his share of the newspaper in 1864, he manufactured lumber, wagon materials and bedsteads. He was a member of the Richland Center, Wisconsin city council in 1868 and 1869, and the city's mayor in 1869. In 1869 and 1870, he was the chairman of the county board of supervisors and from 1866 to 1876 the postmaster. He resigned his posts in 1876 and moved to Orleans, Nebraska.
Laws moved to Nebraska in 1876. In 1883, Laws was appointed register of the United States Land Office in McCook, Nebraska. He served in that position until November 1, 1886, when he was elected Secretary of State of Nebraska. He was Secretary of State until 1888.Elected as a Republican candidate to the 51st United States Congress to fill the vacancy caused by the death of James Laird, Laws served as a United States Representative for the second district of Nebraska from December 2, 1889, to March 3, 1891.He did not run for reelection, instead moving to Enid, Oklahoma, where he sold real estate. He returned to Lincoln, Nebraska, in 1895, and became secretary of the State board of transportation from 1896 to 1900.
Death
Laws died on April 25, 1907 (age 69 years, 45 days), in Lincoln, Nebraska. He is interred at Wyuka Cemetery in Lincoln.
Personal life
Laws married Josephine Lawrence on October 25, 1868. They had three daughters, Gertrude H. Laws, Theodosia C. Laws and Helen Lucile Laws.
References
External links
"Laws, Gilbert Lafayette". Biographical Directory of the United States Congress. Retrieved January 28, 2006. | place of death | {
"answer_start": [
2085
],
"text": [
"Lincoln"
]
} |
Gilbert Lafayette Laws (March 11, 1838 – April 25, 1907) was an American politician, newspaper publisher and businessman. He served as the Nebraska Secretary of State and as a member of the United States House of Representatives during the 1800s.
Early life
Born on a farm near Olney, Illinois, Laws was the son of James Laws and Lucinda (Calhoun) Laws. In 1845, he moved to Iowa County, Wisconsin, with his parents. He attended Haskell University and Milton College which he financed by working in the lumber business during the summers. After graduation, he taught school until 1861 in Richland Center, Wisconsin.During the American Civil War, Laws enlisted in the 5th Wisconsin Infantry Regiment. His left leg was amputated below the knee as a result of being wounded in the Battle of Williamsburg on May 5, 1862. He was discharged in July 1862 and settled in Richland County, Wisconsin.
Career
Laws was elected as the Richland County Clerk in 1862 and reelected twice. While serving as county clerk, he also published the Republican newspaper, "Richland County Observer". After selling his share of the newspaper in 1864, he manufactured lumber, wagon materials and bedsteads. He was a member of the Richland Center, Wisconsin city council in 1868 and 1869, and the city's mayor in 1869. In 1869 and 1870, he was the chairman of the county board of supervisors and from 1866 to 1876 the postmaster. He resigned his posts in 1876 and moved to Orleans, Nebraska.
Laws moved to Nebraska in 1876. In 1883, Laws was appointed register of the United States Land Office in McCook, Nebraska. He served in that position until November 1, 1886, when he was elected Secretary of State of Nebraska. He was Secretary of State until 1888.Elected as a Republican candidate to the 51st United States Congress to fill the vacancy caused by the death of James Laird, Laws served as a United States Representative for the second district of Nebraska from December 2, 1889, to March 3, 1891.He did not run for reelection, instead moving to Enid, Oklahoma, where he sold real estate. He returned to Lincoln, Nebraska, in 1895, and became secretary of the State board of transportation from 1896 to 1900.
Death
Laws died on April 25, 1907 (age 69 years, 45 days), in Lincoln, Nebraska. He is interred at Wyuka Cemetery in Lincoln.
Personal life
Laws married Josephine Lawrence on October 25, 1868. They had three daughters, Gertrude H. Laws, Theodosia C. Laws and Helen Lucile Laws.
References
External links
"Laws, Gilbert Lafayette". Biographical Directory of the United States Congress. Retrieved January 28, 2006. | educated at | {
"answer_start": [
453
],
"text": [
"Milton College"
]
} |
Gilbert Lafayette Laws (March 11, 1838 – April 25, 1907) was an American politician, newspaper publisher and businessman. He served as the Nebraska Secretary of State and as a member of the United States House of Representatives during the 1800s.
Early life
Born on a farm near Olney, Illinois, Laws was the son of James Laws and Lucinda (Calhoun) Laws. In 1845, he moved to Iowa County, Wisconsin, with his parents. He attended Haskell University and Milton College which he financed by working in the lumber business during the summers. After graduation, he taught school until 1861 in Richland Center, Wisconsin.During the American Civil War, Laws enlisted in the 5th Wisconsin Infantry Regiment. His left leg was amputated below the knee as a result of being wounded in the Battle of Williamsburg on May 5, 1862. He was discharged in July 1862 and settled in Richland County, Wisconsin.
Career
Laws was elected as the Richland County Clerk in 1862 and reelected twice. While serving as county clerk, he also published the Republican newspaper, "Richland County Observer". After selling his share of the newspaper in 1864, he manufactured lumber, wagon materials and bedsteads. He was a member of the Richland Center, Wisconsin city council in 1868 and 1869, and the city's mayor in 1869. In 1869 and 1870, he was the chairman of the county board of supervisors and from 1866 to 1876 the postmaster. He resigned his posts in 1876 and moved to Orleans, Nebraska.
Laws moved to Nebraska in 1876. In 1883, Laws was appointed register of the United States Land Office in McCook, Nebraska. He served in that position until November 1, 1886, when he was elected Secretary of State of Nebraska. He was Secretary of State until 1888.Elected as a Republican candidate to the 51st United States Congress to fill the vacancy caused by the death of James Laird, Laws served as a United States Representative for the second district of Nebraska from December 2, 1889, to March 3, 1891.He did not run for reelection, instead moving to Enid, Oklahoma, where he sold real estate. He returned to Lincoln, Nebraska, in 1895, and became secretary of the State board of transportation from 1896 to 1900.
Death
Laws died on April 25, 1907 (age 69 years, 45 days), in Lincoln, Nebraska. He is interred at Wyuka Cemetery in Lincoln.
Personal life
Laws married Josephine Lawrence on October 25, 1868. They had three daughters, Gertrude H. Laws, Theodosia C. Laws and Helen Lucile Laws.
References
External links
"Laws, Gilbert Lafayette". Biographical Directory of the United States Congress. Retrieved January 28, 2006. | occupation | {
"answer_start": [
73
],
"text": [
"politician"
]
} |
Gilbert Lafayette Laws (March 11, 1838 – April 25, 1907) was an American politician, newspaper publisher and businessman. He served as the Nebraska Secretary of State and as a member of the United States House of Representatives during the 1800s.
Early life
Born on a farm near Olney, Illinois, Laws was the son of James Laws and Lucinda (Calhoun) Laws. In 1845, he moved to Iowa County, Wisconsin, with his parents. He attended Haskell University and Milton College which he financed by working in the lumber business during the summers. After graduation, he taught school until 1861 in Richland Center, Wisconsin.During the American Civil War, Laws enlisted in the 5th Wisconsin Infantry Regiment. His left leg was amputated below the knee as a result of being wounded in the Battle of Williamsburg on May 5, 1862. He was discharged in July 1862 and settled in Richland County, Wisconsin.
Career
Laws was elected as the Richland County Clerk in 1862 and reelected twice. While serving as county clerk, he also published the Republican newspaper, "Richland County Observer". After selling his share of the newspaper in 1864, he manufactured lumber, wagon materials and bedsteads. He was a member of the Richland Center, Wisconsin city council in 1868 and 1869, and the city's mayor in 1869. In 1869 and 1870, he was the chairman of the county board of supervisors and from 1866 to 1876 the postmaster. He resigned his posts in 1876 and moved to Orleans, Nebraska.
Laws moved to Nebraska in 1876. In 1883, Laws was appointed register of the United States Land Office in McCook, Nebraska. He served in that position until November 1, 1886, when he was elected Secretary of State of Nebraska. He was Secretary of State until 1888.Elected as a Republican candidate to the 51st United States Congress to fill the vacancy caused by the death of James Laird, Laws served as a United States Representative for the second district of Nebraska from December 2, 1889, to March 3, 1891.He did not run for reelection, instead moving to Enid, Oklahoma, where he sold real estate. He returned to Lincoln, Nebraska, in 1895, and became secretary of the State board of transportation from 1896 to 1900.
Death
Laws died on April 25, 1907 (age 69 years, 45 days), in Lincoln, Nebraska. He is interred at Wyuka Cemetery in Lincoln.
Personal life
Laws married Josephine Lawrence on October 25, 1868. They had three daughters, Gertrude H. Laws, Theodosia C. Laws and Helen Lucile Laws.
References
External links
"Laws, Gilbert Lafayette". Biographical Directory of the United States Congress. Retrieved January 28, 2006. | place of burial | {
"answer_start": [
2085
],
"text": [
"Lincoln"
]
} |
Gilbert Lafayette Laws (March 11, 1838 – April 25, 1907) was an American politician, newspaper publisher and businessman. He served as the Nebraska Secretary of State and as a member of the United States House of Representatives during the 1800s.
Early life
Born on a farm near Olney, Illinois, Laws was the son of James Laws and Lucinda (Calhoun) Laws. In 1845, he moved to Iowa County, Wisconsin, with his parents. He attended Haskell University and Milton College which he financed by working in the lumber business during the summers. After graduation, he taught school until 1861 in Richland Center, Wisconsin.During the American Civil War, Laws enlisted in the 5th Wisconsin Infantry Regiment. His left leg was amputated below the knee as a result of being wounded in the Battle of Williamsburg on May 5, 1862. He was discharged in July 1862 and settled in Richland County, Wisconsin.
Career
Laws was elected as the Richland County Clerk in 1862 and reelected twice. While serving as county clerk, he also published the Republican newspaper, "Richland County Observer". After selling his share of the newspaper in 1864, he manufactured lumber, wagon materials and bedsteads. He was a member of the Richland Center, Wisconsin city council in 1868 and 1869, and the city's mayor in 1869. In 1869 and 1870, he was the chairman of the county board of supervisors and from 1866 to 1876 the postmaster. He resigned his posts in 1876 and moved to Orleans, Nebraska.
Laws moved to Nebraska in 1876. In 1883, Laws was appointed register of the United States Land Office in McCook, Nebraska. He served in that position until November 1, 1886, when he was elected Secretary of State of Nebraska. He was Secretary of State until 1888.Elected as a Republican candidate to the 51st United States Congress to fill the vacancy caused by the death of James Laird, Laws served as a United States Representative for the second district of Nebraska from December 2, 1889, to March 3, 1891.He did not run for reelection, instead moving to Enid, Oklahoma, where he sold real estate. He returned to Lincoln, Nebraska, in 1895, and became secretary of the State board of transportation from 1896 to 1900.
Death
Laws died on April 25, 1907 (age 69 years, 45 days), in Lincoln, Nebraska. He is interred at Wyuka Cemetery in Lincoln.
Personal life
Laws married Josephine Lawrence on October 25, 1868. They had three daughters, Gertrude H. Laws, Theodosia C. Laws and Helen Lucile Laws.
References
External links
"Laws, Gilbert Lafayette". Biographical Directory of the United States Congress. Retrieved January 28, 2006. | family name | {
"answer_start": [
18
],
"text": [
"Laws"
]
} |
Gilbert Lafayette Laws (March 11, 1838 – April 25, 1907) was an American politician, newspaper publisher and businessman. He served as the Nebraska Secretary of State and as a member of the United States House of Representatives during the 1800s.
Early life
Born on a farm near Olney, Illinois, Laws was the son of James Laws and Lucinda (Calhoun) Laws. In 1845, he moved to Iowa County, Wisconsin, with his parents. He attended Haskell University and Milton College which he financed by working in the lumber business during the summers. After graduation, he taught school until 1861 in Richland Center, Wisconsin.During the American Civil War, Laws enlisted in the 5th Wisconsin Infantry Regiment. His left leg was amputated below the knee as a result of being wounded in the Battle of Williamsburg on May 5, 1862. He was discharged in July 1862 and settled in Richland County, Wisconsin.
Career
Laws was elected as the Richland County Clerk in 1862 and reelected twice. While serving as county clerk, he also published the Republican newspaper, "Richland County Observer". After selling his share of the newspaper in 1864, he manufactured lumber, wagon materials and bedsteads. He was a member of the Richland Center, Wisconsin city council in 1868 and 1869, and the city's mayor in 1869. In 1869 and 1870, he was the chairman of the county board of supervisors and from 1866 to 1876 the postmaster. He resigned his posts in 1876 and moved to Orleans, Nebraska.
Laws moved to Nebraska in 1876. In 1883, Laws was appointed register of the United States Land Office in McCook, Nebraska. He served in that position until November 1, 1886, when he was elected Secretary of State of Nebraska. He was Secretary of State until 1888.Elected as a Republican candidate to the 51st United States Congress to fill the vacancy caused by the death of James Laird, Laws served as a United States Representative for the second district of Nebraska from December 2, 1889, to March 3, 1891.He did not run for reelection, instead moving to Enid, Oklahoma, where he sold real estate. He returned to Lincoln, Nebraska, in 1895, and became secretary of the State board of transportation from 1896 to 1900.
Death
Laws died on April 25, 1907 (age 69 years, 45 days), in Lincoln, Nebraska. He is interred at Wyuka Cemetery in Lincoln.
Personal life
Laws married Josephine Lawrence on October 25, 1868. They had three daughters, Gertrude H. Laws, Theodosia C. Laws and Helen Lucile Laws.
References
External links
"Laws, Gilbert Lafayette". Biographical Directory of the United States Congress. Retrieved January 28, 2006. | given name | {
"answer_start": [
0
],
"text": [
"Gilbert"
]
} |
Newag Griffin is a series of Polish four-axle electric and diesel locomotives for working passenger and goods trains, produced by Newag in Nowy Sącz from 2012. The first version, the E4MSU is a mixed-traffic multi-system electric locomotive.
History
Origin
In September 2010, the Newag Gliwice company in Poland began works on the universal electric locomotive platform Elephant. The series originally was planned to consist of two versions:
E4ACU a mixed-traffic locomotive with a maximum speed of 140 km/h for regional passenger transportation and cargo.
E4ACP a passenger locomotive with a maximum speed of 200 km/h.The four-axle locomotives were to supplement the company's offer, and their multi-system capability would allow them to work international traffic and traffic in other European countries.
In January 2011, the project works by the company EC Engineering aimed to produce four versions of the locomotive:
E4DCU – a mixed-traffic 3 kV DC locomotive with a maximum speed of 160 km/h.
E4DCP – a passenger 3 kV DC locomotive with a maximum speed of 200 km/h.
E4MSU – a mixed-traffic multi-system (3 kV DC, 15 kV AC and 25 kV AC) locomotive with a maximum speed of 160 km/h.
E4MSP – a passenger multi-system (3 kV DC, 15 kV AC and 25 kV AC) locomotive with a maximum speed of 200 km/h.Newag planned to produce the E4MSU version first. It was to be tested in the third quarter of 2012.
In March 2011 the works on the mixed-traffic version were in their final stages and the official presentation of the locomotive was planned for the autumn 2011 during the Trako Trade Fair in Gdańsk. The presentation did not eventuate as the project works were still in progress and it was pushed back to 2012.
Production and tests
The E4MSU locomotive was unveiled on 18 September 2012 at the InnoTrans Trade Fair in Berlin. At the end of April 2013 the locomotive was transported to the Railway Institute's test track near Żmigród where the testing on the locomotive began. On 16 May 2013 the locomotive together with two carriages began being used by PKP Intercity in Nowy Sacz, and in the following days the locomotive was tested at the Olsztyn – Nidzica railway line (where the turning of the locomotive was tested). The locomotive returned to the south of the country, where at the beginning of June 2013 had passed the static tests at the Kraków Railway Institute, then the locomotive was sent to Żmigród. Between 18 and 31 July 2013 PKP Cargo conducted a driving test which is necessary to obtain a certificate for the locomotive. On 28 May 2014 Newag signed a contract with Đuro Đaković Specijalna Vozila for the joint construction of the electric locomotive E4ACU type, which included technology transfer and exchange of know-how in the area of the production of electric locomotives.
Deliveries
Construction
Available
Driver's cab
The driver's cab can accommodate two drivers. Each cab is equipped with two independent panels that display the drive parameters, a diagnostics module and event recorder with a speedometer function, a two-module climate control system and rear-view mirrors with a monitor for four cameras. The cabin is in accordance with the EN 1527 standard.
== References == | manufacturer | {
"answer_start": [
0
],
"text": [
"Newag"
]
} |
Newag Griffin is a series of Polish four-axle electric and diesel locomotives for working passenger and goods trains, produced by Newag in Nowy Sącz from 2012. The first version, the E4MSU is a mixed-traffic multi-system electric locomotive.
History
Origin
In September 2010, the Newag Gliwice company in Poland began works on the universal electric locomotive platform Elephant. The series originally was planned to consist of two versions:
E4ACU a mixed-traffic locomotive with a maximum speed of 140 km/h for regional passenger transportation and cargo.
E4ACP a passenger locomotive with a maximum speed of 200 km/h.The four-axle locomotives were to supplement the company's offer, and their multi-system capability would allow them to work international traffic and traffic in other European countries.
In January 2011, the project works by the company EC Engineering aimed to produce four versions of the locomotive:
E4DCU – a mixed-traffic 3 kV DC locomotive with a maximum speed of 160 km/h.
E4DCP – a passenger 3 kV DC locomotive with a maximum speed of 200 km/h.
E4MSU – a mixed-traffic multi-system (3 kV DC, 15 kV AC and 25 kV AC) locomotive with a maximum speed of 160 km/h.
E4MSP – a passenger multi-system (3 kV DC, 15 kV AC and 25 kV AC) locomotive with a maximum speed of 200 km/h.Newag planned to produce the E4MSU version first. It was to be tested in the third quarter of 2012.
In March 2011 the works on the mixed-traffic version were in their final stages and the official presentation of the locomotive was planned for the autumn 2011 during the Trako Trade Fair in Gdańsk. The presentation did not eventuate as the project works were still in progress and it was pushed back to 2012.
Production and tests
The E4MSU locomotive was unveiled on 18 September 2012 at the InnoTrans Trade Fair in Berlin. At the end of April 2013 the locomotive was transported to the Railway Institute's test track near Żmigród where the testing on the locomotive began. On 16 May 2013 the locomotive together with two carriages began being used by PKP Intercity in Nowy Sacz, and in the following days the locomotive was tested at the Olsztyn – Nidzica railway line (where the turning of the locomotive was tested). The locomotive returned to the south of the country, where at the beginning of June 2013 had passed the static tests at the Kraków Railway Institute, then the locomotive was sent to Żmigród. Between 18 and 31 July 2013 PKP Cargo conducted a driving test which is necessary to obtain a certificate for the locomotive. On 28 May 2014 Newag signed a contract with Đuro Đaković Specijalna Vozila for the joint construction of the electric locomotive E4ACU type, which included technology transfer and exchange of know-how in the area of the production of electric locomotives.
Deliveries
Construction
Available
Driver's cab
The driver's cab can accommodate two drivers. Each cab is equipped with two independent panels that display the drive parameters, a diagnostics module and event recorder with a speedometer function, a two-module climate control system and rear-view mirrors with a monitor for four cameras. The cabin is in accordance with the EN 1527 standard.
== References == | subclass of | {
"answer_start": [
59
],
"text": [
"diesel locomotive"
]
} |
Newag Griffin is a series of Polish four-axle electric and diesel locomotives for working passenger and goods trains, produced by Newag in Nowy Sącz from 2012. The first version, the E4MSU is a mixed-traffic multi-system electric locomotive.
History
Origin
In September 2010, the Newag Gliwice company in Poland began works on the universal electric locomotive platform Elephant. The series originally was planned to consist of two versions:
E4ACU a mixed-traffic locomotive with a maximum speed of 140 km/h for regional passenger transportation and cargo.
E4ACP a passenger locomotive with a maximum speed of 200 km/h.The four-axle locomotives were to supplement the company's offer, and their multi-system capability would allow them to work international traffic and traffic in other European countries.
In January 2011, the project works by the company EC Engineering aimed to produce four versions of the locomotive:
E4DCU – a mixed-traffic 3 kV DC locomotive with a maximum speed of 160 km/h.
E4DCP – a passenger 3 kV DC locomotive with a maximum speed of 200 km/h.
E4MSU – a mixed-traffic multi-system (3 kV DC, 15 kV AC and 25 kV AC) locomotive with a maximum speed of 160 km/h.
E4MSP – a passenger multi-system (3 kV DC, 15 kV AC and 25 kV AC) locomotive with a maximum speed of 200 km/h.Newag planned to produce the E4MSU version first. It was to be tested in the third quarter of 2012.
In March 2011 the works on the mixed-traffic version were in their final stages and the official presentation of the locomotive was planned for the autumn 2011 during the Trako Trade Fair in Gdańsk. The presentation did not eventuate as the project works were still in progress and it was pushed back to 2012.
Production and tests
The E4MSU locomotive was unveiled on 18 September 2012 at the InnoTrans Trade Fair in Berlin. At the end of April 2013 the locomotive was transported to the Railway Institute's test track near Żmigród where the testing on the locomotive began. On 16 May 2013 the locomotive together with two carriages began being used by PKP Intercity in Nowy Sacz, and in the following days the locomotive was tested at the Olsztyn – Nidzica railway line (where the turning of the locomotive was tested). The locomotive returned to the south of the country, where at the beginning of June 2013 had passed the static tests at the Kraków Railway Institute, then the locomotive was sent to Żmigród. Between 18 and 31 July 2013 PKP Cargo conducted a driving test which is necessary to obtain a certificate for the locomotive. On 28 May 2014 Newag signed a contract with Đuro Đaković Specijalna Vozila for the joint construction of the electric locomotive E4ACU type, which included technology transfer and exchange of know-how in the area of the production of electric locomotives.
Deliveries
Construction
Available
Driver's cab
The driver's cab can accommodate two drivers. Each cab is equipped with two independent panels that display the drive parameters, a diagnostics module and event recorder with a speedometer function, a two-module climate control system and rear-view mirrors with a monitor for four cameras. The cabin is in accordance with the EN 1527 standard.
== References == | Commons category | {
"answer_start": [
0
],
"text": [
"Newag Griffin"
]
} |
Bisra railway station is a railway station on the South Eastern Railway network in the state of Odisha, India. It serves Bisra village. Its code is BZR. It has two platforms. Passenger, Express trains halt at Bisra railway station.
