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James Jerome O'Toole (January 10, 1937 – December 26, 2015) was an American professional baseball pitcher. He played in Major League Baseball (MLB) for the Cincinnati Reds and Chicago White Sox during his 10-year career.
College and minor league
After graduating from Chicago's Leo High School, O'Toole attended the University of Wisconsin–Madison. He made his Major League debut with the Reds after only one minor league season, with the 1958 Nashville Vols, where he led the AA Southern Association in wins (20), innings pitched, strikeouts and bases on balls.
Cincinnati Reds
From 1961–64, he won 19, 16, 17 and 17 games for the Cincinnati Reds, from 1961 to 1963 respectively 3rd, tied for 8th, and tied for 10th in the National League. He played a crucial role in Cincinnati's 1961 National League championship, when he won 19 of 28 decisions, with an earned run average of 3.10, second in the National League behind Warren Spahn.He was named Player of the Month for September with a 5–0 record, 2.53 ERA, and 37 strikeouts. He finished 10th in MVP voting.
Though pitching effectively in the 1961 World Series, with an earned run average of 3.00, O'Toole lost his two decisions to Whitey Ford in games 1 and 4, as the New York Yankees bested the Reds in five games. In 1963, he was the starting pitcher of the National League in the Major League Baseball All-Star Game (his only appearance at the Summer Classic), pitching 2 innings and allowing 1 earned run, not involved in the decision. O'Toole later said that being selected as the starting pitcher by San Francisco Giants manager Alvin Dark was one of the proudest moments of his career.In 1964, he continued as an elite pitcher, with a career-best earned run average of 2.66, 6th in the National League, and a win-lost percentage of .708, third in the National League behind Sandy Koufax and Juan Marichal, two members of the National Baseball Hall of Fame and Museum.
Chicago White Sox
O'Toole played in Cincinnati until his final season, 1967, spent with his hometown team, the Chicago White Sox, but was ineffective due to arm troubles. O'Toole tried to return with a 1969 expansion team, the Seattle Pilots, but was cut in spring training before the season began.
Personal life
O'Toole married Betty Jane Wall, his high school sweetheart, on July 2, 1960. They had 11 children.After his baseball career ended, O'Toole had a successful second career in Cincinnati real estate sales and remained active in the community, supporting charities and participating in local events including the 2015 St. Patrick's Day parade where he served as the grand marshal.O'Toole died on December 26, 2015, from cancer in Cincinnati, Ohio at the age of 78.
References
External links
Career statistics and player information from MLB, or Baseball Reference, or Baseball Reference (Minors)
Retrosheet profile
SABR Biography
Venezuelan Professional Baseball League statistics | educated at | {
"answer_start": [
317
],
"text": [
"University of Wisconsin–Madison"
]
} |
James Jerome O'Toole (January 10, 1937 – December 26, 2015) was an American professional baseball pitcher. He played in Major League Baseball (MLB) for the Cincinnati Reds and Chicago White Sox during his 10-year career.
College and minor league
After graduating from Chicago's Leo High School, O'Toole attended the University of Wisconsin–Madison. He made his Major League debut with the Reds after only one minor league season, with the 1958 Nashville Vols, where he led the AA Southern Association in wins (20), innings pitched, strikeouts and bases on balls.
Cincinnati Reds
From 1961–64, he won 19, 16, 17 and 17 games for the Cincinnati Reds, from 1961 to 1963 respectively 3rd, tied for 8th, and tied for 10th in the National League. He played a crucial role in Cincinnati's 1961 National League championship, when he won 19 of 28 decisions, with an earned run average of 3.10, second in the National League behind Warren Spahn.He was named Player of the Month for September with a 5–0 record, 2.53 ERA, and 37 strikeouts. He finished 10th in MVP voting.