Major Trains
Samaleshwari Express
Kalinga Utkal Express
References
See also
Sundergarh district | country | {
"answer_start": [
104
],
"text": [
"India"
]
} |
Bisra railway station is a railway station on the South Eastern Railway network in the state of Odisha, India. It serves Bisra village. Its code is BZR. It has two platforms. Passenger, Express trains halt at Bisra railway station.
Major Trains
Samaleshwari Express
Kalinga Utkal Express
References
See also
Sundergarh district | instance of | {
"answer_start": [
6
],
"text": [
"railway station"
]
} |
Bisra railway station is a railway station on the South Eastern Railway network in the state of Odisha, India. It serves Bisra village. Its code is BZR. It has two platforms. Passenger, Express trains halt at Bisra railway station.
Major Trains
Samaleshwari Express
Kalinga Utkal Express
References
See also
Sundergarh district | Indian Railways station code | {
"answer_start": [
148
],
"text": [
"BZR"
]
} |
The Ria Bridge is a rigid frame bridge with V-shaped legs and a box girder road bridge that crosses the Ria de Pontevedra in the city of Pontevedra, Spain. It is part of the AP-9 motorway and was opened in 1992.
Location
The bridge is located between the Mollavao neighbourhood in Pontevedra and the place called A Puntada (in the neighbouring municipality of Poio). It is located in the western part of the city, which opens onto the sea, in the estuary formed by the mouth of the Lérez river in the ria de Pontevedra.
History
Work on the bridge began on 21 December 1989 for the AP-9 motorway and as part of the city's western bypass.It was designed by the engineers Leonardo Fernández Troyano, Javier Manterola Armisén and Amando López Padilla. Construction began with the central pier (the bridge's reference pier) and a construction method based on cantilever construction using temporary cable-stays. The bridge was inaugurated on 25 March 1992.The construction and opening of the bridge was controversial because of its impact on the landscape and the significant change in the city's views to the sea. The name "Ria Bridge" was given to it by Audasa, the concessionary company of the AP-9 motorway.
Description
It is a 700-metre long bridge with two independent carriageways, made of prestressed concrete for the deck and reinforced concrete for the piers and abutments.It is a motorway bridge with twin V-shaped piers as the only intermediate support in its central part, whose foundations lie in the centre of the bed of the Ria de Pontevedra. It is divided into three different sections. The intermediate section has two main spans of 120 m in length with a box girder of variable depth. A seagull solution was adopted for the shape of the deck: it has a maximum flange on the central pier, which decreases towards the side piers of the 120-metre spans, reaching the minimum flange near them. The side spans of the bridge are 40 m long with a constant depth box girder. The spans at both ends of the bridge form the bridge access viaducts. The piers of the southern section of the viaduct pass over a small section of the Pontevedra seafront promenade.
The Ría bridge is toll-free and serves as a western bypass between the north and south of the city of Pontevedra, in the section between the O Pino neighbourhood and the fire station. Around 50,000 vehicles cross the bridge every day.
Gallery
References
See also
Bibliography
Leonardo Fernández Troyano; Javier Manterola Armisén; Amando López Padilla (1995). "Puente sobre la Ría de Pontevedra en la autopista del Atlántico". Hormigón y acero (in Spanish). 46 (196): 9-14. ISSN 0439-5689.
Related articles
Barca Bridge
Currents Bridge
Burgo Bridge
Santiago Bridge
Tirantes Bridge
External links
Ponte da Ria on the website Structurae | country | {
"answer_start": [
149
],
"text": [
"Spain"
]
} |
The Ria Bridge is a rigid frame bridge with V-shaped legs and a box girder road bridge that crosses the Ria de Pontevedra in the city of Pontevedra, Spain. It is part of the AP-9 motorway and was opened in 1992.
Location
The bridge is located between the Mollavao neighbourhood in Pontevedra and the place called A Puntada (in the neighbouring municipality of Poio). It is located in the western part of the city, which opens onto the sea, in the estuary formed by the mouth of the Lérez river in the ria de Pontevedra.
History
Work on the bridge began on 21 December 1989 for the AP-9 motorway and as part of the city's western bypass.It was designed by the engineers Leonardo Fernández Troyano, Javier Manterola Armisén and Amando López Padilla. Construction began with the central pier (the bridge's reference pier) and a construction method based on cantilever construction using temporary cable-stays. The bridge was inaugurated on 25 March 1992.The construction and opening of the bridge was controversial because of its impact on the landscape and the significant change in the city's views to the sea. The name "Ria Bridge" was given to it by Audasa, the concessionary company of the AP-9 motorway.
Description
It is a 700-metre long bridge with two independent carriageways, made of prestressed concrete for the deck and reinforced concrete for the piers and abutments.It is a motorway bridge with twin V-shaped piers as the only intermediate support in its central part, whose foundations lie in the centre of the bed of the Ria de Pontevedra. It is divided into three different sections. The intermediate section has two main spans of 120 m in length with a box girder of variable depth. A seagull solution was adopted for the shape of the deck: it has a maximum flange on the central pier, which decreases towards the side piers of the 120-metre spans, reaching the minimum flange near them. The side spans of the bridge are 40 m long with a constant depth box girder. The spans at both ends of the bridge form the bridge access viaducts. The piers of the southern section of the viaduct pass over a small section of the Pontevedra seafront promenade.
The Ría bridge is toll-free and serves as a western bypass between the north and south of the city of Pontevedra, in the section between the O Pino neighbourhood and the fire station. Around 50,000 vehicles cross the bridge every day.
Gallery
References
See also
Bibliography
Leonardo Fernández Troyano; Javier Manterola Armisén; Amando López Padilla (1995). "Puente sobre la Ría de Pontevedra en la autopista del Atlántico". Hormigón y acero (in Spanish). 46 (196): 9-14. ISSN 0439-5689.
Related articles
Barca Bridge
Currents Bridge
Burgo Bridge
Santiago Bridge
Tirantes Bridge
External links
Ponte da Ria on the website Structurae | located in the administrative territorial entity | {
"answer_start": [
111
],
"text": [
"Pontevedra"
]
} |
The Ria Bridge is a rigid frame bridge with V-shaped legs and a box girder road bridge that crosses the Ria de Pontevedra in the city of Pontevedra, Spain. It is part of the AP-9 motorway and was opened in 1992.
Location
The bridge is located between the Mollavao neighbourhood in Pontevedra and the place called A Puntada (in the neighbouring municipality of Poio). It is located in the western part of the city, which opens onto the sea, in the estuary formed by the mouth of the Lérez river in the ria de Pontevedra.
History
Work on the bridge began on 21 December 1989 for the AP-9 motorway and as part of the city's western bypass.It was designed by the engineers Leonardo Fernández Troyano, Javier Manterola Armisén and Amando López Padilla. Construction began with the central pier (the bridge's reference pier) and a construction method based on cantilever construction using temporary cable-stays. The bridge was inaugurated on 25 March 1992.The construction and opening of the bridge was controversial because of its impact on the landscape and the significant change in the city's views to the sea. The name "Ria Bridge" was given to it by Audasa, the concessionary company of the AP-9 motorway.
Description
It is a 700-metre long bridge with two independent carriageways, made of prestressed concrete for the deck and reinforced concrete for the piers and abutments.It is a motorway bridge with twin V-shaped piers as the only intermediate support in its central part, whose foundations lie in the centre of the bed of the Ria de Pontevedra. It is divided into three different sections. The intermediate section has two main spans of 120 m in length with a box girder of variable depth. A seagull solution was adopted for the shape of the deck: it has a maximum flange on the central pier, which decreases towards the side piers of the 120-metre spans, reaching the minimum flange near them. The side spans of the bridge are 40 m long with a constant depth box girder. The spans at both ends of the bridge form the bridge access viaducts. The piers of the southern section of the viaduct pass over a small section of the Pontevedra seafront promenade.
The Ría bridge is toll-free and serves as a western bypass between the north and south of the city of Pontevedra, in the section between the O Pino neighbourhood and the fire station. Around 50,000 vehicles cross the bridge every day.
Gallery
References
See also
Bibliography
Leonardo Fernández Troyano; Javier Manterola Armisén; Amando López Padilla (1995). "Puente sobre la Ría de Pontevedra en la autopista del Atlántico". Hormigón y acero (in Spanish). 46 (196): 9-14. ISSN 0439-5689.
Related articles
Barca Bridge
Currents Bridge
Burgo Bridge
Santiago Bridge
Tirantes Bridge
External links
Ponte da Ria on the website Structurae | crosses | {
"answer_start": [
2544
],
"text": [
"Ría de Pontevedra"
]
} |
The Ria Bridge is a rigid frame bridge with V-shaped legs and a box girder road bridge that crosses the Ria de Pontevedra in the city of Pontevedra, Spain. It is part of the AP-9 motorway and was opened in 1992.
Location
The bridge is located between the Mollavao neighbourhood in Pontevedra and the place called A Puntada (in the neighbouring municipality of Poio). It is located in the western part of the city, which opens onto the sea, in the estuary formed by the mouth of the Lérez river in the ria de Pontevedra.
History
Work on the bridge began on 21 December 1989 for the AP-9 motorway and as part of the city's western bypass.It was designed by the engineers Leonardo Fernández Troyano, Javier Manterola Armisén and Amando López Padilla. Construction began with the central pier (the bridge's reference pier) and a construction method based on cantilever construction using temporary cable-stays. The bridge was inaugurated on 25 March 1992.The construction and opening of the bridge was controversial because of its impact on the landscape and the significant change in the city's views to the sea. The name "Ria Bridge" was given to it by Audasa, the concessionary company of the AP-9 motorway.
Description
It is a 700-metre long bridge with two independent carriageways, made of prestressed concrete for the deck and reinforced concrete for the piers and abutments.It is a motorway bridge with twin V-shaped piers as the only intermediate support in its central part, whose foundations lie in the centre of the bed of the Ria de Pontevedra. It is divided into three different sections. The intermediate section has two main spans of 120 m in length with a box girder of variable depth. A seagull solution was adopted for the shape of the deck: it has a maximum flange on the central pier, which decreases towards the side piers of the 120-metre spans, reaching the minimum flange near them. The side spans of the bridge are 40 m long with a constant depth box girder. The spans at both ends of the bridge form the bridge access viaducts. The piers of the southern section of the viaduct pass over a small section of the Pontevedra seafront promenade.
The Ría bridge is toll-free and serves as a western bypass between the north and south of the city of Pontevedra, in the section between the O Pino neighbourhood and the fire station. Around 50,000 vehicles cross the bridge every day.
Gallery
References
See also
Bibliography
Leonardo Fernández Troyano; Javier Manterola Armisén; Amando López Padilla (1995). "Puente sobre la Ría de Pontevedra en la autopista del Atlántico". Hormigón y acero (in Spanish). 46 (196): 9-14. ISSN 0439-5689.
Related articles
Barca Bridge
Currents Bridge
Burgo Bridge
Santiago Bridge
Tirantes Bridge
External links
Ponte da Ria on the website Structurae | made from material | {
"answer_start": [
1333
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"text": [
"reinforced concrete"
]
} |
The Ria Bridge is a rigid frame bridge with V-shaped legs and a box girder road bridge that crosses the Ria de Pontevedra in the city of Pontevedra, Spain. It is part of the AP-9 motorway and was opened in 1992.
Location
The bridge is located between the Mollavao neighbourhood in Pontevedra and the place called A Puntada (in the neighbouring municipality of Poio). It is located in the western part of the city, which opens onto the sea, in the estuary formed by the mouth of the Lérez river in the ria de Pontevedra.
History
Work on the bridge began on 21 December 1989 for the AP-9 motorway and as part of the city's western bypass.It was designed by the engineers Leonardo Fernández Troyano, Javier Manterola Armisén and Amando López Padilla. Construction began with the central pier (the bridge's reference pier) and a construction method based on cantilever construction using temporary cable-stays. The bridge was inaugurated on 25 March 1992.The construction and opening of the bridge was controversial because of its impact on the landscape and the significant change in the city's views to the sea. The name "Ria Bridge" was given to it by Audasa, the concessionary company of the AP-9 motorway.
Description
It is a 700-metre long bridge with two independent carriageways, made of prestressed concrete for the deck and reinforced concrete for the piers and abutments.It is a motorway bridge with twin V-shaped piers as the only intermediate support in its central part, whose foundations lie in the centre of the bed of the Ria de Pontevedra. It is divided into three different sections. The intermediate section has two main spans of 120 m in length with a box girder of variable depth. A seagull solution was adopted for the shape of the deck: it has a maximum flange on the central pier, which decreases towards the side piers of the 120-metre spans, reaching the minimum flange near them. The side spans of the bridge are 40 m long with a constant depth box girder. The spans at both ends of the bridge form the bridge access viaducts. The piers of the southern section of the viaduct pass over a small section of the Pontevedra seafront promenade.
The Ría bridge is toll-free and serves as a western bypass between the north and south of the city of Pontevedra, in the section between the O Pino neighbourhood and the fire station. Around 50,000 vehicles cross the bridge every day.
Gallery
References
See also
Bibliography
Leonardo Fernández Troyano; Javier Manterola Armisén; Amando López Padilla (1995). "Puente sobre la Ría de Pontevedra en la autopista del Atlántico". Hormigón y acero (in Spanish). 46 (196): 9-14. ISSN 0439-5689.
Related articles
Barca Bridge
Currents Bridge
Burgo Bridge
Santiago Bridge
Tirantes Bridge
External links
Ponte da Ria on the website Structurae | location | {
"answer_start": [
111
],
"text": [
"Pontevedra"
]
} |
The Ria Bridge is a rigid frame bridge with V-shaped legs and a box girder road bridge that crosses the Ria de Pontevedra in the city of Pontevedra, Spain. It is part of the AP-9 motorway and was opened in 1992.
Location
The bridge is located between the Mollavao neighbourhood in Pontevedra and the place called A Puntada (in the neighbouring municipality of Poio). It is located in the western part of the city, which opens onto the sea, in the estuary formed by the mouth of the Lérez river in the ria de Pontevedra.
History
Work on the bridge began on 21 December 1989 for the AP-9 motorway and as part of the city's western bypass.It was designed by the engineers Leonardo Fernández Troyano, Javier Manterola Armisén and Amando López Padilla. Construction began with the central pier (the bridge's reference pier) and a construction method based on cantilever construction using temporary cable-stays. The bridge was inaugurated on 25 March 1992.The construction and opening of the bridge was controversial because of its impact on the landscape and the significant change in the city's views to the sea. The name "Ria Bridge" was given to it by Audasa, the concessionary company of the AP-9 motorway.
Description
It is a 700-metre long bridge with two independent carriageways, made of prestressed concrete for the deck and reinforced concrete for the piers and abutments.It is a motorway bridge with twin V-shaped piers as the only intermediate support in its central part, whose foundations lie in the centre of the bed of the Ria de Pontevedra. It is divided into three different sections. The intermediate section has two main spans of 120 m in length with a box girder of variable depth. A seagull solution was adopted for the shape of the deck: it has a maximum flange on the central pier, which decreases towards the side piers of the 120-metre spans, reaching the minimum flange near them. The side spans of the bridge are 40 m long with a constant depth box girder. The spans at both ends of the bridge form the bridge access viaducts. The piers of the southern section of the viaduct pass over a small section of the Pontevedra seafront promenade.
The Ría bridge is toll-free and serves as a western bypass between the north and south of the city of Pontevedra, in the section between the O Pino neighbourhood and the fire station. Around 50,000 vehicles cross the bridge every day.
Gallery
References
See also
Bibliography
Leonardo Fernández Troyano; Javier Manterola Armisén; Amando López Padilla (1995). "Puente sobre la Ría de Pontevedra en la autopista del Atlántico". Hormigón y acero (in Spanish). 46 (196): 9-14. ISSN 0439-5689.
Related articles
Barca Bridge
Currents Bridge
Burgo Bridge
Santiago Bridge
Tirantes Bridge
External links
Ponte da Ria on the website Structurae | structural engineer | {
"answer_start": [
699
],
"text": [
"Javier Manterola"
]
} |
The Ria Bridge is a rigid frame bridge with V-shaped legs and a box girder road bridge that crosses the Ria de Pontevedra in the city of Pontevedra, Spain. It is part of the AP-9 motorway and was opened in 1992.
Location
The bridge is located between the Mollavao neighbourhood in Pontevedra and the place called A Puntada (in the neighbouring municipality of Poio). It is located in the western part of the city, which opens onto the sea, in the estuary formed by the mouth of the Lérez river in the ria de Pontevedra.
History
Work on the bridge began on 21 December 1989 for the AP-9 motorway and as part of the city's western bypass.It was designed by the engineers Leonardo Fernández Troyano, Javier Manterola Armisén and Amando López Padilla. Construction began with the central pier (the bridge's reference pier) and a construction method based on cantilever construction using temporary cable-stays. The bridge was inaugurated on 25 March 1992.The construction and opening of the bridge was controversial because of its impact on the landscape and the significant change in the city's views to the sea. The name "Ria Bridge" was given to it by Audasa, the concessionary company of the AP-9 motorway.
Description
It is a 700-metre long bridge with two independent carriageways, made of prestressed concrete for the deck and reinforced concrete for the piers and abutments.It is a motorway bridge with twin V-shaped piers as the only intermediate support in its central part, whose foundations lie in the centre of the bed of the Ria de Pontevedra. It is divided into three different sections. The intermediate section has two main spans of 120 m in length with a box girder of variable depth. A seagull solution was adopted for the shape of the deck: it has a maximum flange on the central pier, which decreases towards the side piers of the 120-metre spans, reaching the minimum flange near them. The side spans of the bridge are 40 m long with a constant depth box girder. The spans at both ends of the bridge form the bridge access viaducts. The piers of the southern section of the viaduct pass over a small section of the Pontevedra seafront promenade.
The Ría bridge is toll-free and serves as a western bypass between the north and south of the city of Pontevedra, in the section between the O Pino neighbourhood and the fire station. Around 50,000 vehicles cross the bridge every day.
Gallery
References
See also
Bibliography
Leonardo Fernández Troyano; Javier Manterola Armisén; Amando López Padilla (1995). "Puente sobre la Ría de Pontevedra en la autopista del Atlántico". Hormigón y acero (in Spanish). 46 (196): 9-14. ISSN 0439-5689.
Related articles
Barca Bridge
Currents Bridge
Burgo Bridge
Santiago Bridge
Tirantes Bridge
External links
Ponte da Ria on the website Structurae | significant event | {
"answer_start": [
827
],
"text": [
"construction"
]
} |
The Ria Bridge is a rigid frame bridge with V-shaped legs and a box girder road bridge that crosses the Ria de Pontevedra in the city of Pontevedra, Spain. It is part of the AP-9 motorway and was opened in 1992.
Location
The bridge is located between the Mollavao neighbourhood in Pontevedra and the place called A Puntada (in the neighbouring municipality of Poio). It is located in the western part of the city, which opens onto the sea, in the estuary formed by the mouth of the Lérez river in the ria de Pontevedra.
History
Work on the bridge began on 21 December 1989 for the AP-9 motorway and as part of the city's western bypass.It was designed by the engineers Leonardo Fernández Troyano, Javier Manterola Armisén and Amando López Padilla. Construction began with the central pier (the bridge's reference pier) and a construction method based on cantilever construction using temporary cable-stays. The bridge was inaugurated on 25 March 1992.The construction and opening of the bridge was controversial because of its impact on the landscape and the significant change in the city's views to the sea. The name "Ria Bridge" was given to it by Audasa, the concessionary company of the AP-9 motorway.
Description
It is a 700-metre long bridge with two independent carriageways, made of prestressed concrete for the deck and reinforced concrete for the piers and abutments.It is a motorway bridge with twin V-shaped piers as the only intermediate support in its central part, whose foundations lie in the centre of the bed of the Ria de Pontevedra. It is divided into three different sections. The intermediate section has two main spans of 120 m in length with a box girder of variable depth. A seagull solution was adopted for the shape of the deck: it has a maximum flange on the central pier, which decreases towards the side piers of the 120-metre spans, reaching the minimum flange near them. The side spans of the bridge are 40 m long with a constant depth box girder. The spans at both ends of the bridge form the bridge access viaducts. The piers of the southern section of the viaduct pass over a small section of the Pontevedra seafront promenade.
The Ría bridge is toll-free and serves as a western bypass between the north and south of the city of Pontevedra, in the section between the O Pino neighbourhood and the fire station. Around 50,000 vehicles cross the bridge every day.
Gallery
References
See also
Bibliography
Leonardo Fernández Troyano; Javier Manterola Armisén; Amando López Padilla (1995). "Puente sobre la Ría de Pontevedra en la autopista del Atlántico". Hormigón y acero (in Spanish). 46 (196): 9-14. ISSN 0439-5689.
Related articles
Barca Bridge
Currents Bridge
Burgo Bridge
Santiago Bridge
Tirantes Bridge
External links
Ponte da Ria on the website Structurae | length | {
"answer_start": [
1230
],
"text": [
"700"
]
} |
The Ria Bridge is a rigid frame bridge with V-shaped legs and a box girder road bridge that crosses the Ria de Pontevedra in the city of Pontevedra, Spain. It is part of the AP-9 motorway and was opened in 1992.
Location
The bridge is located between the Mollavao neighbourhood in Pontevedra and the place called A Puntada (in the neighbouring municipality of Poio). It is located in the western part of the city, which opens onto the sea, in the estuary formed by the mouth of the Lérez river in the ria de Pontevedra.
History
Work on the bridge began on 21 December 1989 for the AP-9 motorway and as part of the city's western bypass.It was designed by the engineers Leonardo Fernández Troyano, Javier Manterola Armisén and Amando López Padilla. Construction began with the central pier (the bridge's reference pier) and a construction method based on cantilever construction using temporary cable-stays. The bridge was inaugurated on 25 March 1992.The construction and opening of the bridge was controversial because of its impact on the landscape and the significant change in the city's views to the sea. The name "Ria Bridge" was given to it by Audasa, the concessionary company of the AP-9 motorway.
Description
It is a 700-metre long bridge with two independent carriageways, made of prestressed concrete for the deck and reinforced concrete for the piers and abutments.It is a motorway bridge with twin V-shaped piers as the only intermediate support in its central part, whose foundations lie in the centre of the bed of the Ria de Pontevedra. It is divided into three different sections. The intermediate section has two main spans of 120 m in length with a box girder of variable depth. A seagull solution was adopted for the shape of the deck: it has a maximum flange on the central pier, which decreases towards the side piers of the 120-metre spans, reaching the minimum flange near them. The side spans of the bridge are 40 m long with a constant depth box girder. The spans at both ends of the bridge form the bridge access viaducts. The piers of the southern section of the viaduct pass over a small section of the Pontevedra seafront promenade.
The Ría bridge is toll-free and serves as a western bypass between the north and south of the city of Pontevedra, in the section between the O Pino neighbourhood and the fire station. Around 50,000 vehicles cross the bridge every day.
Gallery
References
See also
Bibliography
Leonardo Fernández Troyano; Javier Manterola Armisén; Amando López Padilla (1995). "Puente sobre la Ría de Pontevedra en la autopista del Atlántico". Hormigón y acero (in Spanish). 46 (196): 9-14. ISSN 0439-5689.
Related articles
Barca Bridge
Currents Bridge
Burgo Bridge
Santiago Bridge
Tirantes Bridge
External links
Ponte da Ria on the website Structurae | width | {
"answer_start": [
939
],
"text": [
"25"
]
} |
Carmichaelia appressa (common name prostrate broom) is a species of pea in the family Fabaceae. It is found only in the South Island of New Zealand. Its conservation status (2018) is "At Risk - Naturally Uncommon" under the New Zealand Threat Classification System.
Description
Carmichaelia appressa is a "spreading, closely-branched plant... forming more or less circular mats to 2 m. diameter" which are closely pressed to the ground. It flowers in summer.
Taxonomy
The species was first described by George Simpson in 1945. A lectotype, CHR_45580_A was collected by Simpson in 1938, in February from Ellesmere Spit, Canterbury.
Habitat
Its habitat is "shingle beaches close to the sea".
References
External links
Carmichaelia appressa occurrence data from Australasian Virtual Herbarium
Media related to Carmichaelia appressa at Wikimedia Commons | taxon rank | {
"answer_start": [
58
],
"text": [
"species"
]
} |
Carmichaelia appressa (common name prostrate broom) is a species of pea in the family Fabaceae. It is found only in the South Island of New Zealand. Its conservation status (2018) is "At Risk - Naturally Uncommon" under the New Zealand Threat Classification System.
Description
Carmichaelia appressa is a "spreading, closely-branched plant... forming more or less circular mats to 2 m. diameter" which are closely pressed to the ground. It flowers in summer.
Taxonomy
The species was first described by George Simpson in 1945. A lectotype, CHR_45580_A was collected by Simpson in 1938, in February from Ellesmere Spit, Canterbury.
Habitat
Its habitat is "shingle beaches close to the sea".
References
External links
Carmichaelia appressa occurrence data from Australasian Virtual Herbarium
Media related to Carmichaelia appressa at Wikimedia Commons | parent taxon | {
"answer_start": [
0
],
"text": [
"Carmichaelia"
]
} |
Carmichaelia appressa (common name prostrate broom) is a species of pea in the family Fabaceae. It is found only in the South Island of New Zealand. Its conservation status (2018) is "At Risk - Naturally Uncommon" under the New Zealand Threat Classification System.
Description
Carmichaelia appressa is a "spreading, closely-branched plant... forming more or less circular mats to 2 m. diameter" which are closely pressed to the ground. It flowers in summer.
Taxonomy
The species was first described by George Simpson in 1945. A lectotype, CHR_45580_A was collected by Simpson in 1938, in February from Ellesmere Spit, Canterbury.
Habitat
Its habitat is "shingle beaches close to the sea".
References
External links
Carmichaelia appressa occurrence data from Australasian Virtual Herbarium
Media related to Carmichaelia appressa at Wikimedia Commons | endemic to | {
"answer_start": [
137
],
"text": [
"New Zealand"
]
} |
Carmichaelia appressa (common name prostrate broom) is a species of pea in the family Fabaceae. It is found only in the South Island of New Zealand. Its conservation status (2018) is "At Risk - Naturally Uncommon" under the New Zealand Threat Classification System.
Description
Carmichaelia appressa is a "spreading, closely-branched plant... forming more or less circular mats to 2 m. diameter" which are closely pressed to the ground. It flowers in summer.
Taxonomy
The species was first described by George Simpson in 1945. A lectotype, CHR_45580_A was collected by Simpson in 1938, in February from Ellesmere Spit, Canterbury.
Habitat
Its habitat is "shingle beaches close to the sea".
References
External links
Carmichaelia appressa occurrence data from Australasian Virtual Herbarium
Media related to Carmichaelia appressa at Wikimedia Commons | taxon name | {
"answer_start": [
0
],
"text": [
"Carmichaelia appressa"
]
} |
Carmichaelia appressa (common name prostrate broom) is a species of pea in the family Fabaceae. It is found only in the South Island of New Zealand. Its conservation status (2018) is "At Risk - Naturally Uncommon" under the New Zealand Threat Classification System.
Description
Carmichaelia appressa is a "spreading, closely-branched plant... forming more or less circular mats to 2 m. diameter" which are closely pressed to the ground. It flowers in summer.
Taxonomy
The species was first described by George Simpson in 1945. A lectotype, CHR_45580_A was collected by Simpson in 1938, in February from Ellesmere Spit, Canterbury.
Habitat
Its habitat is "shingle beaches close to the sea".
References
External links
Carmichaelia appressa occurrence data from Australasian Virtual Herbarium
Media related to Carmichaelia appressa at Wikimedia Commons | Commons category | {
"answer_start": [
0
],
"text": [
"Carmichaelia appressa"
]
} |
Sudha Patel (born 1976) is India’s youngest elected blind female sarpanch. She was elected in June 1995 as the sarpanch of Changa village in Anand district, Gujarat. Patel is the recipient of the prestigious Ten Outstanding Young Persons of World (1997) award, Outstanding Woman Panchayat Leader of India award, and was awarded the Jagdish K Patel Award by the President of India.
Early life
Patel was born in a farming family in Changa village of Petlad taluka in Gujarat’s Anand district, about 120 km from Ahmedabad. Her father was previously the village sarpanch; both she and her sister have been visually-impaired since birth. She reveals that she is alive today only because a good harvest the year she was born that prevented her parents from infanticide as some villagers thought her to be lucky as Lakshmi, the goddess of wealth.Patel is the first blind post-graduate in law from the Sardar Patel University in Anand, Gujarat, India. Due to her gender and her disability, she turned heads when she expressed her desire to become the sarpanch, but won elections to become the first woman sarpanch of her village.
Career
Apart from being sarpanch, Patel now works as a project coordinator in a private trust in Anand that works to help children with physical disabilities. She was the honorary general secretary of the Anand branch of the National Association for the Blind and is a member of the Ahmedabad-based Blind People’s Association.As sarpanch, Sudha has focused on infrastructural development, by building borewells and water pumps to tackle water scarcity, and public hospitals conference halls etc. Education has been another priority; several computer-equipped schools for children of workers have been opened during her tenure as sarpanch. Patel has also been instrumental in generating income for the village by renting out lakes to companies. She also started family planning programmes, and mobilised over Indian Rupees 1 million for the development projects she runs.Patel also runs many programmes for people with disabilities. She has conducted rehabilitation projects in around 85 villages of Petlad taluka, registering around 800 disabled people. Her door-to-door rehabilitation project for blind people and people with mental disabilities has trained parents, children and adults with an educational and rehabilitative approach. She has also taught disabled students under a state-sponsored programme for inclusive education and has admitted over 80 blind children in schools. Patel’s work in arranging for writers to assist visually disabled students in writing the annual SSC and HSC exams is widely acclaimed.Patel, who has made village fitness a personal aim, also teaches yoga to the people of her panchayat.
Recognition
Patel has received national and international recognition for her work. On November 18, 1997, she became the youngest person to win the Young Person of the World, Junior Chamber International Award. That year she also received the Outstanding Young Person of the Nation Award conferred by Junior Chamber International, presented to her by the President of the Philippines. She is a recipient of the Outstanding Woman Panchayat Leader Award from the Institute of Social Sciences, New Delhi, and the Neelam Ranga National Award from the National Association for the Blind.
References
External links
Interview on Doordarshan National in 2014: https://www.youtube.com/watch?v=oyCrbtqde7U
Featured as #SheInspiresUs by Government of India in 2020: https://twitter.com/DDNational/status/1235814033577480192 | sex or gender | {
"answer_start": [
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"text": [
"female"
]
} |
Onyalai (Pronunciation: ō′nē-al′ā-ē) is a form of thrombocytopenia that affects some of the population in areas of central Africa. Onyalai exhibits similarities to idiopathic thrombocytopenic purpura (ITP) but differs in pathogenesis. The affected age range is from less than a year to 70 years and seems to not be gender-specific in the same manner as ITP. Cases generally peak between 11 and 20 years old. Although the cause of onyalai is not known at this time, inadequate nutrition and/or the consumption of tainted food are suspected.
Signs and symptoms
Onyalai is an acute disease that results in the development of hematoma on oral mucous membranes. Hemorrhagic lesions may develop on the skin, including on the soles of the feet. The patient does not initially appear to be in distress, which may result in a delay of diagnosis. As the disease progresses, hematuria and melena will develop. Epistaxis, petechiae and ecchymoses are common symptoms, as are subconjunctival bleeding and menorrhagia. On average, bleeding will persist for approximately eight days, and may reoccur. Approximately 80 percent of cases will exhibit chronic thrombocytopenia. Periodic episodes of acute hemorrhage are also possible and may be severe, possibly leading to shock and death.
Diagnosis
Treatment
== References == | subclass of | {
"answer_start": [
50
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"text": [
"thrombocytopenia"
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} |
Onyalai (Pronunciation: ō′nē-al′ā-ē) is a form of thrombocytopenia that affects some of the population in areas of central Africa. Onyalai exhibits similarities to idiopathic thrombocytopenic purpura (ITP) but differs in pathogenesis. The affected age range is from less than a year to 70 years and seems to not be gender-specific in the same manner as ITP. Cases generally peak between 11 and 20 years old. Although the cause of onyalai is not known at this time, inadequate nutrition and/or the consumption of tainted food are suspected.
Signs and symptoms
Onyalai is an acute disease that results in the development of hematoma on oral mucous membranes. Hemorrhagic lesions may develop on the skin, including on the soles of the feet. The patient does not initially appear to be in distress, which may result in a delay of diagnosis. As the disease progresses, hematuria and melena will develop. Epistaxis, petechiae and ecchymoses are common symptoms, as are subconjunctival bleeding and menorrhagia. On average, bleeding will persist for approximately eight days, and may reoccur. Approximately 80 percent of cases will exhibit chronic thrombocytopenia. Periodic episodes of acute hemorrhage are also possible and may be severe, possibly leading to shock and death.
Diagnosis
Treatment
== References == | title | {
"answer_start": [
0
],
"text": [
"Onyalai"
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Chalkyitsik Airport (IATA: CIK, ICAO: PACI, FAA LID: CIK) is a state-owned public-use airport serving Chalkyitsik, in the Yukon-Koyukuk Census Area of the U.S. state of Alaska.
Facilities and aircraft
Chalkyitsik Airport has one runway designated 3/21 with a gravel surface measuring is 4,000 by 90 feet (1,219 x 27 m). For the 12-month period ending December 31, 2005, the airport had 650 aircraft operations, an average of 54 per month: 77% air taxi and 23% general aviation.
Airlines and destinations
Statistics
References
External links
FAA Alaska airport diagram (GIF)
FAA Terminal Procedures for CIK, effective May 18, 2023
Resources for this airport:
FAA airport information for CIK
AirNav airport information for PACI
ASN accident history for CIK
FlightAware airport information and live flight tracker
SkyVector aeronautical chart for PACI | instance of | {
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86
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Chalkyitsik Airport (IATA: CIK, ICAO: PACI, FAA LID: CIK) is a state-owned public-use airport serving Chalkyitsik, in the Yukon-Koyukuk Census Area of the U.S. state of Alaska.
Facilities and aircraft
Chalkyitsik Airport has one runway designated 3/21 with a gravel surface measuring is 4,000 by 90 feet (1,219 x 27 m). For the 12-month period ending December 31, 2005, the airport had 650 aircraft operations, an average of 54 per month: 77% air taxi and 23% general aviation.
Airlines and destinations
Statistics
References
External links
FAA Alaska airport diagram (GIF)
FAA Terminal Procedures for CIK, effective May 18, 2023
Resources for this airport:
FAA airport information for CIK
AirNav airport information for PACI
ASN accident history for CIK
FlightAware airport information and live flight tracker
SkyVector aeronautical chart for PACI | located in the administrative territorial entity | {
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Chalkyitsik Airport (IATA: CIK, ICAO: PACI, FAA LID: CIK) is a state-owned public-use airport serving Chalkyitsik, in the Yukon-Koyukuk Census Area of the U.S. state of Alaska.
Facilities and aircraft
Chalkyitsik Airport has one runway designated 3/21 with a gravel surface measuring is 4,000 by 90 feet (1,219 x 27 m). For the 12-month period ending December 31, 2005, the airport had 650 aircraft operations, an average of 54 per month: 77% air taxi and 23% general aviation.
Airlines and destinations
Statistics
References
External links
FAA Alaska airport diagram (GIF)
FAA Terminal Procedures for CIK, effective May 18, 2023
Resources for this airport:
FAA airport information for CIK
AirNav airport information for PACI
ASN accident history for CIK
FlightAware airport information and live flight tracker
SkyVector aeronautical chart for PACI | named after | {
"answer_start": [
0
],
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Chalkyitsik Airport (IATA: CIK, ICAO: PACI, FAA LID: CIK) is a state-owned public-use airport serving Chalkyitsik, in the Yukon-Koyukuk Census Area of the U.S. state of Alaska.
Facilities and aircraft
Chalkyitsik Airport has one runway designated 3/21 with a gravel surface measuring is 4,000 by 90 feet (1,219 x 27 m). For the 12-month period ending December 31, 2005, the airport had 650 aircraft operations, an average of 54 per month: 77% air taxi and 23% general aviation.
Airlines and destinations
Statistics
References
External links
FAA Alaska airport diagram (GIF)
FAA Terminal Procedures for CIK, effective May 18, 2023
Resources for this airport:
FAA airport information for CIK
AirNav airport information for PACI
ASN accident history for CIK
FlightAware airport information and live flight tracker
SkyVector aeronautical chart for PACI | IATA airport code | {
"answer_start": [
27
],
"text": [
"CIK"
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} |
Chalkyitsik Airport (IATA: CIK, ICAO: PACI, FAA LID: CIK) is a state-owned public-use airport serving Chalkyitsik, in the Yukon-Koyukuk Census Area of the U.S. state of Alaska.
Facilities and aircraft
Chalkyitsik Airport has one runway designated 3/21 with a gravel surface measuring is 4,000 by 90 feet (1,219 x 27 m). For the 12-month period ending December 31, 2005, the airport had 650 aircraft operations, an average of 54 per month: 77% air taxi and 23% general aviation.
Airlines and destinations
Statistics
References
External links
FAA Alaska airport diagram (GIF)
FAA Terminal Procedures for CIK, effective May 18, 2023
Resources for this airport:
FAA airport information for CIK
AirNav airport information for PACI
ASN accident history for CIK
FlightAware airport information and live flight tracker
SkyVector aeronautical chart for PACI | ICAO airport code | {
"answer_start": [
38
],
"text": [
"PACI"
]
} |
Chalkyitsik Airport (IATA: CIK, ICAO: PACI, FAA LID: CIK) is a state-owned public-use airport serving Chalkyitsik, in the Yukon-Koyukuk Census Area of the U.S. state of Alaska.
Facilities and aircraft
Chalkyitsik Airport has one runway designated 3/21 with a gravel surface measuring is 4,000 by 90 feet (1,219 x 27 m). For the 12-month period ending December 31, 2005, the airport had 650 aircraft operations, an average of 54 per month: 77% air taxi and 23% general aviation.
Airlines and destinations
Statistics
References
External links
FAA Alaska airport diagram (GIF)
FAA Terminal Procedures for CIK, effective May 18, 2023
Resources for this airport:
FAA airport information for CIK
AirNav airport information for PACI
ASN accident history for CIK
FlightAware airport information and live flight tracker
SkyVector aeronautical chart for PACI | FAA airport code | {
"answer_start": [
27
],
"text": [
"CIK"
]
} |
Chalkyitsik Airport (IATA: CIK, ICAO: PACI, FAA LID: CIK) is a state-owned public-use airport serving Chalkyitsik, in the Yukon-Koyukuk Census Area of the U.S. state of Alaska.
Facilities and aircraft
Chalkyitsik Airport has one runway designated 3/21 with a gravel surface measuring is 4,000 by 90 feet (1,219 x 27 m). For the 12-month period ending December 31, 2005, the airport had 650 aircraft operations, an average of 54 per month: 77% air taxi and 23% general aviation.
Airlines and destinations
Statistics
References
External links
FAA Alaska airport diagram (GIF)
FAA Terminal Procedures for CIK, effective May 18, 2023
Resources for this airport:
FAA airport information for CIK
AirNav airport information for PACI
ASN accident history for CIK
FlightAware airport information and live flight tracker
SkyVector aeronautical chart for PACI | place served by transport hub | {
"answer_start": [
0
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"text": [
"Chalkyitsik"
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} |
The SEABA Championship is a basketball tournament national teams organized by the Southeast Asia Basketball Association, a sub-zone of the FIBA Asia. It serves as a qualifier for the FIBA Asia Cup.
Summary
Medal table
Performance by teams
Teams that qualified to the FIBA Asia Championship are in boldface.
== External links == | sport | {
"answer_start": [
28
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"text": [
"basketball"
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The Herbert screw (invented by Timothy Herbert) is a variable pitch cannulated screw typically made from titanium for its biocompatible properties as the screw is normally intended to remain in the patient indefinitely. It became generally available in 1978. It is one of the earliest designs of headless compression screws which are used to achieve interfragmentary compression through its differential pitch between the threads at each end of the screw(distance between adjacent threads of screw).
It is used in scaphoid, capitellum, radial head and in osteochondral fractures. Other uses include osteochondritis dissecans & small joint arthrodesis.
== References == | volume | {
"answer_start": [
255
],
"text": [
"78"
]
} |
The Herbert screw (invented by Timothy Herbert) is a variable pitch cannulated screw typically made from titanium for its biocompatible properties as the screw is normally intended to remain in the patient indefinitely. It became generally available in 1978. It is one of the earliest designs of headless compression screws which are used to achieve interfragmentary compression through its differential pitch between the threads at each end of the screw(distance between adjacent threads of screw).
It is used in scaphoid, capitellum, radial head and in osteochondral fractures. Other uses include osteochondritis dissecans & small joint arthrodesis.
== References == | title | {
"answer_start": [
4
],
"text": [
"Herbert screw"
]
} |
Ujazd [ˈujast] (German Wilhelmshöhe) is a village in the administrative district of Gmina Bobolice, within Koszalin County, West Pomeranian Voivodeship, in north-western Poland. It lies approximately 9 kilometres (6 mi) west of Bobolice, 33 km (21 mi) south-east of Koszalin, and 136 km (85 mi) north-east of the regional capital Szczecin.
For the history of the region, see History of Pomerania.
The village has a population of 20.
== References == | country | {
"answer_start": [
170
],
"text": [
"Poland"
]
} |
Ujazd [ˈujast] (German Wilhelmshöhe) is a village in the administrative district of Gmina Bobolice, within Koszalin County, West Pomeranian Voivodeship, in north-western Poland. It lies approximately 9 kilometres (6 mi) west of Bobolice, 33 km (21 mi) south-east of Koszalin, and 136 km (85 mi) north-east of the regional capital Szczecin.
For the history of the region, see History of Pomerania.
The village has a population of 20.
== References == | located in the administrative territorial entity | {
"answer_start": [
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"text": [
"Gmina Bobolice"
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Vegoia (Etruscan: Vecu) is a sibyl, prophet, or nymph within the Etruscan religious framework who is identified as the author of parts of their large and complex set of sacred books, detailing the religiously correct methods of founding cities and shrines, draining fields, formulating laws and ordinances, measuring space and dividing time; she initiated the Etruscan people to the arts, as originating the rules and rituals of land marking, and as presiding over the observance, respect, and preservation of boundaries. Vegoia also is known as Vecu, Vecui, and Vecuvia, as well as Vegoe; her name is also given as Begoe or Bigois.
In the Etruscan religious framework
The Etruscan religious system remains mostly obscure. There being few bilingual documents comparable to the Rosetta stone that could facilitate translation, the Etruscan language is poorly understood. Therefore, the existing ancient Etruscan documents of the eighth, seventh, and sixth centuries BCE that would reveal their religious concepts, do not yield much. Moreover, during the later period of the fifth through the first centuries BCE, Etruscan civilization heavily absorbed elements of Greek civilization and eventually, it was diluted in the Greco-Roman cultural mix with their powerful Roman neighbors. Lastly, while the Etruscans formalized their religious concepts and practices in a series of "sacred books", most no longer exist and they are known only through commentaries or quotes by Roman authors of the late first century, and hence, may be biased.
Two mythological figures have been set by the Etruscans as presiding over the writing of their sacred books: Vegoia, the subject of this article, and Tages, a monstrous childlike figure gifted with the knowledge and prescience of an ancient sage. Those books are known from Latin authors under a classification pertaining to their content according to their mythological author (whether delivered through speeches or lectures, such as Tages, or inspiration).
The attributes of Vegoia
The figure of Vegoia is almost entirely blurred in the mists of the past. She is known mostly from the traditions of the Etruscan city of Chiusi (Latin: Clusium; Etruscan: Clevsin; Umbrian: Camars) (now in the province of Siena). The revelations of the prophetess Vegoia are designated as the Libri Vegoici that included the Libri Fulgurales and part of the Libri Rituales, especially the Libri Fatales.
She is barely designated as a "nymph" and as the author of the Libri Fulgurales, that give the keys to interpreting the meaning of lightning strokes sent by the deities using a cartography of the sky that, as a sort of property division and use assignment, is attributed to Vegoia.: 25 Her assignment of sectors of the horizon to various deities is paralleled in the microcosm that is interpreted using the liver of a sacrificed animal. The sacred divisions also seem to have a correspondence in the measurement and division of land that, since the very dawn of Etruscan history, obeyed religious rules.: 13 Her dictates taught the correct methods of measuring space.Vegoia also was depicted as lording over the observation of these rules, to be upheld under threat of dire woe or malediction.: 13 Thus, she was established as the power presiding over land property and land property rights, laws, and contracts (as distinct from commercial contract laws).
She also is indicated as having established the laws relative to hydraulic works,: 4 thus having a special relationship to "tamed" water.