Though pitching effectively in the 1961 World Series, with an earned run average of 3.00, O'Toole lost his two decisions to Whitey Ford in games 1 and 4, as the New York Yankees bested the Reds in five games. In 1963, he was the starting pitcher of the National League in the Major League Baseball All-Star Game (his only appearance at the Summer Classic), pitching 2 innings and allowing 1 earned run, not involved in the decision. O'Toole later said that being selected as the starting pitcher by San Francisco Giants manager Alvin Dark was one of the proudest moments of his career.In 1964, he continued as an elite pitcher, with a career-best earned run average of 2.66, 6th in the National League, and a win-lost percentage of .708, third in the National League behind Sandy Koufax and Juan Marichal, two members of the National Baseball Hall of Fame and Museum.
Chicago White Sox
O'Toole played in Cincinnati until his final season, 1967, spent with his hometown team, the Chicago White Sox, but was ineffective due to arm troubles. O'Toole tried to return with a 1969 expansion team, the Seattle Pilots, but was cut in spring training before the season began.
Personal life
O'Toole married Betty Jane Wall, his high school sweetheart, on July 2, 1960. They had 11 children.After his baseball career ended, O'Toole had a successful second career in Cincinnati real estate sales and remained active in the community, supporting charities and participating in local events including the 2015 St. Patrick's Day parade where he served as the grand marshal.O'Toole died on December 26, 2015, from cancer in Cincinnati, Ohio at the age of 78.
References
External links
Career statistics and player information from MLB, or Baseball Reference, or Baseball Reference (Minors)
Retrosheet profile
SABR Biography
Venezuelan Professional Baseball League statistics | league | {
"answer_start": [
120
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"text": [
"Major League Baseball"
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} |
James Jerome O'Toole (January 10, 1937 – December 26, 2015) was an American professional baseball pitcher. He played in Major League Baseball (MLB) for the Cincinnati Reds and Chicago White Sox during his 10-year career.
College and minor league
After graduating from Chicago's Leo High School, O'Toole attended the University of Wisconsin–Madison. He made his Major League debut with the Reds after only one minor league season, with the 1958 Nashville Vols, where he led the AA Southern Association in wins (20), innings pitched, strikeouts and bases on balls.
Cincinnati Reds
From 1961–64, he won 19, 16, 17 and 17 games for the Cincinnati Reds, from 1961 to 1963 respectively 3rd, tied for 8th, and tied for 10th in the National League. He played a crucial role in Cincinnati's 1961 National League championship, when he won 19 of 28 decisions, with an earned run average of 3.10, second in the National League behind Warren Spahn.He was named Player of the Month for September with a 5–0 record, 2.53 ERA, and 37 strikeouts. He finished 10th in MVP voting.
Though pitching effectively in the 1961 World Series, with an earned run average of 3.00, O'Toole lost his two decisions to Whitey Ford in games 1 and 4, as the New York Yankees bested the Reds in five games. In 1963, he was the starting pitcher of the National League in the Major League Baseball All-Star Game (his only appearance at the Summer Classic), pitching 2 innings and allowing 1 earned run, not involved in the decision. O'Toole later said that being selected as the starting pitcher by San Francisco Giants manager Alvin Dark was one of the proudest moments of his career.In 1964, he continued as an elite pitcher, with a career-best earned run average of 2.66, 6th in the National League, and a win-lost percentage of .708, third in the National League behind Sandy Koufax and Juan Marichal, two members of the National Baseball Hall of Fame and Museum.
Chicago White Sox
O'Toole played in Cincinnati until his final season, 1967, spent with his hometown team, the Chicago White Sox, but was ineffective due to arm troubles. O'Toole tried to return with a 1969 expansion team, the Seattle Pilots, but was cut in spring training before the season began.
Personal life
O'Toole married Betty Jane Wall, his high school sweetheart, on July 2, 1960. They had 11 children.After his baseball career ended, O'Toole had a successful second career in Cincinnati real estate sales and remained active in the community, supporting charities and participating in local events including the 2015 St. Patrick's Day parade where he served as the grand marshal.O'Toole died on December 26, 2015, from cancer in Cincinnati, Ohio at the age of 78.