Influence of Etruscan sacred books
This imposing system of "revealing" and "sacred texts" left a significant imprint on the neighboring italic peoples. There is ample evidence of the Etruscan culture having heavily permeated the less-advanced communities of their Latin and Sabine neighbours. For example, the Etruscan alphabet that was derived from the Greek one, is solidly established as having inspired the Latin alphabet. The principles and structural rules of the Etruscan decimal numeral system, likewise, are recognized as the origin of the Roman numerals that are a simplified version of the Etruscan system. Similarly derived are the symbols of supreme power (see Etruscan civilization), the structure of the Roman calendar, and the Etruscan Craeci is the source for the word "Greeks" (who self-identified as Hellenes), etc.
Relationship to Sibylline books
While the Roman religion has precious little written basis, they nonetheless had a very abstruse set of texts known as the Sibylline Books that were under the exclusive control of special religious figures, the duumviri (then decemviri). The books were resorted to solely in times of ultimate crisis. The devolution of these "sacred books" to the Romans through a rocambolesque scene, was attributed to an Etruscan, Tarquinius Superbus, the last of the legendary kings of Rome. Hence, their relationship to Vegoia.
Relationship to Egeria
Likewise, one may suspect that the legend of Egeria is related to Vegoia. Egeria is the name of the nymph who inspired the second legendary king of Rome, Numa Pompilius (in Latin, "numen" designates "the expressed will of a deity"),: 47 who succeeded its founder, Romulus, when she dictated to him the rules that established the original framework of laws and rituals of Rome that also are associated with "sacred books".
Numa is reputed to have written down the teachings of Egeria in "sacred books" that he caused to be buried with him. According to Plutarch, when a chance accident brought them back to light some 500 years later, the books were deemed by the Roman Senate to be inappropriate for disclosure to the people and they ordered that the books be destroyed. What made these sacred books 'inappropriate' was certainly of a "political" nature, but precisely what that was, had not been handed down by Valerius Antias, the source that Plutarch was using. However, sacred books were the source used to interpret the abstruse omens of deities (episode of the omen from Faunus: 377 ). Sacred books also were associated with beneficial water, which also would have been linked to Vegoia.
See also
List of Etruscan mythological figures
Notes
References
Bibliography
Dumézil, Georges (2000) [1974]. "appendice sur la religion des Etrusques". La religion romaine archaïque [The Archaic Roman Religion] (in French). Bibliothèque historique Payot. ISBN 2-228-89297-1 – via Google Books.
Jannot, Jean-René (2005) [1998]. Religion in Ancient Etruria. Translated by Whitehead, Jane K. University of Wisconsin Press. ISBN 978-0-299-20844-8.French original:Jannot, Jean-René (1998). Devins, Dieux, et Démons [Diviners, Gods, and Demons] (in French). Picard. | instance of | {
"answer_start": [
29
],
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} |
Vegoia (Etruscan: Vecu) is a sibyl, prophet, or nymph within the Etruscan religious framework who is identified as the author of parts of their large and complex set of sacred books, detailing the religiously correct methods of founding cities and shrines, draining fields, formulating laws and ordinances, measuring space and dividing time; she initiated the Etruscan people to the arts, as originating the rules and rituals of land marking, and as presiding over the observance, respect, and preservation of boundaries. Vegoia also is known as Vecu, Vecui, and Vecuvia, as well as Vegoe; her name is also given as Begoe or Bigois.
In the Etruscan religious framework
The Etruscan religious system remains mostly obscure. There being few bilingual documents comparable to the Rosetta stone that could facilitate translation, the Etruscan language is poorly understood. Therefore, the existing ancient Etruscan documents of the eighth, seventh, and sixth centuries BCE that would reveal their religious concepts, do not yield much. Moreover, during the later period of the fifth through the first centuries BCE, Etruscan civilization heavily absorbed elements of Greek civilization and eventually, it was diluted in the Greco-Roman cultural mix with their powerful Roman neighbors. Lastly, while the Etruscans formalized their religious concepts and practices in a series of "sacred books", most no longer exist and they are known only through commentaries or quotes by Roman authors of the late first century, and hence, may be biased.
Two mythological figures have been set by the Etruscans as presiding over the writing of their sacred books: Vegoia, the subject of this article, and Tages, a monstrous childlike figure gifted with the knowledge and prescience of an ancient sage. Those books are known from Latin authors under a classification pertaining to their content according to their mythological author (whether delivered through speeches or lectures, such as Tages, or inspiration).
The attributes of Vegoia
The figure of Vegoia is almost entirely blurred in the mists of the past. She is known mostly from the traditions of the Etruscan city of Chiusi (Latin: Clusium; Etruscan: Clevsin; Umbrian: Camars) (now in the province of Siena). The revelations of the prophetess Vegoia are designated as the Libri Vegoici that included the Libri Fulgurales and part of the Libri Rituales, especially the Libri Fatales.
She is barely designated as a "nymph" and as the author of the Libri Fulgurales, that give the keys to interpreting the meaning of lightning strokes sent by the deities using a cartography of the sky that, as a sort of property division and use assignment, is attributed to Vegoia.: 25 Her assignment of sectors of the horizon to various deities is paralleled in the microcosm that is interpreted using the liver of a sacrificed animal. The sacred divisions also seem to have a correspondence in the measurement and division of land that, since the very dawn of Etruscan history, obeyed religious rules.: 13 Her dictates taught the correct methods of measuring space.Vegoia also was depicted as lording over the observation of these rules, to be upheld under threat of dire woe or malediction.: 13 Thus, she was established as the power presiding over land property and land property rights, laws, and contracts (as distinct from commercial contract laws).
She also is indicated as having established the laws relative to hydraulic works,: 4 thus having a special relationship to "tamed" water.
Influence of Etruscan sacred books
This imposing system of "revealing" and "sacred texts" left a significant imprint on the neighboring italic peoples. There is ample evidence of the Etruscan culture having heavily permeated the less-advanced communities of their Latin and Sabine neighbours. For example, the Etruscan alphabet that was derived from the Greek one, is solidly established as having inspired the Latin alphabet. The principles and structural rules of the Etruscan decimal numeral system, likewise, are recognized as the origin of the Roman numerals that are a simplified version of the Etruscan system. Similarly derived are the symbols of supreme power (see Etruscan civilization), the structure of the Roman calendar, and the Etruscan Craeci is the source for the word "Greeks" (who self-identified as Hellenes), etc.
Relationship to Sibylline books
While the Roman religion has precious little written basis, they nonetheless had a very abstruse set of texts known as the Sibylline Books that were under the exclusive control of special religious figures, the duumviri (then decemviri). The books were resorted to solely in times of ultimate crisis. The devolution of these "sacred books" to the Romans through a rocambolesque scene, was attributed to an Etruscan, Tarquinius Superbus, the last of the legendary kings of Rome. Hence, their relationship to Vegoia.
Relationship to Egeria
Likewise, one may suspect that the legend of Egeria is related to Vegoia. Egeria is the name of the nymph who inspired the second legendary king of Rome, Numa Pompilius (in Latin, "numen" designates "the expressed will of a deity"),: 47 who succeeded its founder, Romulus, when she dictated to him the rules that established the original framework of laws and rituals of Rome that also are associated with "sacred books".
Numa is reputed to have written down the teachings of Egeria in "sacred books" that he caused to be buried with him. According to Plutarch, when a chance accident brought them back to light some 500 years later, the books were deemed by the Roman Senate to be inappropriate for disclosure to the people and they ordered that the books be destroyed. What made these sacred books 'inappropriate' was certainly of a "political" nature, but precisely what that was, had not been handed down by Valerius Antias, the source that Plutarch was using. However, sacred books were the source used to interpret the abstruse omens of deities (episode of the omen from Faunus: 377 ). Sacred books also were associated with beneficial water, which also would have been linked to Vegoia.
See also
List of Etruscan mythological figures
Notes
References
Bibliography
Dumézil, Georges (2000) [1974]. "appendice sur la religion des Etrusques". La religion romaine archaïque [The Archaic Roman Religion] (in French). Bibliothèque historique Payot. ISBN 2-228-89297-1 – via Google Books.
Jannot, Jean-René (2005) [1998]. Religion in Ancient Etruria. Translated by Whitehead, Jane K. University of Wisconsin Press. ISBN 978-0-299-20844-8.French original:Jannot, Jean-René (1998). Devins, Dieux, et Démons [Diviners, Gods, and Demons] (in French). Picard. | occupation | {
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Lisseuil (French pronunciation: [lisœj]; Occitan: Lhieseiles) is a commune in the Puy-de-Dôme department in Auvergne-Rhône-Alpes in central France.
See also
Communes of the Puy-de-Dôme department
== References == | country | {
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Lisseuil (French pronunciation: [lisœj]; Occitan: Lhieseiles) is a commune in the Puy-de-Dôme department in Auvergne-Rhône-Alpes in central France.
See also
Communes of the Puy-de-Dôme department
== References == | located in the administrative territorial entity | {
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Lisseuil (French pronunciation: [lisœj]; Occitan: Lhieseiles) is a commune in the Puy-de-Dôme department in Auvergne-Rhône-Alpes in central France.
See also
Communes of the Puy-de-Dôme department
== References == | Commons category | {
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Lisseuil (French pronunciation: [lisœj]; Occitan: Lhieseiles) is a commune in the Puy-de-Dôme department in Auvergne-Rhône-Alpes in central France.
See also
Communes of the Puy-de-Dôme department
== References == | official name | {
"answer_start": [
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Yvon Lévesque (born March 10, 1940) is a politician in Quebec, Canada. He is the former Bloc Québécois Member of Parliament for the riding of Abitibi—Baie-James—Nunavik—Eeyou.
Born in Lac-au-Saumon, he was an electrician, foreman, labour relations consultant, labour representative, and superintendent before he was first elected in 2004 defeating Guy St-Julien by 572 votes.
On May 2, 2011, Lévesque was defeated in the 2011 federal election by New Democratic Party candidate Roméo Saganash.
References
Yvon Lévesque – Parliament of Canada biography | place of birth | {
"answer_start": [
184
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"Lac-au-Saumon"
]
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Yvon Lévesque (born March 10, 1940) is a politician in Quebec, Canada. He is the former Bloc Québécois Member of Parliament for the riding of Abitibi—Baie-James—Nunavik—Eeyou.
Born in Lac-au-Saumon, he was an electrician, foreman, labour relations consultant, labour representative, and superintendent before he was first elected in 2004 defeating Guy St-Julien by 572 votes.
On May 2, 2011, Lévesque was defeated in the 2011 federal election by New Democratic Party candidate Roméo Saganash.
References
Yvon Lévesque – Parliament of Canada biography | country of citizenship | {
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Yvon Lévesque (born March 10, 1940) is a politician in Quebec, Canada. He is the former Bloc Québécois Member of Parliament for the riding of Abitibi—Baie-James—Nunavik—Eeyou.
Born in Lac-au-Saumon, he was an electrician, foreman, labour relations consultant, labour representative, and superintendent before he was first elected in 2004 defeating Guy St-Julien by 572 votes.
On May 2, 2011, Lévesque was defeated in the 2011 federal election by New Democratic Party candidate Roméo Saganash.
References
Yvon Lévesque – Parliament of Canada biography | member of political party | {
"answer_start": [
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"Bloc Québécois"
]
} |
Yvon Lévesque (born March 10, 1940) is a politician in Quebec, Canada. He is the former Bloc Québécois Member of Parliament for the riding of Abitibi—Baie-James—Nunavik—Eeyou.
Born in Lac-au-Saumon, he was an electrician, foreman, labour relations consultant, labour representative, and superintendent before he was first elected in 2004 defeating Guy St-Julien by 572 votes.
On May 2, 2011, Lévesque was defeated in the 2011 federal election by New Democratic Party candidate Roméo Saganash.
References
Yvon Lévesque – Parliament of Canada biography | occupation | {
"answer_start": [
41
],
"text": [
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]
} |
Yvon Lévesque (born March 10, 1940) is a politician in Quebec, Canada. He is the former Bloc Québécois Member of Parliament for the riding of Abitibi—Baie-James—Nunavik—Eeyou.
Born in Lac-au-Saumon, he was an electrician, foreman, labour relations consultant, labour representative, and superintendent before he was first elected in 2004 defeating Guy St-Julien by 572 votes.
On May 2, 2011, Lévesque was defeated in the 2011 federal election by New Democratic Party candidate Roméo Saganash.
References
Yvon Lévesque – Parliament of Canada biography | family name | {
"answer_start": [
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Yvon Lévesque (born March 10, 1940) is a politician in Quebec, Canada. He is the former Bloc Québécois Member of Parliament for the riding of Abitibi—Baie-James—Nunavik—Eeyou.
Born in Lac-au-Saumon, he was an electrician, foreman, labour relations consultant, labour representative, and superintendent before he was first elected in 2004 defeating Guy St-Julien by 572 votes.
On May 2, 2011, Lévesque was defeated in the 2011 federal election by New Democratic Party candidate Roméo Saganash.
References
Yvon Lévesque – Parliament of Canada biography | given name | {
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The Supercopa Euroamericana was a friendly football tournament created by DirecTV played from 2015 to 2016 in the Americas. It was contested between the Copa Sudamericana and the UEFA Europa League winners. The match was organised by DirecTV in 2015 and LaLiga World Challenge in 2016.
Format
The match was played for 90 minutes. In case of a draw after regulation, the winners were determined via a penalty shoot-out.
List of finals
The "Season" column refers to the season the competition was held, and wikilinks to the article about that season.
The wikilinks in the "Score" column point to the article about that season's final game.
Performances
By club
By country
Performances by confederation
See also
FIFA Club World Cup
Copa EuroAmericana
References
External links
Supercopa Euroamericana: Official site
Soccerway.com - Supercopa Euroamericana/
The Final Ball.com - Supercopa Euroamericana
Sportstats.com - Supercopa Euroamericana | number of participants | {
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The Supercopa Euroamericana was a friendly football tournament created by DirecTV played from 2015 to 2016 in the Americas. It was contested between the Copa Sudamericana and the UEFA Europa League winners. The match was organised by DirecTV in 2015 and LaLiga World Challenge in 2016.
Format
The match was played for 90 minutes. In case of a draw after regulation, the winners were determined via a penalty shoot-out.
List of finals
The "Season" column refers to the season the competition was held, and wikilinks to the article about that season.
The wikilinks in the "Score" column point to the article about that season's final game.
Performances
By club
By country
Performances by confederation
See also
FIFA Club World Cup
Copa EuroAmericana
References
External links
Supercopa Euroamericana: Official site
Soccerway.com - Supercopa Euroamericana/
The Final Ball.com - Supercopa Euroamericana
Sportstats.com - Supercopa Euroamericana | number of matches played/races/starts | {
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
Movie stills | instance of | {
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
Movie stills | director | {
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
Movie stills | screenwriter | {
"answer_start": [
136
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"text": [
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} |
Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
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Jefferson in Paris is a 1995 historical drama film, directed by James Ivory, and previously entitled Head and Heart. The screenplay, by Ruth Prawer Jhabvala, is a semi-fictional account of Thomas Jefferson's tenure as the Ambassador of the United States to France before his presidency and of his alleged relationships with Italian-English artist Maria Cosway and his slave, Sally Hemings.
The film was critically and commercially unsuccessful, grossing $5.9 million on a $14 million budget.
Plot
Set in the period 1784–1789, the film portrays Jefferson when he was US minister to France at Versailles before the French Revolution. French liberals and intellectuals hope he will lead them away from the corruption of the court of King Louis XVI and Marie-Antoinette and toward a more democratic form of government. Although deploring the poverty of the common people, he embraces the riches of French culture and civilization. It is his first time abroad, and he takes advantage of the opportunity to extend his knowledge of liberal arts and science while absorbing the refinements France has to offer.
A lonely widower, Jefferson develops a close friendship with Maria Cosway, a beautiful (and married) Anglo-Italian painter and musician. Although she becomes increasingly devoted to him, he is attached to his memory of his late wife, to whom he promised that he would not remarry, and to his two younger daughters. His elder daughter is especially possessive, and Patsy becomes jealous of Maria's influence on her father. Maria becomes his confidant and correspondent, with their personal relationship becoming more affectionate as well.
Later, Jefferson becomes attracted to Sally Hemings, his enslaved maid and companion of his younger daughter Polly. Three-quarters white in ancestry, she is his late wife's half-sister. Their father had taken Sally's slave mother as a concubine after he was widowed for the third time; Sally is the sixth of their children. Sally's enslaved brother James Hemings is also in Paris, learning to be a French chef for Jefferson at Monticello. When George Washington offers Jefferson the post of Secretary of State, he accepts and prepares to sail home with his family.
But James, having enjoyed his freedom in Paris, is unwilling to return to the United States and urges Sally to remain with him. It is only when Jefferson promises, making an oath upon the Bible, that he will give James and Sally their freedom that they consent to return with him. Sally is also pregnant with Jefferson's child, and Jefferson extends his oath to promise freedom to all of Sally's children as well.
Cast
At Jefferson's house, the Hôtel de Langeac
Nick Nolte ..... Thomas Jefferson
Gwyneth Paltrow ..... Patsy Jefferson
Estelle Eonnet ..... Polly Jefferson
Thandiwe Newton ..... Sally Hemings (credited as Thandie Newton)
Seth Gilliam ..... James Hemings
Todd Boyce .... William Short
Nigel Whitmey .... John Trumbull
Nicolas Silberg .... Monsieur Petit
Catherine Samie .... Cook
Lionel Robert .... Cook's Helper
At Lafayette's
Greta Scacchi ..... Maria Cosway
Simon Callow ..... Richard Cosway
Lambert Wilson ..... Marquis de Lafayette
Elsa Zylberstein ..... Adrienne de Lafayette
William Moseley .... Georges Washington de Lafayette
Jean-Pierre Aumont ..... d'Hancarville
Anthony Valentine .... British Ambassador
At Versailles
Michael Lonsdale ..... Louis XVI
Charlotte de Turckheim ..... Marie-Antoinette
Damien Groëlle ..... The Dauphin
Louise Balsan ..... Madame Royale
Valérie Toledano ..... Madame Elizabeth
Vernon Dobtcheff ..... King's Translator
At the Panthémont Abbey
Nancy Marchand ..... Madame Abbesse
Jessica Lloyd ..... Julia
At Doctor Mesmer's
Daniel Mesguich .... Mesmer
Thibault de Montalembert .... Assistant
At the Opera
William Christie .... Conductor
Jean-Paul Fouchécourt .... Dardanus
Ismail Merchant .... Tipoo Sultin's Ambassador
At the Palais Royal
Vincent Cassel .... Camille Desmoulins
Pike County, Ohio
James Earl Jones ..... Madison Hemings
Beatrice Winde ..... Mary Hemings
Tim Choate .... Reporter
Production
The film was shot on location in Paris, at the Desert de Retz and the Palace of Versailles. The scenes at the Desert reenact the actual visit made by Jefferson and Cosway in September 1787. Many of French supporting cast are members of Comédie-Française. It premiered at the 1995 Cannes Film Festival.Antonio Sacchini's 1784 opera Dardanus appears in the film. Also Marc-Antoine Charpentier' "Leçons de ténèbres", performed by William Christie and Les Arts Florissants with Jean-Paul Fouchécourt, Sandrine Piau, Sophie Daneman, and Jory Vinikour. Arcangelo Corelli's La Folia is performed by Nolte, Scacchi, and Paltrow; however, the soundtrack CD is re-dubbed by others. Although Gwyneth Paltrow studied harpsichord for the film, her playing is dubbed by Jory Vinikour, including pieces by Jacques Duphly and Claude Balbastre. Scacchi's performance of Maria Cosway's song, "Mormora," was dubbed.
The film was budgeted at $14 million.
Release
The film opened on two screens in New York and Los Angeles on March 31, 1995.
Reception
Critical reception
As of February 2018, Jefferson in Paris holds a rating of 31% on Rotten Tomatoes based on 16 reviews.In her positive review in The New York Times, Janet Maslin called the film
an extraordinary spectacle ... the rare contemporary film that's both an entertainment and an education, despite some glaring misimpressions that are sure to spark heated debate ... The biggest problem with [the film] is at the basic editing level, with such abrupt jumps between diverse scenes that the film's momentum remains choppy. Overshadowed by its own ambition and not-quite-ironic pageantry, Jefferson in Paris doesn't quite come to life ... Casting Nick Nolte as a Founding Father may sound like this film's riskiest choice, but in fact it makes solid sense. Beyond having the right physical stature for the imposing, sandy-haired Jefferson, Mr. Nolte captures the man's vigor and his stiff sense of propriety. He may not adapt effortlessly to the role of an intellectual giant, but his performance is thoroughly creditable ... The film makers fare less successfully with Maria Cosway ... Ms. Scacchi, the film's big casting problem, makes her so bloodless and prettily artificial that the romance never seems real. There's much more spice in Ms. Newton's captivating performance as Sally Hemings, even if she gives this teen-age slave girl the unexpected fiddle-dee-dee flirtatiousness of a Scarlett O'Hara.
Roger Ebert of the Chicago Sun-Times observed in a less positive review of the film that,
The film is lavishly produced and visually splendid, like all the Merchant-Ivory productions. But what is it about? Revolution? History? Slavery? Romance? No doubt a lot of research and speculation went into Jhabvala's screenplay, but I wish she had finally decided to jump one way or the other. The movie tells no clear story and has no clear ideas.
In a negative review appearing in Rolling Stone magazine, Peter Travers said,
After a literate and entertaining roll (A Room With a View, Howards End, The Remains of the Day), the team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie. It doesn't help that Nick Nolte is such a lox as Thomas Jefferson ... [He] seems to think that playing an introspective man means impersonating a wax dummy.
Edward Guthmann of the San Francisco Chronicle called the film "dull, sluggish and unfocused ... [it] tries telling three or four stories at once, can't decide which is most important and winds up stubbing its well-manicured toes" and added,
Coiffed in a strawberry blond ponytail that makes him look like sitcom star Brett Butler, and surrounded by opulent sets and costumes that look like early bids for Oscar nominations, Nolte makes a noble, sympathetic effort to humanize a historical figure, but never manages to look anything other than tight, corseted and out of his element.
In Variety, Todd McCarthy said the film
touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction ... as the opportunity for drama increases with the onset of Jefferson's affair with Sally and the buildup toward the Revolution, the narrative becomes more dispersed and murky. Things happen ... but they don't weave and dovetail in the surprising, intricate and telling ways they can in first-class fiction, some of Merchant Ivory's recent films included ... The strong points of director James Ivory's approach here are his attentiveness to wonderful detail ... The downside is that Ivory's reticence makes it additionally tough for an emotionally remote figure like Jefferson to come alive onscreen.
Box office
The film grossed $61,349 in its opening weekend from just two screens. It went on to gross $2,473,668 in the US and Canada. It grossed $3.4 million internationally for a worldwide total of $5.9 million.
Historical basis
It was the first portrayal in film of Sally Hemings, and at the time most Jefferson scholars disputed the rumors, started in 1802 by a vengeful journalist named James Callender, that Jefferson had fathered a child by her. Since then, a 1998 Nature study found a match between the male lines of a Jefferson and one descendant of Hemings. In 2000, the Thomas Jefferson Memorial Foundation issued its own report on the DNA test results in light of other historical evidence and said that it was "highly probable" that Thomas Jefferson was the father of Eston Hemings, the youngest child of Sally, and "most likely" that he was the father of all six, four of whom lived to adulthood. This claim is still disputed by some.
See also
List of films featuring slavery
References
External links
Official website
Jefferson in Paris at IMDb
Jefferson in Paris at Rotten Tomatoes
Jefferson in Paris at AllMovie
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Another Step is the fifth studio album by English pop singer Kim Wilde, released on 3 November 1986 by MCA Records. The album contained her comeback worldwide hit "You Keep Me Hangin' On", which reached No. 1 in the US, as well as the UK top 10 hit "Another Step (Closer to You)" and "Say You Really Want Me".
Overview
The album contained 12 tracks (13 on the CD and cassette) and a varied team of songwriters, as well as Wilde herself co-writing more than half of the tracks. The first half was uptempo, whereas the second consisted of ballads. Most of the tracks were produced by Ricky Wilde, but there were also production duties fulfilled by Rod Temperton and Bruce Swedien known for working with Michael Jackson and there were also Reinhold Heil, Richard James Burgess and Dick Rudolph.
The album's first single was "Schoolgirl", which was released only in Australia and several European countries (although not the UK). This single was the first Kim Wilde had co-written herself. The first single released globally was a cover version of the Supremes hit "You Keep Me Hangin' On". In the United States it became Wilde's first number one on the Billboard Hot 100 chart, in the summer of 1987. It also reached No. 1 in Canada and Australia, and was almost equally successful in the UK, where it peaked at no. 2.
The next single was "Another Step (Closer to You)", a duet with English R&B singer Junior Giscombe, which went to top 10 in the UK. The third globally and final single off the album was "Say You Really Want Me", which caused a minor controversy when the video was banned from children's programming because it showed Kim writhing on a bed having fun with a pearl necklace. Despite the raunchy image and publicity which accompanied the specially-remixed song, it didn't set the charts alight and the album saw no further single releases. The album reached US No. 40, her only album to do better in America than in the UK, where it only hit No. 88 on the first release. Elsewhere, the album was a massive success in Norway, where it hit No. 2, and in Canada, where it hit No. 11, and selling Gold.
All of the tracks on Another Step were a departure from the synth-pop sound of the previous studio albums. There were more guitars than before: "The Thrill of It" and "I've Got So Much Love" had a distinctive 'rock' feel. The final five songs were ballads, the most noteworthy being Kim's self-penned and produced "Don't Say Nothing's Changed" which closed the album.
A re-package of this album was released a few months after the initial launch, with a new sleeve design and the addition of bonus tracks, and this time the album made it to number 73 on the UK Albums Chart. Although this failed to reignite interest, it has since become a collectors item for fans.
Kim Wilde cemented her reputation as a singles artist with this album, as again overall sales were disappointing despite the huge success of the songs released from it. She has since voiced her regret that she did not put more effort into cracking the US market after she had scored her first number one hit there.
Critical response
Writing for Melody Maker, Caroline Sullivan called Another Step "her best LP ever" and praised Wilde for embracing her camp appeal. Comparing "Missing" to the work of Kathy Kirby, Sullivan elaborated; "side two in its entirity [sic] could have been airlifted directly from 1962, when a song was a song and, as such, afforded properly melodramatic treatment." More praise was reserved for the "tenderness and poignancy" in her voice, a quality the reviewer compared to that of Marie Osmond. A second review for Melody Maker (this time by Mick Mercer) was less positive, describing her "small voice and very limited range" as "hopelessly unconvincing when approaching anything remotely resembling balladeering territory". The Age praised "You Keep Me Hangin' On" and "Hit Him" but found the rest of the first half of the album to be "quite undistinguishable." Side two was described as "much more appealing", with the self-written and jazz-influenced "Don't Say Nothing's Changed" singled out for praise along with the preceding "How Do You Want My Love". Northamptonshire Evening Telegraph found Wilde's vocals "attractive rather than arresting" and singled out "I've Got So Much Love" as a Sheena Easton-style soaring ballad. A reviewer for the Manchester Evening News unfavorably compared "I've Got So Much Love" to the work of Pat Benatar but found the "sugary soul" of tracks like "She Hasn't Got Time for You" and "Brothers" slightly more pleasing. Despite comparing Wilde's bared midriff on the front cover to Madonna and noting the influence of Michael Jackson in "The Thrill of It", Smash Hits found the sound on the album to be "firmly entrenched in her old "Kids in America" style" and described "You Keep Me Hangin' On" as a "brutal massacre of the old Supremes classic". A short review in Just Seventeen described the singer as "The girl who was Madonna before Madonna ever thought about making records". Q described the first track as "a remarkably drab version" and said of the sound of the record – "if you've followed her career to date you've practically heard this album already -bassy synths, crunching guitars and the rebel-by-numbers yell you'd expect to hear emanating from a leather clad blonde."
Track listing
Side one
"You Keep Me Hangin' On" (Holland-Dozier-Holland) – 4:10
"Hit Him" (O.S. Blandamer) – 3:32
"Another Step (Closer to You)" (Kim Wilde, Steve Byrd) – 3:18
"The Thrill of It" (Kim Wilde, Steve Byrd) – 3:51
"I've Got So Much Love" (Kim Wilde, Marty Wilde, Ricky Wilde) – 2:55
"Victim" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:01
"Schoolgirl" (Kim Wilde, Marty Wilde, Ricky Wilde) – 3:35Side two
"Say You Really Want Me" (Danny Sembello, Donnell Spencer, Jr., Richard Rudolph) – 3:40
"She Hasn't Got Time for You" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:12
"Brothers" (Marty Wilde, Ricky Wilde) – 4:44
"Missing" (Kim Wilde, Steve Byrd) – 4:23
"How Do You Want My Love" (Kim Wilde, Ricky Wilde) – 3:53
"Don't Say Nothing's Changed" (Kim Wilde) – 3:53"Victim" only included on the Cassette and Compact disc versionsBonus tracks (2010 remastered CD edition)
"Songs About Love" (Kim Wilde) ("Schoolgirl" B-side) – 4:55
"Loving You" (Kim Wilde, Ricky Wilde) ("You Keep Me Hangin' On" B-side) – 4:56
"Hold Back" (Ricky Wilde, Marty Wilde) ("Another Step (Closer to You)" B-side) – 3:58
"Another Step (Closer to You)" (7" version) – 3:30
"Say You Really Want Me" (7" version) – 4:03Bonus CD (2010 remastered CD edition)
"Schoolgirl" (Head Master Mix) – 6:33
"You Keep Me Hangin' On" (W.C.H Club Mix) – 6:27
"You Keep Me Hangin' On" (W.C.H Mix) – 9:06
"Another Step (Closer To You)" (Extended Mix) – 5:53
"Say You Really Want Me" (Extended Version) – 6:34
"Say You Really Want Me" (The Video Remix) – 9:47
"Say You Really Want Me" (David Todd Remix) – 5:44
"Say You Really Want Me" (Radio Edit) – 5:09
"Say You Really Want Me" (Instrumental) – 4:22
"Say You Really Want Me" (7" US Version) – 3:30
"Say You Really Want Me" (7" Promo/North American Album Version) (Incorrectly labelled as Urban Version) – 3:57
"Megamix" (You Keep Me Hangin' On / Another Step (Closer to You) / Say You Really Want Me) – 8:05
Personnel
Kim Wilde – lead and backing vocals, synthesizers (11), drum programming (11)
Ricky Wilde – synthesizers (1-5, 7, 9, 10, 11, 13), Fairlight III programming (1-5, 7, 9, 10, 11, 13), backing vocals (2, 9), guitars (10)
Paul Fox – synthesizers (6, 12), synthesizer programming (6, 12), additional arrangements (6, 12)
Reinhold Heil – keyboards (7), Fairlight III programming (7)
Danny Sembello – keyboards (8), arrangements (8)
Guy Fletcher – keyboards (10), synthesizers (10)
Steve Byrd – guitars (1-7, 9, 11, 13), backing vocals (2)
Gary Twigg – bass (3, 4, 5, 9, 10, 11, 13)
Matt Letley – drums (3, 4, 5, 9, 11, 13)
Richard James Burgess – drums (6, 12), drum programming (6, 12), percussion (6, 12)
Pete Schweir – drum programming (11)
Simon Clarke – alto saxophone (2), baritone saxophone (2)
Tim Sanders – tenor saxophone (2)
Roddy Lorimer – trumpet (2)
The Kick Horns – horn arrangements (2)
Oscar Blandamer – horn arrangements (2)
Junior Giscombe – guest vocals (3)
Don Haywoode – backing vocals (7)
Emma Haywoode – backing vocals (7)
Lisa Fischer – backing vocals (12)
Paulette McWilliams – backing vocals (12)
Myrna Smith-Schilling – backing vocals (12)
Production
Ricky Wilde – producer (1-5, 7, 9, 10, 11, 13), remixing (5)
Richard James Burgess – producer (6, 12)
Reinhold Heil – producer (7)
Richard Rudolph – producer (8)
Bruce Swedien – producer (8), recording (8), mixing (8)
Rod Temperton – producer (8)
Kim Wilde – producer (11)
Pete Schweir – engineer (1-5, 7, 9, 10, 11, 13)
Frank Roszak – engineer (6, 12)
Phill Brown – remixing (6)
Simon Marsh – art direction, design, photography
Jeff Adamoff – art direction (CD)
Dick Bouchard – artwork and design (CD)
Jeff Lancaster – artwork and design (CD)
Charts
Certifications and sales
References
External links
Another Step at Discogs (list of releases) | instance of | {
"answer_start": [
33
],
"text": [
"album"
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} |
Another Step is the fifth studio album by English pop singer Kim Wilde, released on 3 November 1986 by MCA Records. The album contained her comeback worldwide hit "You Keep Me Hangin' On", which reached No. 1 in the US, as well as the UK top 10 hit "Another Step (Closer to You)" and "Say You Really Want Me".
Overview
The album contained 12 tracks (13 on the CD and cassette) and a varied team of songwriters, as well as Wilde herself co-writing more than half of the tracks. The first half was uptempo, whereas the second consisted of ballads. Most of the tracks were produced by Ricky Wilde, but there were also production duties fulfilled by Rod Temperton and Bruce Swedien known for working with Michael Jackson and there were also Reinhold Heil, Richard James Burgess and Dick Rudolph.
The album's first single was "Schoolgirl", which was released only in Australia and several European countries (although not the UK). This single was the first Kim Wilde had co-written herself. The first single released globally was a cover version of the Supremes hit "You Keep Me Hangin' On". In the United States it became Wilde's first number one on the Billboard Hot 100 chart, in the summer of 1987. It also reached No. 1 in Canada and Australia, and was almost equally successful in the UK, where it peaked at no. 2.
The next single was "Another Step (Closer to You)", a duet with English R&B singer Junior Giscombe, which went to top 10 in the UK. The third globally and final single off the album was "Say You Really Want Me", which caused a minor controversy when the video was banned from children's programming because it showed Kim writhing on a bed having fun with a pearl necklace. Despite the raunchy image and publicity which accompanied the specially-remixed song, it didn't set the charts alight and the album saw no further single releases. The album reached US No. 40, her only album to do better in America than in the UK, where it only hit No. 88 on the first release. Elsewhere, the album was a massive success in Norway, where it hit No. 2, and in Canada, where it hit No. 11, and selling Gold.
All of the tracks on Another Step were a departure from the synth-pop sound of the previous studio albums. There were more guitars than before: "The Thrill of It" and "I've Got So Much Love" had a distinctive 'rock' feel. The final five songs were ballads, the most noteworthy being Kim's self-penned and produced "Don't Say Nothing's Changed" which closed the album.
A re-package of this album was released a few months after the initial launch, with a new sleeve design and the addition of bonus tracks, and this time the album made it to number 73 on the UK Albums Chart. Although this failed to reignite interest, it has since become a collectors item for fans.
Kim Wilde cemented her reputation as a singles artist with this album, as again overall sales were disappointing despite the huge success of the songs released from it. She has since voiced her regret that she did not put more effort into cracking the US market after she had scored her first number one hit there.
Critical response
Writing for Melody Maker, Caroline Sullivan called Another Step "her best LP ever" and praised Wilde for embracing her camp appeal. Comparing "Missing" to the work of Kathy Kirby, Sullivan elaborated; "side two in its entirity [sic] could have been airlifted directly from 1962, when a song was a song and, as such, afforded properly melodramatic treatment." More praise was reserved for the "tenderness and poignancy" in her voice, a quality the reviewer compared to that of Marie Osmond. A second review for Melody Maker (this time by Mick Mercer) was less positive, describing her "small voice and very limited range" as "hopelessly unconvincing when approaching anything remotely resembling balladeering territory". The Age praised "You Keep Me Hangin' On" and "Hit Him" but found the rest of the first half of the album to be "quite undistinguishable." Side two was described as "much more appealing", with the self-written and jazz-influenced "Don't Say Nothing's Changed" singled out for praise along with the preceding "How Do You Want My Love". Northamptonshire Evening Telegraph found Wilde's vocals "attractive rather than arresting" and singled out "I've Got So Much Love" as a Sheena Easton-style soaring ballad. A reviewer for the Manchester Evening News unfavorably compared "I've Got So Much Love" to the work of Pat Benatar but found the "sugary soul" of tracks like "She Hasn't Got Time for You" and "Brothers" slightly more pleasing. Despite comparing Wilde's bared midriff on the front cover to Madonna and noting the influence of Michael Jackson in "The Thrill of It", Smash Hits found the sound on the album to be "firmly entrenched in her old "Kids in America" style" and described "You Keep Me Hangin' On" as a "brutal massacre of the old Supremes classic". A short review in Just Seventeen described the singer as "The girl who was Madonna before Madonna ever thought about making records". Q described the first track as "a remarkably drab version" and said of the sound of the record – "if you've followed her career to date you've practically heard this album already -bassy synths, crunching guitars and the rebel-by-numbers yell you'd expect to hear emanating from a leather clad blonde."
Track listing
Side one
"You Keep Me Hangin' On" (Holland-Dozier-Holland) – 4:10
"Hit Him" (O.S. Blandamer) – 3:32
"Another Step (Closer to You)" (Kim Wilde, Steve Byrd) – 3:18
"The Thrill of It" (Kim Wilde, Steve Byrd) – 3:51
"I've Got So Much Love" (Kim Wilde, Marty Wilde, Ricky Wilde) – 2:55
"Victim" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:01
"Schoolgirl" (Kim Wilde, Marty Wilde, Ricky Wilde) – 3:35Side two
"Say You Really Want Me" (Danny Sembello, Donnell Spencer, Jr., Richard Rudolph) – 3:40
"She Hasn't Got Time for You" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:12
"Brothers" (Marty Wilde, Ricky Wilde) – 4:44
"Missing" (Kim Wilde, Steve Byrd) – 4:23
"How Do You Want My Love" (Kim Wilde, Ricky Wilde) – 3:53
"Don't Say Nothing's Changed" (Kim Wilde) – 3:53"Victim" only included on the Cassette and Compact disc versionsBonus tracks (2010 remastered CD edition)
"Songs About Love" (Kim Wilde) ("Schoolgirl" B-side) – 4:55
"Loving You" (Kim Wilde, Ricky Wilde) ("You Keep Me Hangin' On" B-side) – 4:56
"Hold Back" (Ricky Wilde, Marty Wilde) ("Another Step (Closer to You)" B-side) – 3:58
"Another Step (Closer to You)" (7" version) – 3:30
"Say You Really Want Me" (7" version) – 4:03Bonus CD (2010 remastered CD edition)
"Schoolgirl" (Head Master Mix) – 6:33
"You Keep Me Hangin' On" (W.C.H Club Mix) – 6:27
"You Keep Me Hangin' On" (W.C.H Mix) – 9:06
"Another Step (Closer To You)" (Extended Mix) – 5:53
"Say You Really Want Me" (Extended Version) – 6:34
"Say You Really Want Me" (The Video Remix) – 9:47
"Say You Really Want Me" (David Todd Remix) – 5:44
"Say You Really Want Me" (Radio Edit) – 5:09
"Say You Really Want Me" (Instrumental) – 4:22
"Say You Really Want Me" (7" US Version) – 3:30
"Say You Really Want Me" (7" Promo/North American Album Version) (Incorrectly labelled as Urban Version) – 3:57
"Megamix" (You Keep Me Hangin' On / Another Step (Closer to You) / Say You Really Want Me) – 8:05
Personnel
Kim Wilde – lead and backing vocals, synthesizers (11), drum programming (11)
Ricky Wilde – synthesizers (1-5, 7, 9, 10, 11, 13), Fairlight III programming (1-5, 7, 9, 10, 11, 13), backing vocals (2, 9), guitars (10)
Paul Fox – synthesizers (6, 12), synthesizer programming (6, 12), additional arrangements (6, 12)
Reinhold Heil – keyboards (7), Fairlight III programming (7)
Danny Sembello – keyboards (8), arrangements (8)
Guy Fletcher – keyboards (10), synthesizers (10)
Steve Byrd – guitars (1-7, 9, 11, 13), backing vocals (2)
Gary Twigg – bass (3, 4, 5, 9, 10, 11, 13)
Matt Letley – drums (3, 4, 5, 9, 11, 13)
Richard James Burgess – drums (6, 12), drum programming (6, 12), percussion (6, 12)
Pete Schweir – drum programming (11)
Simon Clarke – alto saxophone (2), baritone saxophone (2)
Tim Sanders – tenor saxophone (2)
Roddy Lorimer – trumpet (2)
The Kick Horns – horn arrangements (2)
Oscar Blandamer – horn arrangements (2)
Junior Giscombe – guest vocals (3)
Don Haywoode – backing vocals (7)
Emma Haywoode – backing vocals (7)
Lisa Fischer – backing vocals (12)
Paulette McWilliams – backing vocals (12)
Myrna Smith-Schilling – backing vocals (12)
Production
Ricky Wilde – producer (1-5, 7, 9, 10, 11, 13), remixing (5)
Richard James Burgess – producer (6, 12)
Reinhold Heil – producer (7)
Richard Rudolph – producer (8)
Bruce Swedien – producer (8), recording (8), mixing (8)
Rod Temperton – producer (8)
Kim Wilde – producer (11)
Pete Schweir – engineer (1-5, 7, 9, 10, 11, 13)
Frank Roszak – engineer (6, 12)
Phill Brown – remixing (6)
Simon Marsh – art direction, design, photography
Jeff Adamoff – art direction (CD)
Dick Bouchard – artwork and design (CD)
Jeff Lancaster – artwork and design (CD)
Charts
Certifications and sales
References
External links
Another Step at Discogs (list of releases) | performer | {
"answer_start": [
61
],
"text": [
"Kim Wilde"
]
} |
Another Step is the fifth studio album by English pop singer Kim Wilde, released on 3 November 1986 by MCA Records. The album contained her comeback worldwide hit "You Keep Me Hangin' On", which reached No. 1 in the US, as well as the UK top 10 hit "Another Step (Closer to You)" and "Say You Really Want Me".
Overview
The album contained 12 tracks (13 on the CD and cassette) and a varied team of songwriters, as well as Wilde herself co-writing more than half of the tracks. The first half was uptempo, whereas the second consisted of ballads. Most of the tracks were produced by Ricky Wilde, but there were also production duties fulfilled by Rod Temperton and Bruce Swedien known for working with Michael Jackson and there were also Reinhold Heil, Richard James Burgess and Dick Rudolph.
The album's first single was "Schoolgirl", which was released only in Australia and several European countries (although not the UK). This single was the first Kim Wilde had co-written herself. The first single released globally was a cover version of the Supremes hit "You Keep Me Hangin' On". In the United States it became Wilde's first number one on the Billboard Hot 100 chart, in the summer of 1987. It also reached No. 1 in Canada and Australia, and was almost equally successful in the UK, where it peaked at no. 2.
The next single was "Another Step (Closer to You)", a duet with English R&B singer Junior Giscombe, which went to top 10 in the UK. The third globally and final single off the album was "Say You Really Want Me", which caused a minor controversy when the video was banned from children's programming because it showed Kim writhing on a bed having fun with a pearl necklace. Despite the raunchy image and publicity which accompanied the specially-remixed song, it didn't set the charts alight and the album saw no further single releases. The album reached US No. 40, her only album to do better in America than in the UK, where it only hit No. 88 on the first release. Elsewhere, the album was a massive success in Norway, where it hit No. 2, and in Canada, where it hit No. 11, and selling Gold.
All of the tracks on Another Step were a departure from the synth-pop sound of the previous studio albums. There were more guitars than before: "The Thrill of It" and "I've Got So Much Love" had a distinctive 'rock' feel. The final five songs were ballads, the most noteworthy being Kim's self-penned and produced "Don't Say Nothing's Changed" which closed the album.
A re-package of this album was released a few months after the initial launch, with a new sleeve design and the addition of bonus tracks, and this time the album made it to number 73 on the UK Albums Chart. Although this failed to reignite interest, it has since become a collectors item for fans.
Kim Wilde cemented her reputation as a singles artist with this album, as again overall sales were disappointing despite the huge success of the songs released from it. She has since voiced her regret that she did not put more effort into cracking the US market after she had scored her first number one hit there.
Critical response
Writing for Melody Maker, Caroline Sullivan called Another Step "her best LP ever" and praised Wilde for embracing her camp appeal. Comparing "Missing" to the work of Kathy Kirby, Sullivan elaborated; "side two in its entirity [sic] could have been airlifted directly from 1962, when a song was a song and, as such, afforded properly melodramatic treatment." More praise was reserved for the "tenderness and poignancy" in her voice, a quality the reviewer compared to that of Marie Osmond. A second review for Melody Maker (this time by Mick Mercer) was less positive, describing her "small voice and very limited range" as "hopelessly unconvincing when approaching anything remotely resembling balladeering territory". The Age praised "You Keep Me Hangin' On" and "Hit Him" but found the rest of the first half of the album to be "quite undistinguishable." Side two was described as "much more appealing", with the self-written and jazz-influenced "Don't Say Nothing's Changed" singled out for praise along with the preceding "How Do You Want My Love". Northamptonshire Evening Telegraph found Wilde's vocals "attractive rather than arresting" and singled out "I've Got So Much Love" as a Sheena Easton-style soaring ballad. A reviewer for the Manchester Evening News unfavorably compared "I've Got So Much Love" to the work of Pat Benatar but found the "sugary soul" of tracks like "She Hasn't Got Time for You" and "Brothers" slightly more pleasing. Despite comparing Wilde's bared midriff on the front cover to Madonna and noting the influence of Michael Jackson in "The Thrill of It", Smash Hits found the sound on the album to be "firmly entrenched in her old "Kids in America" style" and described "You Keep Me Hangin' On" as a "brutal massacre of the old Supremes classic". A short review in Just Seventeen described the singer as "The girl who was Madonna before Madonna ever thought about making records". Q described the first track as "a remarkably drab version" and said of the sound of the record – "if you've followed her career to date you've practically heard this album already -bassy synths, crunching guitars and the rebel-by-numbers yell you'd expect to hear emanating from a leather clad blonde."
Track listing
Side one
"You Keep Me Hangin' On" (Holland-Dozier-Holland) – 4:10
"Hit Him" (O.S. Blandamer) – 3:32
"Another Step (Closer to You)" (Kim Wilde, Steve Byrd) – 3:18
"The Thrill of It" (Kim Wilde, Steve Byrd) – 3:51
"I've Got So Much Love" (Kim Wilde, Marty Wilde, Ricky Wilde) – 2:55
"Victim" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:01
"Schoolgirl" (Kim Wilde, Marty Wilde, Ricky Wilde) – 3:35Side two
"Say You Really Want Me" (Danny Sembello, Donnell Spencer, Jr., Richard Rudolph) – 3:40
"She Hasn't Got Time for You" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:12
"Brothers" (Marty Wilde, Ricky Wilde) – 4:44
"Missing" (Kim Wilde, Steve Byrd) – 4:23
"How Do You Want My Love" (Kim Wilde, Ricky Wilde) – 3:53
"Don't Say Nothing's Changed" (Kim Wilde) – 3:53"Victim" only included on the Cassette and Compact disc versionsBonus tracks (2010 remastered CD edition)
"Songs About Love" (Kim Wilde) ("Schoolgirl" B-side) – 4:55
"Loving You" (Kim Wilde, Ricky Wilde) ("You Keep Me Hangin' On" B-side) – 4:56
"Hold Back" (Ricky Wilde, Marty Wilde) ("Another Step (Closer to You)" B-side) – 3:58
"Another Step (Closer to You)" (7" version) – 3:30
"Say You Really Want Me" (7" version) – 4:03Bonus CD (2010 remastered CD edition)
"Schoolgirl" (Head Master Mix) – 6:33
"You Keep Me Hangin' On" (W.C.H Club Mix) – 6:27
"You Keep Me Hangin' On" (W.C.H Mix) – 9:06
"Another Step (Closer To You)" (Extended Mix) – 5:53
"Say You Really Want Me" (Extended Version) – 6:34
"Say You Really Want Me" (The Video Remix) – 9:47
"Say You Really Want Me" (David Todd Remix) – 5:44
"Say You Really Want Me" (Radio Edit) – 5:09
"Say You Really Want Me" (Instrumental) – 4:22
"Say You Really Want Me" (7" US Version) – 3:30
"Say You Really Want Me" (7" Promo/North American Album Version) (Incorrectly labelled as Urban Version) – 3:57
"Megamix" (You Keep Me Hangin' On / Another Step (Closer to You) / Say You Really Want Me) – 8:05
Personnel
Kim Wilde – lead and backing vocals, synthesizers (11), drum programming (11)
Ricky Wilde – synthesizers (1-5, 7, 9, 10, 11, 13), Fairlight III programming (1-5, 7, 9, 10, 11, 13), backing vocals (2, 9), guitars (10)
Paul Fox – synthesizers (6, 12), synthesizer programming (6, 12), additional arrangements (6, 12)
Reinhold Heil – keyboards (7), Fairlight III programming (7)
Danny Sembello – keyboards (8), arrangements (8)
Guy Fletcher – keyboards (10), synthesizers (10)
Steve Byrd – guitars (1-7, 9, 11, 13), backing vocals (2)
Gary Twigg – bass (3, 4, 5, 9, 10, 11, 13)
Matt Letley – drums (3, 4, 5, 9, 11, 13)
Richard James Burgess – drums (6, 12), drum programming (6, 12), percussion (6, 12)
Pete Schweir – drum programming (11)
Simon Clarke – alto saxophone (2), baritone saxophone (2)
Tim Sanders – tenor saxophone (2)
Roddy Lorimer – trumpet (2)
The Kick Horns – horn arrangements (2)
Oscar Blandamer – horn arrangements (2)
Junior Giscombe – guest vocals (3)
Don Haywoode – backing vocals (7)
Emma Haywoode – backing vocals (7)
Lisa Fischer – backing vocals (12)
Paulette McWilliams – backing vocals (12)
Myrna Smith-Schilling – backing vocals (12)
Production
Ricky Wilde – producer (1-5, 7, 9, 10, 11, 13), remixing (5)
Richard James Burgess – producer (6, 12)
Reinhold Heil – producer (7)
Richard Rudolph – producer (8)
Bruce Swedien – producer (8), recording (8), mixing (8)
Rod Temperton – producer (8)
Kim Wilde – producer (11)
Pete Schweir – engineer (1-5, 7, 9, 10, 11, 13)
Frank Roszak – engineer (6, 12)
Phill Brown – remixing (6)
Simon Marsh – art direction, design, photography
Jeff Adamoff – art direction (CD)
Dick Bouchard – artwork and design (CD)
Jeff Lancaster – artwork and design (CD)
Charts
Certifications and sales
References
External links
Another Step at Discogs (list of releases) | record label | {
"answer_start": [
103
],
"text": [
"MCA Records"
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} |
Another Step is the fifth studio album by English pop singer Kim Wilde, released on 3 November 1986 by MCA Records. The album contained her comeback worldwide hit "You Keep Me Hangin' On", which reached No. 1 in the US, as well as the UK top 10 hit "Another Step (Closer to You)" and "Say You Really Want Me".
Overview
The album contained 12 tracks (13 on the CD and cassette) and a varied team of songwriters, as well as Wilde herself co-writing more than half of the tracks. The first half was uptempo, whereas the second consisted of ballads. Most of the tracks were produced by Ricky Wilde, but there were also production duties fulfilled by Rod Temperton and Bruce Swedien known for working with Michael Jackson and there were also Reinhold Heil, Richard James Burgess and Dick Rudolph.
The album's first single was "Schoolgirl", which was released only in Australia and several European countries (although not the UK). This single was the first Kim Wilde had co-written herself. The first single released globally was a cover version of the Supremes hit "You Keep Me Hangin' On". In the United States it became Wilde's first number one on the Billboard Hot 100 chart, in the summer of 1987. It also reached No. 1 in Canada and Australia, and was almost equally successful in the UK, where it peaked at no. 2.
The next single was "Another Step (Closer to You)", a duet with English R&B singer Junior Giscombe, which went to top 10 in the UK. The third globally and final single off the album was "Say You Really Want Me", which caused a minor controversy when the video was banned from children's programming because it showed Kim writhing on a bed having fun with a pearl necklace. Despite the raunchy image and publicity which accompanied the specially-remixed song, it didn't set the charts alight and the album saw no further single releases. The album reached US No. 40, her only album to do better in America than in the UK, where it only hit No. 88 on the first release. Elsewhere, the album was a massive success in Norway, where it hit No. 2, and in Canada, where it hit No. 11, and selling Gold.
All of the tracks on Another Step were a departure from the synth-pop sound of the previous studio albums. There were more guitars than before: "The Thrill of It" and "I've Got So Much Love" had a distinctive 'rock' feel. The final five songs were ballads, the most noteworthy being Kim's self-penned and produced "Don't Say Nothing's Changed" which closed the album.
A re-package of this album was released a few months after the initial launch, with a new sleeve design and the addition of bonus tracks, and this time the album made it to number 73 on the UK Albums Chart. Although this failed to reignite interest, it has since become a collectors item for fans.
Kim Wilde cemented her reputation as a singles artist with this album, as again overall sales were disappointing despite the huge success of the songs released from it. She has since voiced her regret that she did not put more effort into cracking the US market after she had scored her first number one hit there.
Critical response
Writing for Melody Maker, Caroline Sullivan called Another Step "her best LP ever" and praised Wilde for embracing her camp appeal. Comparing "Missing" to the work of Kathy Kirby, Sullivan elaborated; "side two in its entirity [sic] could have been airlifted directly from 1962, when a song was a song and, as such, afforded properly melodramatic treatment." More praise was reserved for the "tenderness and poignancy" in her voice, a quality the reviewer compared to that of Marie Osmond. A second review for Melody Maker (this time by Mick Mercer) was less positive, describing her "small voice and very limited range" as "hopelessly unconvincing when approaching anything remotely resembling balladeering territory". The Age praised "You Keep Me Hangin' On" and "Hit Him" but found the rest of the first half of the album to be "quite undistinguishable." Side two was described as "much more appealing", with the self-written and jazz-influenced "Don't Say Nothing's Changed" singled out for praise along with the preceding "How Do You Want My Love". Northamptonshire Evening Telegraph found Wilde's vocals "attractive rather than arresting" and singled out "I've Got So Much Love" as a Sheena Easton-style soaring ballad. A reviewer for the Manchester Evening News unfavorably compared "I've Got So Much Love" to the work of Pat Benatar but found the "sugary soul" of tracks like "She Hasn't Got Time for You" and "Brothers" slightly more pleasing. Despite comparing Wilde's bared midriff on the front cover to Madonna and noting the influence of Michael Jackson in "The Thrill of It", Smash Hits found the sound on the album to be "firmly entrenched in her old "Kids in America" style" and described "You Keep Me Hangin' On" as a "brutal massacre of the old Supremes classic". A short review in Just Seventeen described the singer as "The girl who was Madonna before Madonna ever thought about making records". Q described the first track as "a remarkably drab version" and said of the sound of the record – "if you've followed her career to date you've practically heard this album already -bassy synths, crunching guitars and the rebel-by-numbers yell you'd expect to hear emanating from a leather clad blonde."
Track listing
Side one
"You Keep Me Hangin' On" (Holland-Dozier-Holland) – 4:10
"Hit Him" (O.S. Blandamer) – 3:32
"Another Step (Closer to You)" (Kim Wilde, Steve Byrd) – 3:18
"The Thrill of It" (Kim Wilde, Steve Byrd) – 3:51
"I've Got So Much Love" (Kim Wilde, Marty Wilde, Ricky Wilde) – 2:55
"Victim" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:01
"Schoolgirl" (Kim Wilde, Marty Wilde, Ricky Wilde) – 3:35Side two
"Say You Really Want Me" (Danny Sembello, Donnell Spencer, Jr., Richard Rudolph) – 3:40
"She Hasn't Got Time for You" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:12
"Brothers" (Marty Wilde, Ricky Wilde) – 4:44
"Missing" (Kim Wilde, Steve Byrd) – 4:23
"How Do You Want My Love" (Kim Wilde, Ricky Wilde) – 3:53
"Don't Say Nothing's Changed" (Kim Wilde) – 3:53"Victim" only included on the Cassette and Compact disc versionsBonus tracks (2010 remastered CD edition)
"Songs About Love" (Kim Wilde) ("Schoolgirl" B-side) – 4:55
"Loving You" (Kim Wilde, Ricky Wilde) ("You Keep Me Hangin' On" B-side) – 4:56
"Hold Back" (Ricky Wilde, Marty Wilde) ("Another Step (Closer to You)" B-side) – 3:58
"Another Step (Closer to You)" (7" version) – 3:30
"Say You Really Want Me" (7" version) – 4:03Bonus CD (2010 remastered CD edition)
"Schoolgirl" (Head Master Mix) – 6:33
"You Keep Me Hangin' On" (W.C.H Club Mix) – 6:27
"You Keep Me Hangin' On" (W.C.H Mix) – 9:06
"Another Step (Closer To You)" (Extended Mix) – 5:53
"Say You Really Want Me" (Extended Version) – 6:34
"Say You Really Want Me" (The Video Remix) – 9:47
"Say You Really Want Me" (David Todd Remix) – 5:44
"Say You Really Want Me" (Radio Edit) – 5:09
"Say You Really Want Me" (Instrumental) – 4:22
"Say You Really Want Me" (7" US Version) – 3:30
"Say You Really Want Me" (7" Promo/North American Album Version) (Incorrectly labelled as Urban Version) – 3:57
"Megamix" (You Keep Me Hangin' On / Another Step (Closer to You) / Say You Really Want Me) – 8:05
Personnel
Kim Wilde – lead and backing vocals, synthesizers (11), drum programming (11)
Ricky Wilde – synthesizers (1-5, 7, 9, 10, 11, 13), Fairlight III programming (1-5, 7, 9, 10, 11, 13), backing vocals (2, 9), guitars (10)
Paul Fox – synthesizers (6, 12), synthesizer programming (6, 12), additional arrangements (6, 12)
Reinhold Heil – keyboards (7), Fairlight III programming (7)
Danny Sembello – keyboards (8), arrangements (8)
Guy Fletcher – keyboards (10), synthesizers (10)
Steve Byrd – guitars (1-7, 9, 11, 13), backing vocals (2)
Gary Twigg – bass (3, 4, 5, 9, 10, 11, 13)
Matt Letley – drums (3, 4, 5, 9, 11, 13)
Richard James Burgess – drums (6, 12), drum programming (6, 12), percussion (6, 12)
Pete Schweir – drum programming (11)
Simon Clarke – alto saxophone (2), baritone saxophone (2)
Tim Sanders – tenor saxophone (2)
Roddy Lorimer – trumpet (2)
The Kick Horns – horn arrangements (2)
Oscar Blandamer – horn arrangements (2)
Junior Giscombe – guest vocals (3)
Don Haywoode – backing vocals (7)
Emma Haywoode – backing vocals (7)
Lisa Fischer – backing vocals (12)
Paulette McWilliams – backing vocals (12)
Myrna Smith-Schilling – backing vocals (12)
Production
Ricky Wilde – producer (1-5, 7, 9, 10, 11, 13), remixing (5)
Richard James Burgess – producer (6, 12)
Reinhold Heil – producer (7)
Richard Rudolph – producer (8)
Bruce Swedien – producer (8), recording (8), mixing (8)
Rod Temperton – producer (8)
Kim Wilde – producer (11)
Pete Schweir – engineer (1-5, 7, 9, 10, 11, 13)
Frank Roszak – engineer (6, 12)
Phill Brown – remixing (6)
Simon Marsh – art direction, design, photography
Jeff Adamoff – art direction (CD)
Dick Bouchard – artwork and design (CD)
Jeff Lancaster – artwork and design (CD)
Charts
Certifications and sales
References
External links
Another Step at Discogs (list of releases) | language of work or name | {
"answer_start": [
42
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"text": [
"English"
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} |
Another Step is the fifth studio album by English pop singer Kim Wilde, released on 3 November 1986 by MCA Records. The album contained her comeback worldwide hit "You Keep Me Hangin' On", which reached No. 1 in the US, as well as the UK top 10 hit "Another Step (Closer to You)" and "Say You Really Want Me".
Overview
The album contained 12 tracks (13 on the CD and cassette) and a varied team of songwriters, as well as Wilde herself co-writing more than half of the tracks. The first half was uptempo, whereas the second consisted of ballads. Most of the tracks were produced by Ricky Wilde, but there were also production duties fulfilled by Rod Temperton and Bruce Swedien known for working with Michael Jackson and there were also Reinhold Heil, Richard James Burgess and Dick Rudolph.
The album's first single was "Schoolgirl", which was released only in Australia and several European countries (although not the UK). This single was the first Kim Wilde had co-written herself. The first single released globally was a cover version of the Supremes hit "You Keep Me Hangin' On". In the United States it became Wilde's first number one on the Billboard Hot 100 chart, in the summer of 1987. It also reached No. 1 in Canada and Australia, and was almost equally successful in the UK, where it peaked at no. 2.
The next single was "Another Step (Closer to You)", a duet with English R&B singer Junior Giscombe, which went to top 10 in the UK. The third globally and final single off the album was "Say You Really Want Me", which caused a minor controversy when the video was banned from children's programming because it showed Kim writhing on a bed having fun with a pearl necklace. Despite the raunchy image and publicity which accompanied the specially-remixed song, it didn't set the charts alight and the album saw no further single releases. The album reached US No. 40, her only album to do better in America than in the UK, where it only hit No. 88 on the first release. Elsewhere, the album was a massive success in Norway, where it hit No. 2, and in Canada, where it hit No. 11, and selling Gold.
All of the tracks on Another Step were a departure from the synth-pop sound of the previous studio albums. There were more guitars than before: "The Thrill of It" and "I've Got So Much Love" had a distinctive 'rock' feel. The final five songs were ballads, the most noteworthy being Kim's self-penned and produced "Don't Say Nothing's Changed" which closed the album.
A re-package of this album was released a few months after the initial launch, with a new sleeve design and the addition of bonus tracks, and this time the album made it to number 73 on the UK Albums Chart. Although this failed to reignite interest, it has since become a collectors item for fans.
Kim Wilde cemented her reputation as a singles artist with this album, as again overall sales were disappointing despite the huge success of the songs released from it. She has since voiced her regret that she did not put more effort into cracking the US market after she had scored her first number one hit there.
Critical response
Writing for Melody Maker, Caroline Sullivan called Another Step "her best LP ever" and praised Wilde for embracing her camp appeal. Comparing "Missing" to the work of Kathy Kirby, Sullivan elaborated; "side two in its entirity [sic] could have been airlifted directly from 1962, when a song was a song and, as such, afforded properly melodramatic treatment." More praise was reserved for the "tenderness and poignancy" in her voice, a quality the reviewer compared to that of Marie Osmond. A second review for Melody Maker (this time by Mick Mercer) was less positive, describing her "small voice and very limited range" as "hopelessly unconvincing when approaching anything remotely resembling balladeering territory". The Age praised "You Keep Me Hangin' On" and "Hit Him" but found the rest of the first half of the album to be "quite undistinguishable." Side two was described as "much more appealing", with the self-written and jazz-influenced "Don't Say Nothing's Changed" singled out for praise along with the preceding "How Do You Want My Love". Northamptonshire Evening Telegraph found Wilde's vocals "attractive rather than arresting" and singled out "I've Got So Much Love" as a Sheena Easton-style soaring ballad. A reviewer for the Manchester Evening News unfavorably compared "I've Got So Much Love" to the work of Pat Benatar but found the "sugary soul" of tracks like "She Hasn't Got Time for You" and "Brothers" slightly more pleasing. Despite comparing Wilde's bared midriff on the front cover to Madonna and noting the influence of Michael Jackson in "The Thrill of It", Smash Hits found the sound on the album to be "firmly entrenched in her old "Kids in America" style" and described "You Keep Me Hangin' On" as a "brutal massacre of the old Supremes classic". A short review in Just Seventeen described the singer as "The girl who was Madonna before Madonna ever thought about making records". Q described the first track as "a remarkably drab version" and said of the sound of the record – "if you've followed her career to date you've practically heard this album already -bassy synths, crunching guitars and the rebel-by-numbers yell you'd expect to hear emanating from a leather clad blonde."
Track listing
Side one
"You Keep Me Hangin' On" (Holland-Dozier-Holland) – 4:10
"Hit Him" (O.S. Blandamer) – 3:32
"Another Step (Closer to You)" (Kim Wilde, Steve Byrd) – 3:18
"The Thrill of It" (Kim Wilde, Steve Byrd) – 3:51
"I've Got So Much Love" (Kim Wilde, Marty Wilde, Ricky Wilde) – 2:55
"Victim" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:01
"Schoolgirl" (Kim Wilde, Marty Wilde, Ricky Wilde) – 3:35Side two
"Say You Really Want Me" (Danny Sembello, Donnell Spencer, Jr., Richard Rudolph) – 3:40
"She Hasn't Got Time for You" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:12
"Brothers" (Marty Wilde, Ricky Wilde) – 4:44
"Missing" (Kim Wilde, Steve Byrd) – 4:23
"How Do You Want My Love" (Kim Wilde, Ricky Wilde) – 3:53
"Don't Say Nothing's Changed" (Kim Wilde) – 3:53"Victim" only included on the Cassette and Compact disc versionsBonus tracks (2010 remastered CD edition)
"Songs About Love" (Kim Wilde) ("Schoolgirl" B-side) – 4:55
"Loving You" (Kim Wilde, Ricky Wilde) ("You Keep Me Hangin' On" B-side) – 4:56
"Hold Back" (Ricky Wilde, Marty Wilde) ("Another Step (Closer to You)" B-side) – 3:58
"Another Step (Closer to You)" (7" version) – 3:30
"Say You Really Want Me" (7" version) – 4:03Bonus CD (2010 remastered CD edition)
"Schoolgirl" (Head Master Mix) – 6:33
"You Keep Me Hangin' On" (W.C.H Club Mix) – 6:27
"You Keep Me Hangin' On" (W.C.H Mix) – 9:06
"Another Step (Closer To You)" (Extended Mix) – 5:53
"Say You Really Want Me" (Extended Version) – 6:34
"Say You Really Want Me" (The Video Remix) – 9:47
"Say You Really Want Me" (David Todd Remix) – 5:44
"Say You Really Want Me" (Radio Edit) – 5:09
"Say You Really Want Me" (Instrumental) – 4:22
"Say You Really Want Me" (7" US Version) – 3:30
"Say You Really Want Me" (7" Promo/North American Album Version) (Incorrectly labelled as Urban Version) – 3:57
"Megamix" (You Keep Me Hangin' On / Another Step (Closer to You) / Say You Really Want Me) – 8:05
Personnel
Kim Wilde – lead and backing vocals, synthesizers (11), drum programming (11)
Ricky Wilde – synthesizers (1-5, 7, 9, 10, 11, 13), Fairlight III programming (1-5, 7, 9, 10, 11, 13), backing vocals (2, 9), guitars (10)
Paul Fox – synthesizers (6, 12), synthesizer programming (6, 12), additional arrangements (6, 12)
Reinhold Heil – keyboards (7), Fairlight III programming (7)
Danny Sembello – keyboards (8), arrangements (8)
Guy Fletcher – keyboards (10), synthesizers (10)
Steve Byrd – guitars (1-7, 9, 11, 13), backing vocals (2)
Gary Twigg – bass (3, 4, 5, 9, 10, 11, 13)
Matt Letley – drums (3, 4, 5, 9, 11, 13)
Richard James Burgess – drums (6, 12), drum programming (6, 12), percussion (6, 12)
Pete Schweir – drum programming (11)
Simon Clarke – alto saxophone (2), baritone saxophone (2)
Tim Sanders – tenor saxophone (2)
Roddy Lorimer – trumpet (2)
The Kick Horns – horn arrangements (2)
Oscar Blandamer – horn arrangements (2)
Junior Giscombe – guest vocals (3)
Don Haywoode – backing vocals (7)
Emma Haywoode – backing vocals (7)
Lisa Fischer – backing vocals (12)
Paulette McWilliams – backing vocals (12)
Myrna Smith-Schilling – backing vocals (12)
Production
Ricky Wilde – producer (1-5, 7, 9, 10, 11, 13), remixing (5)
Richard James Burgess – producer (6, 12)
Reinhold Heil – producer (7)
Richard Rudolph – producer (8)
Bruce Swedien – producer (8), recording (8), mixing (8)
Rod Temperton – producer (8)
Kim Wilde – producer (11)
Pete Schweir – engineer (1-5, 7, 9, 10, 11, 13)
Frank Roszak – engineer (6, 12)
Phill Brown – remixing (6)
Simon Marsh – art direction, design, photography
Jeff Adamoff – art direction (CD)
Dick Bouchard – artwork and design (CD)
Jeff Lancaster – artwork and design (CD)
Charts
Certifications and sales
References
External links
Another Step at Discogs (list of releases) | review score | {
"answer_start": [
341
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"text": [
"2"
]
} |
Another Step is the fifth studio album by English pop singer Kim Wilde, released on 3 November 1986 by MCA Records. The album contained her comeback worldwide hit "You Keep Me Hangin' On", which reached No. 1 in the US, as well as the UK top 10 hit "Another Step (Closer to You)" and "Say You Really Want Me".
Overview
The album contained 12 tracks (13 on the CD and cassette) and a varied team of songwriters, as well as Wilde herself co-writing more than half of the tracks. The first half was uptempo, whereas the second consisted of ballads. Most of the tracks were produced by Ricky Wilde, but there were also production duties fulfilled by Rod Temperton and Bruce Swedien known for working with Michael Jackson and there were also Reinhold Heil, Richard James Burgess and Dick Rudolph.
The album's first single was "Schoolgirl", which was released only in Australia and several European countries (although not the UK). This single was the first Kim Wilde had co-written herself. The first single released globally was a cover version of the Supremes hit "You Keep Me Hangin' On". In the United States it became Wilde's first number one on the Billboard Hot 100 chart, in the summer of 1987. It also reached No. 1 in Canada and Australia, and was almost equally successful in the UK, where it peaked at no. 2.
The next single was "Another Step (Closer to You)", a duet with English R&B singer Junior Giscombe, which went to top 10 in the UK. The third globally and final single off the album was "Say You Really Want Me", which caused a minor controversy when the video was banned from children's programming because it showed Kim writhing on a bed having fun with a pearl necklace. Despite the raunchy image and publicity which accompanied the specially-remixed song, it didn't set the charts alight and the album saw no further single releases. The album reached US No. 40, her only album to do better in America than in the UK, where it only hit No. 88 on the first release. Elsewhere, the album was a massive success in Norway, where it hit No. 2, and in Canada, where it hit No. 11, and selling Gold.
All of the tracks on Another Step were a departure from the synth-pop sound of the previous studio albums. There were more guitars than before: "The Thrill of It" and "I've Got So Much Love" had a distinctive 'rock' feel. The final five songs were ballads, the most noteworthy being Kim's self-penned and produced "Don't Say Nothing's Changed" which closed the album.
A re-package of this album was released a few months after the initial launch, with a new sleeve design and the addition of bonus tracks, and this time the album made it to number 73 on the UK Albums Chart. Although this failed to reignite interest, it has since become a collectors item for fans.
Kim Wilde cemented her reputation as a singles artist with this album, as again overall sales were disappointing despite the huge success of the songs released from it. She has since voiced her regret that she did not put more effort into cracking the US market after she had scored her first number one hit there.
Critical response
Writing for Melody Maker, Caroline Sullivan called Another Step "her best LP ever" and praised Wilde for embracing her camp appeal. Comparing "Missing" to the work of Kathy Kirby, Sullivan elaborated; "side two in its entirity [sic] could have been airlifted directly from 1962, when a song was a song and, as such, afforded properly melodramatic treatment." More praise was reserved for the "tenderness and poignancy" in her voice, a quality the reviewer compared to that of Marie Osmond. A second review for Melody Maker (this time by Mick Mercer) was less positive, describing her "small voice and very limited range" as "hopelessly unconvincing when approaching anything remotely resembling balladeering territory". The Age praised "You Keep Me Hangin' On" and "Hit Him" but found the rest of the first half of the album to be "quite undistinguishable." Side two was described as "much more appealing", with the self-written and jazz-influenced "Don't Say Nothing's Changed" singled out for praise along with the preceding "How Do You Want My Love". Northamptonshire Evening Telegraph found Wilde's vocals "attractive rather than arresting" and singled out "I've Got So Much Love" as a Sheena Easton-style soaring ballad. A reviewer for the Manchester Evening News unfavorably compared "I've Got So Much Love" to the work of Pat Benatar but found the "sugary soul" of tracks like "She Hasn't Got Time for You" and "Brothers" slightly more pleasing. Despite comparing Wilde's bared midriff on the front cover to Madonna and noting the influence of Michael Jackson in "The Thrill of It", Smash Hits found the sound on the album to be "firmly entrenched in her old "Kids in America" style" and described "You Keep Me Hangin' On" as a "brutal massacre of the old Supremes classic". A short review in Just Seventeen described the singer as "The girl who was Madonna before Madonna ever thought about making records". Q described the first track as "a remarkably drab version" and said of the sound of the record – "if you've followed her career to date you've practically heard this album already -bassy synths, crunching guitars and the rebel-by-numbers yell you'd expect to hear emanating from a leather clad blonde."
Track listing
Side one
"You Keep Me Hangin' On" (Holland-Dozier-Holland) – 4:10
"Hit Him" (O.S. Blandamer) – 3:32
"Another Step (Closer to You)" (Kim Wilde, Steve Byrd) – 3:18
"The Thrill of It" (Kim Wilde, Steve Byrd) – 3:51
"I've Got So Much Love" (Kim Wilde, Marty Wilde, Ricky Wilde) – 2:55
"Victim" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:01
"Schoolgirl" (Kim Wilde, Marty Wilde, Ricky Wilde) – 3:35Side two
"Say You Really Want Me" (Danny Sembello, Donnell Spencer, Jr., Richard Rudolph) – 3:40
"She Hasn't Got Time for You" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:12
"Brothers" (Marty Wilde, Ricky Wilde) – 4:44
"Missing" (Kim Wilde, Steve Byrd) – 4:23
"How Do You Want My Love" (Kim Wilde, Ricky Wilde) – 3:53
"Don't Say Nothing's Changed" (Kim Wilde) – 3:53"Victim" only included on the Cassette and Compact disc versionsBonus tracks (2010 remastered CD edition)
"Songs About Love" (Kim Wilde) ("Schoolgirl" B-side) – 4:55
"Loving You" (Kim Wilde, Ricky Wilde) ("You Keep Me Hangin' On" B-side) – 4:56
"Hold Back" (Ricky Wilde, Marty Wilde) ("Another Step (Closer to You)" B-side) – 3:58
"Another Step (Closer to You)" (7" version) – 3:30
"Say You Really Want Me" (7" version) – 4:03Bonus CD (2010 remastered CD edition)
"Schoolgirl" (Head Master Mix) – 6:33
"You Keep Me Hangin' On" (W.C.H Club Mix) – 6:27
"You Keep Me Hangin' On" (W.C.H Mix) – 9:06
"Another Step (Closer To You)" (Extended Mix) – 5:53
"Say You Really Want Me" (Extended Version) – 6:34
"Say You Really Want Me" (The Video Remix) – 9:47
"Say You Really Want Me" (David Todd Remix) – 5:44
"Say You Really Want Me" (Radio Edit) – 5:09
"Say You Really Want Me" (Instrumental) – 4:22
"Say You Really Want Me" (7" US Version) – 3:30
"Say You Really Want Me" (7" Promo/North American Album Version) (Incorrectly labelled as Urban Version) – 3:57
"Megamix" (You Keep Me Hangin' On / Another Step (Closer to You) / Say You Really Want Me) – 8:05
Personnel
Kim Wilde – lead and backing vocals, synthesizers (11), drum programming (11)
Ricky Wilde – synthesizers (1-5, 7, 9, 10, 11, 13), Fairlight III programming (1-5, 7, 9, 10, 11, 13), backing vocals (2, 9), guitars (10)
Paul Fox – synthesizers (6, 12), synthesizer programming (6, 12), additional arrangements (6, 12)
Reinhold Heil – keyboards (7), Fairlight III programming (7)
Danny Sembello – keyboards (8), arrangements (8)
Guy Fletcher – keyboards (10), synthesizers (10)
Steve Byrd – guitars (1-7, 9, 11, 13), backing vocals (2)
Gary Twigg – bass (3, 4, 5, 9, 10, 11, 13)
Matt Letley – drums (3, 4, 5, 9, 11, 13)
Richard James Burgess – drums (6, 12), drum programming (6, 12), percussion (6, 12)
Pete Schweir – drum programming (11)
Simon Clarke – alto saxophone (2), baritone saxophone (2)
Tim Sanders – tenor saxophone (2)
Roddy Lorimer – trumpet (2)
The Kick Horns – horn arrangements (2)
Oscar Blandamer – horn arrangements (2)
Junior Giscombe – guest vocals (3)
Don Haywoode – backing vocals (7)
Emma Haywoode – backing vocals (7)
Lisa Fischer – backing vocals (12)
Paulette McWilliams – backing vocals (12)
Myrna Smith-Schilling – backing vocals (12)
Production
Ricky Wilde – producer (1-5, 7, 9, 10, 11, 13), remixing (5)
Richard James Burgess – producer (6, 12)
Reinhold Heil – producer (7)
Richard Rudolph – producer (8)
Bruce Swedien – producer (8), recording (8), mixing (8)
Rod Temperton – producer (8)
Kim Wilde – producer (11)
Pete Schweir – engineer (1-5, 7, 9, 10, 11, 13)
Frank Roszak – engineer (6, 12)
Phill Brown – remixing (6)
Simon Marsh – art direction, design, photography
Jeff Adamoff – art direction (CD)
Dick Bouchard – artwork and design (CD)
Jeff Lancaster – artwork and design (CD)
Charts
Certifications and sales
References
External links
Another Step at Discogs (list of releases) | title | {
"answer_start": [
0
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"text": [
"Another Step"
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Another Step is the fifth studio album by English pop singer Kim Wilde, released on 3 November 1986 by MCA Records. The album contained her comeback worldwide hit "You Keep Me Hangin' On", which reached No. 1 in the US, as well as the UK top 10 hit "Another Step (Closer to You)" and "Say You Really Want Me".
Overview
The album contained 12 tracks (13 on the CD and cassette) and a varied team of songwriters, as well as Wilde herself co-writing more than half of the tracks. The first half was uptempo, whereas the second consisted of ballads. Most of the tracks were produced by Ricky Wilde, but there were also production duties fulfilled by Rod Temperton and Bruce Swedien known for working with Michael Jackson and there were also Reinhold Heil, Richard James Burgess and Dick Rudolph.
The album's first single was "Schoolgirl", which was released only in Australia and several European countries (although not the UK). This single was the first Kim Wilde had co-written herself. The first single released globally was a cover version of the Supremes hit "You Keep Me Hangin' On". In the United States it became Wilde's first number one on the Billboard Hot 100 chart, in the summer of 1987. It also reached No. 1 in Canada and Australia, and was almost equally successful in the UK, where it peaked at no. 2.
The next single was "Another Step (Closer to You)", a duet with English R&B singer Junior Giscombe, which went to top 10 in the UK. The third globally and final single off the album was "Say You Really Want Me", which caused a minor controversy when the video was banned from children's programming because it showed Kim writhing on a bed having fun with a pearl necklace. Despite the raunchy image and publicity which accompanied the specially-remixed song, it didn't set the charts alight and the album saw no further single releases. The album reached US No. 40, her only album to do better in America than in the UK, where it only hit No. 88 on the first release. Elsewhere, the album was a massive success in Norway, where it hit No. 2, and in Canada, where it hit No. 11, and selling Gold.
All of the tracks on Another Step were a departure from the synth-pop sound of the previous studio albums. There were more guitars than before: "The Thrill of It" and "I've Got So Much Love" had a distinctive 'rock' feel. The final five songs were ballads, the most noteworthy being Kim's self-penned and produced "Don't Say Nothing's Changed" which closed the album.
A re-package of this album was released a few months after the initial launch, with a new sleeve design and the addition of bonus tracks, and this time the album made it to number 73 on the UK Albums Chart. Although this failed to reignite interest, it has since become a collectors item for fans.
Kim Wilde cemented her reputation as a singles artist with this album, as again overall sales were disappointing despite the huge success of the songs released from it. She has since voiced her regret that she did not put more effort into cracking the US market after she had scored her first number one hit there.
Critical response
Writing for Melody Maker, Caroline Sullivan called Another Step "her best LP ever" and praised Wilde for embracing her camp appeal. Comparing "Missing" to the work of Kathy Kirby, Sullivan elaborated; "side two in its entirity [sic] could have been airlifted directly from 1962, when a song was a song and, as such, afforded properly melodramatic treatment." More praise was reserved for the "tenderness and poignancy" in her voice, a quality the reviewer compared to that of Marie Osmond. A second review for Melody Maker (this time by Mick Mercer) was less positive, describing her "small voice and very limited range" as "hopelessly unconvincing when approaching anything remotely resembling balladeering territory". The Age praised "You Keep Me Hangin' On" and "Hit Him" but found the rest of the first half of the album to be "quite undistinguishable." Side two was described as "much more appealing", with the self-written and jazz-influenced "Don't Say Nothing's Changed" singled out for praise along with the preceding "How Do You Want My Love". Northamptonshire Evening Telegraph found Wilde's vocals "attractive rather than arresting" and singled out "I've Got So Much Love" as a Sheena Easton-style soaring ballad. A reviewer for the Manchester Evening News unfavorably compared "I've Got So Much Love" to the work of Pat Benatar but found the "sugary soul" of tracks like "She Hasn't Got Time for You" and "Brothers" slightly more pleasing. Despite comparing Wilde's bared midriff on the front cover to Madonna and noting the influence of Michael Jackson in "The Thrill of It", Smash Hits found the sound on the album to be "firmly entrenched in her old "Kids in America" style" and described "You Keep Me Hangin' On" as a "brutal massacre of the old Supremes classic". A short review in Just Seventeen described the singer as "The girl who was Madonna before Madonna ever thought about making records". Q described the first track as "a remarkably drab version" and said of the sound of the record – "if you've followed her career to date you've practically heard this album already -bassy synths, crunching guitars and the rebel-by-numbers yell you'd expect to hear emanating from a leather clad blonde."
Track listing
Side one
"You Keep Me Hangin' On" (Holland-Dozier-Holland) – 4:10
"Hit Him" (O.S. Blandamer) – 3:32
"Another Step (Closer to You)" (Kim Wilde, Steve Byrd) – 3:18
"The Thrill of It" (Kim Wilde, Steve Byrd) – 3:51
"I've Got So Much Love" (Kim Wilde, Marty Wilde, Ricky Wilde) – 2:55
"Victim" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:01
"Schoolgirl" (Kim Wilde, Marty Wilde, Ricky Wilde) – 3:35Side two
"Say You Really Want Me" (Danny Sembello, Donnell Spencer, Jr., Richard Rudolph) – 3:40
"She Hasn't Got Time for You" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:12
"Brothers" (Marty Wilde, Ricky Wilde) – 4:44
"Missing" (Kim Wilde, Steve Byrd) – 4:23
"How Do You Want My Love" (Kim Wilde, Ricky Wilde) – 3:53
"Don't Say Nothing's Changed" (Kim Wilde) – 3:53"Victim" only included on the Cassette and Compact disc versionsBonus tracks (2010 remastered CD edition)
"Songs About Love" (Kim Wilde) ("Schoolgirl" B-side) – 4:55
"Loving You" (Kim Wilde, Ricky Wilde) ("You Keep Me Hangin' On" B-side) – 4:56
"Hold Back" (Ricky Wilde, Marty Wilde) ("Another Step (Closer to You)" B-side) – 3:58
"Another Step (Closer to You)" (7" version) – 3:30
"Say You Really Want Me" (7" version) – 4:03Bonus CD (2010 remastered CD edition)
"Schoolgirl" (Head Master Mix) – 6:33
"You Keep Me Hangin' On" (W.C.H Club Mix) – 6:27
"You Keep Me Hangin' On" (W.C.H Mix) – 9:06
"Another Step (Closer To You)" (Extended Mix) – 5:53
"Say You Really Want Me" (Extended Version) – 6:34
"Say You Really Want Me" (The Video Remix) – 9:47
"Say You Really Want Me" (David Todd Remix) – 5:44
"Say You Really Want Me" (Radio Edit) – 5:09
"Say You Really Want Me" (Instrumental) – 4:22
"Say You Really Want Me" (7" US Version) – 3:30
"Say You Really Want Me" (7" Promo/North American Album Version) (Incorrectly labelled as Urban Version) – 3:57
"Megamix" (You Keep Me Hangin' On / Another Step (Closer to You) / Say You Really Want Me) – 8:05
Personnel
Kim Wilde – lead and backing vocals, synthesizers (11), drum programming (11)
Ricky Wilde – synthesizers (1-5, 7, 9, 10, 11, 13), Fairlight III programming (1-5, 7, 9, 10, 11, 13), backing vocals (2, 9), guitars (10)
Paul Fox – synthesizers (6, 12), synthesizer programming (6, 12), additional arrangements (6, 12)
Reinhold Heil – keyboards (7), Fairlight III programming (7)
Danny Sembello – keyboards (8), arrangements (8)
Guy Fletcher – keyboards (10), synthesizers (10)
Steve Byrd – guitars (1-7, 9, 11, 13), backing vocals (2)
Gary Twigg – bass (3, 4, 5, 9, 10, 11, 13)
Matt Letley – drums (3, 4, 5, 9, 11, 13)
Richard James Burgess – drums (6, 12), drum programming (6, 12), percussion (6, 12)
Pete Schweir – drum programming (11)
Simon Clarke – alto saxophone (2), baritone saxophone (2)
Tim Sanders – tenor saxophone (2)
Roddy Lorimer – trumpet (2)
The Kick Horns – horn arrangements (2)
Oscar Blandamer – horn arrangements (2)
Junior Giscombe – guest vocals (3)
Don Haywoode – backing vocals (7)
Emma Haywoode – backing vocals (7)
Lisa Fischer – backing vocals (12)
Paulette McWilliams – backing vocals (12)
Myrna Smith-Schilling – backing vocals (12)
Production
Ricky Wilde – producer (1-5, 7, 9, 10, 11, 13), remixing (5)
Richard James Burgess – producer (6, 12)
Reinhold Heil – producer (7)
Richard Rudolph – producer (8)
Bruce Swedien – producer (8), recording (8), mixing (8)
Rod Temperton – producer (8)
Kim Wilde – producer (11)
Pete Schweir – engineer (1-5, 7, 9, 10, 11, 13)
Frank Roszak – engineer (6, 12)
Phill Brown – remixing (6)
Simon Marsh – art direction, design, photography
Jeff Adamoff – art direction (CD)
Dick Bouchard – artwork and design (CD)
Jeff Lancaster – artwork and design (CD)
Charts
Certifications and sales
References
External links
Another Step at Discogs (list of releases) | number of parts of this work | {
"answer_start": [
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"text": [
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Another Step is the fifth studio album by English pop singer Kim Wilde, released on 3 November 1986 by MCA Records. The album contained her comeback worldwide hit "You Keep Me Hangin' On", which reached No. 1 in the US, as well as the UK top 10 hit "Another Step (Closer to You)" and "Say You Really Want Me".
Overview
The album contained 12 tracks (13 on the CD and cassette) and a varied team of songwriters, as well as Wilde herself co-writing more than half of the tracks. The first half was uptempo, whereas the second consisted of ballads. Most of the tracks were produced by Ricky Wilde, but there were also production duties fulfilled by Rod Temperton and Bruce Swedien known for working with Michael Jackson and there were also Reinhold Heil, Richard James Burgess and Dick Rudolph.
The album's first single was "Schoolgirl", which was released only in Australia and several European countries (although not the UK). This single was the first Kim Wilde had co-written herself. The first single released globally was a cover version of the Supremes hit "You Keep Me Hangin' On". In the United States it became Wilde's first number one on the Billboard Hot 100 chart, in the summer of 1987. It also reached No. 1 in Canada and Australia, and was almost equally successful in the UK, where it peaked at no. 2.
The next single was "Another Step (Closer to You)", a duet with English R&B singer Junior Giscombe, which went to top 10 in the UK. The third globally and final single off the album was "Say You Really Want Me", which caused a minor controversy when the video was banned from children's programming because it showed Kim writhing on a bed having fun with a pearl necklace. Despite the raunchy image and publicity which accompanied the specially-remixed song, it didn't set the charts alight and the album saw no further single releases. The album reached US No. 40, her only album to do better in America than in the UK, where it only hit No. 88 on the first release. Elsewhere, the album was a massive success in Norway, where it hit No. 2, and in Canada, where it hit No. 11, and selling Gold.
All of the tracks on Another Step were a departure from the synth-pop sound of the previous studio albums. There were more guitars than before: "The Thrill of It" and "I've Got So Much Love" had a distinctive 'rock' feel. The final five songs were ballads, the most noteworthy being Kim's self-penned and produced "Don't Say Nothing's Changed" which closed the album.
A re-package of this album was released a few months after the initial launch, with a new sleeve design and the addition of bonus tracks, and this time the album made it to number 73 on the UK Albums Chart. Although this failed to reignite interest, it has since become a collectors item for fans.
Kim Wilde cemented her reputation as a singles artist with this album, as again overall sales were disappointing despite the huge success of the songs released from it. She has since voiced her regret that she did not put more effort into cracking the US market after she had scored her first number one hit there.
Critical response
Writing for Melody Maker, Caroline Sullivan called Another Step "her best LP ever" and praised Wilde for embracing her camp appeal. Comparing "Missing" to the work of Kathy Kirby, Sullivan elaborated; "side two in its entirity [sic] could have been airlifted directly from 1962, when a song was a song and, as such, afforded properly melodramatic treatment." More praise was reserved for the "tenderness and poignancy" in her voice, a quality the reviewer compared to that of Marie Osmond. A second review for Melody Maker (this time by Mick Mercer) was less positive, describing her "small voice and very limited range" as "hopelessly unconvincing when approaching anything remotely resembling balladeering territory". The Age praised "You Keep Me Hangin' On" and "Hit Him" but found the rest of the first half of the album to be "quite undistinguishable." Side two was described as "much more appealing", with the self-written and jazz-influenced "Don't Say Nothing's Changed" singled out for praise along with the preceding "How Do You Want My Love". Northamptonshire Evening Telegraph found Wilde's vocals "attractive rather than arresting" and singled out "I've Got So Much Love" as a Sheena Easton-style soaring ballad. A reviewer for the Manchester Evening News unfavorably compared "I've Got So Much Love" to the work of Pat Benatar but found the "sugary soul" of tracks like "She Hasn't Got Time for You" and "Brothers" slightly more pleasing. Despite comparing Wilde's bared midriff on the front cover to Madonna and noting the influence of Michael Jackson in "The Thrill of It", Smash Hits found the sound on the album to be "firmly entrenched in her old "Kids in America" style" and described "You Keep Me Hangin' On" as a "brutal massacre of the old Supremes classic". A short review in Just Seventeen described the singer as "The girl who was Madonna before Madonna ever thought about making records". Q described the first track as "a remarkably drab version" and said of the sound of the record – "if you've followed her career to date you've practically heard this album already -bassy synths, crunching guitars and the rebel-by-numbers yell you'd expect to hear emanating from a leather clad blonde."
Track listing
Side one
"You Keep Me Hangin' On" (Holland-Dozier-Holland) – 4:10
"Hit Him" (O.S. Blandamer) – 3:32
"Another Step (Closer to You)" (Kim Wilde, Steve Byrd) – 3:18
"The Thrill of It" (Kim Wilde, Steve Byrd) – 3:51
"I've Got So Much Love" (Kim Wilde, Marty Wilde, Ricky Wilde) – 2:55
"Victim" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:01
"Schoolgirl" (Kim Wilde, Marty Wilde, Ricky Wilde) – 3:35Side two
"Say You Really Want Me" (Danny Sembello, Donnell Spencer, Jr., Richard Rudolph) – 3:40
"She Hasn't Got Time for You" (Kim Wilde, Marty Wilde, Ricky Wilde) – 4:12
"Brothers" (Marty Wilde, Ricky Wilde) – 4:44
"Missing" (Kim Wilde, Steve Byrd) – 4:23
"How Do You Want My Love" (Kim Wilde, Ricky Wilde) – 3:53
"Don't Say Nothing's Changed" (Kim Wilde) – 3:53"Victim" only included on the Cassette and Compact disc versionsBonus tracks (2010 remastered CD edition)
"Songs About Love" (Kim Wilde) ("Schoolgirl" B-side) – 4:55
"Loving You" (Kim Wilde, Ricky Wilde) ("You Keep Me Hangin' On" B-side) – 4:56
"Hold Back" (Ricky Wilde, Marty Wilde) ("Another Step (Closer to You)" B-side) – 3:58
"Another Step (Closer to You)" (7" version) – 3:30
"Say You Really Want Me" (7" version) – 4:03Bonus CD (2010 remastered CD edition)
"Schoolgirl" (Head Master Mix) – 6:33
"You Keep Me Hangin' On" (W.C.H Club Mix) – 6:27
"You Keep Me Hangin' On" (W.C.H Mix) – 9:06
"Another Step (Closer To You)" (Extended Mix) – 5:53
"Say You Really Want Me" (Extended Version) – 6:34
"Say You Really Want Me" (The Video Remix) – 9:47
"Say You Really Want Me" (David Todd Remix) – 5:44
"Say You Really Want Me" (Radio Edit) – 5:09
"Say You Really Want Me" (Instrumental) – 4:22
"Say You Really Want Me" (7" US Version) – 3:30
"Say You Really Want Me" (7" Promo/North American Album Version) (Incorrectly labelled as Urban Version) – 3:57
"Megamix" (You Keep Me Hangin' On / Another Step (Closer to You) / Say You Really Want Me) – 8:05
Personnel
Kim Wilde – lead and backing vocals, synthesizers (11), drum programming (11)
Ricky Wilde – synthesizers (1-5, 7, 9, 10, 11, 13), Fairlight III programming (1-5, 7, 9, 10, 11, 13), backing vocals (2, 9), guitars (10)
Paul Fox – synthesizers (6, 12), synthesizer programming (6, 12), additional arrangements (6, 12)
Reinhold Heil – keyboards (7), Fairlight III programming (7)
Danny Sembello – keyboards (8), arrangements (8)
Guy Fletcher – keyboards (10), synthesizers (10)
Steve Byrd – guitars (1-7, 9, 11, 13), backing vocals (2)
Gary Twigg – bass (3, 4, 5, 9, 10, 11, 13)
Matt Letley – drums (3, 4, 5, 9, 11, 13)
Richard James Burgess – drums (6, 12), drum programming (6, 12), percussion (6, 12)
Pete Schweir – drum programming (11)
Simon Clarke – alto saxophone (2), baritone saxophone (2)
Tim Sanders – tenor saxophone (2)
Roddy Lorimer – trumpet (2)
The Kick Horns – horn arrangements (2)
Oscar Blandamer – horn arrangements (2)
Junior Giscombe – guest vocals (3)
Don Haywoode – backing vocals (7)
Emma Haywoode – backing vocals (7)
Lisa Fischer – backing vocals (12)
Paulette McWilliams – backing vocals (12)
Myrna Smith-Schilling – backing vocals (12)
Production
Ricky Wilde – producer (1-5, 7, 9, 10, 11, 13), remixing (5)
Richard James Burgess – producer (6, 12)
Reinhold Heil – producer (7)
Richard Rudolph – producer (8)
Bruce Swedien – producer (8), recording (8), mixing (8)
Rod Temperton – producer (8)
Kim Wilde – producer (11)
Pete Schweir – engineer (1-5, 7, 9, 10, 11, 13)
Frank Roszak – engineer (6, 12)
Phill Brown – remixing (6)
Simon Marsh – art direction, design, photography
Jeff Adamoff – art direction (CD)
Dick Bouchard – artwork and design (CD)
Jeff Lancaster – artwork and design (CD)
Charts
Certifications and sales
References
External links
Another Step at Discogs (list of releases) | form of creative work | {
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"studio album"
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} |
Edward Boker Sterling (September 9, 1851 – November 29, 1925), of Trenton, New Jersey, was a philatelist who specialized in the study of United States postage stamps, postal stationery, and revenue stamps.
Collecting interests
Sterling is famous for his collection and study of United States revenue stamps, which are essentially tax stamps on certain goods and commodities issued by the federal government. Sterling amassed one of the finest such collections and sold it to Hiram Edmund Deats in 1888 for what was then the huge sum of seven thousand dollars.
In 1890, he and Deats joined together and purchased seven boxcar loads (amounting to 213 tons) of “excessed” paperwork from the U.S. Treasury. They discovered that the lot contained a “gold mine” of revenue stamps, including unused ones. The government eventually discovered its error, and demanded return of the lot, with most of it being returned.
After selling his revenue collection to Deats, Sterling became a stamp dealer, still specializing in revenue stamps. He made several important purchases, such as the archives of Philadelphia, Pennsylvania security printers and engravers Butler and Carpenter which contained both private and government revenue stamps. The archives contained essays, proofs, “special tax stamps” and other collateral material, most of which he subsequently sold to Deats.
Philatelic literature
Sterling issued his postage stamp catalog of United States stamps in 1887. In 1888, he issued his revenue stamp catalog of the United States, which became the standard reference for revenues.
Honors and awards
Sterling was admitted to the American Philatelic Society Hall of Fame in 1997.
See also
Philately
Philatelic literature
References
Edward Boker Sterling
External links
Works by or about Edward Boker Sterling at Internet Archive | given name | {
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Anastasia Spyridonidou (Greek: Αναστασία Σπυριδωνίδου; born 11 June 1997) is a Greek footballer who plays as an Forward for Ternana and the Greece women's national team.
International goals
Honours
Agrotikos AsterasC Division (1): 2012/13PAOKA Division (2): 2018/19, 2020/21
== References == | country of citizenship | {
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140
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"Greece"
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} |
Anastasia Spyridonidou (Greek: Αναστασία Σπυριδωνίδου; born 11 June 1997) is a Greek footballer who plays as an Forward for Ternana and the Greece women's national team.
International goals
Honours
Agrotikos AsterasC Division (1): 2012/13PAOKA Division (2): 2018/19, 2020/21
== References == | languages spoken, written or signed | {
"answer_start": [
24
],
"text": [
"Greek"
]
} |
The Leelanau Peninsula AVA is an American Viticultural Area located in Leelanau County, Michigan.
This Michigan wine region includes all of Leelanau County, which forms a peninsula between Lake Michigan on the west and Grand Traverse Bay on the east. Being surrounded by water helps to moderate the climate of the region, which is generally cold for viticulture. Frost can occur on all but about 145 days of the calendar year. The soil in Leelanau Peninsula is complex, with glacial deposits of clay, sand, and loam on top of bedrock of granite and limestone. The hardiness zones are 6a and 6b.
References
External links
From the Vine: Leelanau Peninsula Wine Trail Article about the Leelanau AVA.
Leelanau Peninsula Vintners Association Leelanau AVA wine trail web site with information about the wineries. | instance of | {
"answer_start": [
33
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"American Viticultural Area"
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The Leelanau Peninsula AVA is an American Viticultural Area located in Leelanau County, Michigan.
This Michigan wine region includes all of Leelanau County, which forms a peninsula between Lake Michigan on the west and Grand Traverse Bay on the east. Being surrounded by water helps to moderate the climate of the region, which is generally cold for viticulture. Frost can occur on all but about 145 days of the calendar year. The soil in Leelanau Peninsula is complex, with glacial deposits of clay, sand, and loam on top of bedrock of granite and limestone. The hardiness zones are 6a and 6b.
References
External links
From the Vine: Leelanau Peninsula Wine Trail Article about the Leelanau AVA.
Leelanau Peninsula Vintners Association Leelanau AVA wine trail web site with information about the wineries. | located in the administrative territorial entity | {
"answer_start": [
88
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"Michigan"
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John Joseph Hawkins (1840 – June 2, 1916) was a grocer and political figure in Ontario, Canada. He represented Bothwell in the House of Commons of Canada from 1882 to 1884 as a Liberal-Conservative member.
He was born in Brantford, Upper Canada, the son of John Hawkins and Mary Macdougall, and was educated there. In 1862, Hawkins married Ellen M. Harrington. He served as a member of the first Brantford city council and of the council for Brant County. Hawkins ran unsuccessfully for a seat in the Ontario legislative assembly in 1873 and was an unsuccessful candidate in the 1878 federal election. His election in 1882 was overturned after an appeal and David Mills was declared elected in 1884.
References
John Joseph Hawkins – Parliament of Canada biography
The Canadian parliamentary companion, 1891 JA Gemmill
External links
The History of the County of Brant, Ontario: Containing a History of the County: Its Township, Cities, Towns, Schools ... (1883) JH Beers pp. 514–5 | place of birth | {
"answer_start": [
221
],
"text": [
"Brantford"
]
} |
John Joseph Hawkins (1840 – June 2, 1916) was a grocer and political figure in Ontario, Canada. He represented Bothwell in the House of Commons of Canada from 1882 to 1884 as a Liberal-Conservative member.
He was born in Brantford, Upper Canada, the son of John Hawkins and Mary Macdougall, and was educated there. In 1862, Hawkins married Ellen M. Harrington. He served as a member of the first Brantford city council and of the council for Brant County. Hawkins ran unsuccessfully for a seat in the Ontario legislative assembly in 1873 and was an unsuccessful candidate in the 1878 federal election. His election in 1882 was overturned after an appeal and David Mills was declared elected in 1884.
References
John Joseph Hawkins – Parliament of Canada biography
The Canadian parliamentary companion, 1891 JA Gemmill
External links
The History of the County of Brant, Ontario: Containing a History of the County: Its Township, Cities, Towns, Schools ... (1883) JH Beers pp. 514–5 | country of citizenship | {
"answer_start": [
88
],
"text": [
"Canada"
]
} |
John Joseph Hawkins (1840 – June 2, 1916) was a grocer and political figure in Ontario, Canada. He represented Bothwell in the House of Commons of Canada from 1882 to 1884 as a Liberal-Conservative member.
He was born in Brantford, Upper Canada, the son of John Hawkins and Mary Macdougall, and was educated there. In 1862, Hawkins married Ellen M. Harrington. He served as a member of the first Brantford city council and of the council for Brant County. Hawkins ran unsuccessfully for a seat in the Ontario legislative assembly in 1873 and was an unsuccessful candidate in the 1878 federal election. His election in 1882 was overturned after an appeal and David Mills was declared elected in 1884.
References
John Joseph Hawkins – Parliament of Canada biography
The Canadian parliamentary companion, 1891 JA Gemmill
External links
The History of the County of Brant, Ontario: Containing a History of the County: Its Township, Cities, Towns, Schools ... (1883) JH Beers pp. 514–5 | family name | {
"answer_start": [
12
],
"text": [
"Hawkins"
]
} |
John Joseph Hawkins (1840 – June 2, 1916) was a grocer and political figure in Ontario, Canada. He represented Bothwell in the House of Commons of Canada from 1882 to 1884 as a Liberal-Conservative member.
He was born in Brantford, Upper Canada, the son of John Hawkins and Mary Macdougall, and was educated there. In 1862, Hawkins married Ellen M. Harrington. He served as a member of the first Brantford city council and of the council for Brant County. Hawkins ran unsuccessfully for a seat in the Ontario legislative assembly in 1873 and was an unsuccessful candidate in the 1878 federal election. His election in 1882 was overturned after an appeal and David Mills was declared elected in 1884.
References
John Joseph Hawkins – Parliament of Canada biography
The Canadian parliamentary companion, 1891 JA Gemmill
External links
The History of the County of Brant, Ontario: Containing a History of the County: Its Township, Cities, Towns, Schools ... (1883) JH Beers pp. 514–5 | given name | {
"answer_start": [
0
],
"text": [
"John"
]
} |
The 3 Headed Monsters are an American men's 3-on-3 basketball team that plays in the BIG3.
2017
Draft
2018
Draft
Current roster
== References == | sport | {
"answer_start": [
51
],
"text": [
"basketball"
]
} |
Kokomo Murase (born 7 November 2004) is a Japanese snowboarder who competes in the slopestyle and big air events. She competed in the women's slopestyle event at the 2022 Winter Olympics. She also won the overall title in the slopestyle and freestyle at the 2021–22 FIS Snowboard World Cup.
Career
Murase's gold medal win in Big Air at the 2018 Winter X Games in Norway made her the youngest athlete to win gold in big air at the Winter X Games.
References
External links
Kokomo Murase at the International Ski and Snowboard Federation | country of citizenship | {
"answer_start": [
42
],
"text": [
"Japan"
]
} |
Kokomo Murase (born 7 November 2004) is a Japanese snowboarder who competes in the slopestyle and big air events. She competed in the women's slopestyle event at the 2022 Winter Olympics. She also won the overall title in the slopestyle and freestyle at the 2021–22 FIS Snowboard World Cup.
Career
Murase's gold medal win in Big Air at the 2018 Winter X Games in Norway made her the youngest athlete to win gold in big air at the Winter X Games.
References
External links
Kokomo Murase at the International Ski and Snowboard Federation | occupation | {
"answer_start": [
51
],
"text": [
"snowboarder"
]
} |
Kokomo Murase (born 7 November 2004) is a Japanese snowboarder who competes in the slopestyle and big air events. She competed in the women's slopestyle event at the 2022 Winter Olympics. She also won the overall title in the slopestyle and freestyle at the 2021–22 FIS Snowboard World Cup.
Career
Murase's gold medal win in Big Air at the 2018 Winter X Games in Norway made her the youngest athlete to win gold in big air at the Winter X Games.
References
External links
Kokomo Murase at the International Ski and Snowboard Federation | family name | {
"answer_start": [
7
],
"text": [
"Murase"
]
} |
Kokomo Murase (born 7 November 2004) is a Japanese snowboarder who competes in the slopestyle and big air events. She competed in the women's slopestyle event at the 2022 Winter Olympics. She also won the overall title in the slopestyle and freestyle at the 2021–22 FIS Snowboard World Cup.
Career
Murase's gold medal win in Big Air at the 2018 Winter X Games in Norway made her the youngest athlete to win gold in big air at the Winter X Games.
References
External links
Kokomo Murase at the International Ski and Snowboard Federation | sports discipline competed in | {
"answer_start": [
83
],
"text": [
"slopestyle"
]
} |
James Bloodworth may refer to:
James Bloodworth (journalist), English journalist
James Bloodworth Jr. (1925–2006), American physician, pathologist, and researcher
James N. Bloodworth (1921–1980), Justice of the Supreme Court of Alabama
See also
James Bloodsworth (1759–1804), convict sentenced for the theft of one game cock and two hens | occupation | {
"answer_start": [
50
],
"text": [
"journalist"
]
} |
James Bloodworth may refer to:
James Bloodworth (journalist), English journalist
James Bloodworth Jr. (1925–2006), American physician, pathologist, and researcher
James N. Bloodworth (1921–1980), Justice of the Supreme Court of Alabama
See also
James Bloodsworth (1759–1804), convict sentenced for the theft of one game cock and two hens | family name | {
"answer_start": [
6
],
"text": [
"Bloodworth"
]
} |
James Bloodworth may refer to:
James Bloodworth (journalist), English journalist
James Bloodworth Jr. (1925–2006), American physician, pathologist, and researcher
James N. Bloodworth (1921–1980), Justice of the Supreme Court of Alabama
See also
James Bloodsworth (1759–1804), convict sentenced for the theft of one game cock and two hens | given name | {
"answer_start": [
0
],
"text": [
"James"
]
} |
James Bloodworth may refer to:
James Bloodworth (journalist), English journalist
James Bloodworth Jr. (1925–2006), American physician, pathologist, and researcher
James N. Bloodworth (1921–1980), Justice of the Supreme Court of Alabama
See also
James Bloodsworth (1759–1804), convict sentenced for the theft of one game cock and two hens | languages spoken, written or signed | {
"answer_start": [
63
],
"text": [
"English"
]
} |
"Men – Tyva men" (Tuvan: Мен – тыва мен, pronounced [men tʰɯˈʋa men]) is the regional anthem of the Republic of Tuva, a federal subject of Russia. It was composed by Kantomur Saryglar (also known as Olonbayar Gantomir), and the lyrics were written by Okey Shanagash (also known as Bayantsagaan Oohiy). It was adopted officially by the Great Khural on 11 August 2011, replacing the previous anthem Tooruktug Dolgay Tangdym.
Lyrics
Notes
References
External links
Vocal version. | country of origin | {
"answer_start": [
18
],
"text": [
"Tuva"
]
} |
"Men – Tyva men" (Tuvan: Мен – тыва мен, pronounced [men tʰɯˈʋa men]) is the regional anthem of the Republic of Tuva, a federal subject of Russia. It was composed by Kantomur Saryglar (also known as Olonbayar Gantomir), and the lyrics were written by Okey Shanagash (also known as Bayantsagaan Oohiy). It was adopted officially by the Great Khural on 11 August 2011, replacing the previous anthem Tooruktug Dolgay Tangdym.
Lyrics
Notes
References
External links
Vocal version. | applies to jurisdiction | {
"answer_start": [
18
],
"text": [
"Tuva"
]
} |
The 1948 United States Senate election in Minnesota took place on November 2, 1948. It was the first election held for Minnesota's Class 2 seat in the United States Senate since the Minnesota Democratic Party and the Farmer-Labor Party of Minnesota merged in 1944 to form the Minnesota Democratic-Farmer-Labor Party. Democratic Mayor of Minneapolis and future Vice President Hubert H. Humphrey defeated incumbent Republican Joseph H. Ball, who sought a third term in the Senate. This is the first time a Democrat won a Senate seat in Minnesota through popular vote election.
Democratic–Farmer–Labor primary
Candidates
Declared
Hubert H. Humphrey, Mayor of Minneapolis since 1945
James M. Shields
Results
Republican primary
Candidates
Declared
Joseph H. Ball, Incumbent U.S. Senator since 1943 (also 1940-1942)
Lenore Irene Bussmann
Earl L. Miller
Results
General election
Results
See also
United States Senate elections, 1948 and 1949
== References == | instance of | {
"answer_start": [
9
],
"text": [
"United States Senate election in Minnesota"
]
} |
The 1948 United States Senate election in Minnesota took place on November 2, 1948. It was the first election held for Minnesota's Class 2 seat in the United States Senate since the Minnesota Democratic Party and the Farmer-Labor Party of Minnesota merged in 1944 to form the Minnesota Democratic-Farmer-Labor Party. Democratic Mayor of Minneapolis and future Vice President Hubert H. Humphrey defeated incumbent Republican Joseph H. Ball, who sought a third term in the Senate. This is the first time a Democrat won a Senate seat in Minnesota through popular vote election.
Democratic–Farmer–Labor primary
Candidates
Declared
Hubert H. Humphrey, Mayor of Minneapolis since 1945
James M. Shields
Results
Republican primary
Candidates
Declared
Joseph H. Ball, Incumbent U.S. Senator since 1943 (also 1940-1942)
Lenore Irene Bussmann
Earl L. Miller
Results
General election
Results
See also
United States Senate elections, 1948 and 1949
== References == | applies to jurisdiction | {
"answer_start": [
42
],
"text": [
"Minnesota"
]
} |
Neduba sierranus, the sierra shieldback, is a species of shield-backed katydid in the family Tettigoniidae. It is found in North America.
== References == | taxon rank | {
"answer_start": [
46
],
"text": [
"species"
]
} |
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