References
External links
Career statistics and player information from MLB, or Baseball Reference, or Baseball Reference (Minors)
Retrosheet profile
SABR Biography
Venezuelan Professional Baseball League statistics | position played on team / speciality | {
"answer_start": [
98
],
"text": [
"pitcher"
]
} |
James Jerome O'Toole (January 10, 1937 – December 26, 2015) was an American professional baseball pitcher. He played in Major League Baseball (MLB) for the Cincinnati Reds and Chicago White Sox during his 10-year career.
College and minor league
After graduating from Chicago's Leo High School, O'Toole attended the University of Wisconsin–Madison. He made his Major League debut with the Reds after only one minor league season, with the 1958 Nashville Vols, where he led the AA Southern Association in wins (20), innings pitched, strikeouts and bases on balls.
Cincinnati Reds
From 1961–64, he won 19, 16, 17 and 17 games for the Cincinnati Reds, from 1961 to 1963 respectively 3rd, tied for 8th, and tied for 10th in the National League. He played a crucial role in Cincinnati's 1961 National League championship, when he won 19 of 28 decisions, with an earned run average of 3.10, second in the National League behind Warren Spahn.He was named Player of the Month for September with a 5–0 record, 2.53 ERA, and 37 strikeouts. He finished 10th in MVP voting.
Though pitching effectively in the 1961 World Series, with an earned run average of 3.00, O'Toole lost his two decisions to Whitey Ford in games 1 and 4, as the New York Yankees bested the Reds in five games. In 1963, he was the starting pitcher of the National League in the Major League Baseball All-Star Game (his only appearance at the Summer Classic), pitching 2 innings and allowing 1 earned run, not involved in the decision. O'Toole later said that being selected as the starting pitcher by San Francisco Giants manager Alvin Dark was one of the proudest moments of his career.In 1964, he continued as an elite pitcher, with a career-best earned run average of 2.66, 6th in the National League, and a win-lost percentage of .708, third in the National League behind Sandy Koufax and Juan Marichal, two members of the National Baseball Hall of Fame and Museum.
Chicago White Sox
O'Toole played in Cincinnati until his final season, 1967, spent with his hometown team, the Chicago White Sox, but was ineffective due to arm troubles. O'Toole tried to return with a 1969 expansion team, the Seattle Pilots, but was cut in spring training before the season began.
Personal life
O'Toole married Betty Jane Wall, his high school sweetheart, on July 2, 1960. They had 11 children.After his baseball career ended, O'Toole had a successful second career in Cincinnati real estate sales and remained active in the community, supporting charities and participating in local events including the 2015 St. Patrick's Day parade where he served as the grand marshal.O'Toole died on December 26, 2015, from cancer in Cincinnati, Ohio at the age of 78.
References
External links
Career statistics and player information from MLB, or Baseball Reference, or Baseball Reference (Minors)
Retrosheet profile
SABR Biography
Venezuelan Professional Baseball League statistics | cause of death | {
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2666
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"text": [
"cancer"
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} |
James Jerome O'Toole (January 10, 1937 – December 26, 2015) was an American professional baseball pitcher. He played in Major League Baseball (MLB) for the Cincinnati Reds and Chicago White Sox during his 10-year career.
College and minor league
After graduating from Chicago's Leo High School, O'Toole attended the University of Wisconsin–Madison. He made his Major League debut with the Reds after only one minor league season, with the 1958 Nashville Vols, where he led the AA Southern Association in wins (20), innings pitched, strikeouts and bases on balls.
Cincinnati Reds
From 1961–64, he won 19, 16, 17 and 17 games for the Cincinnati Reds, from 1961 to 1963 respectively 3rd, tied for 8th, and tied for 10th in the National League. He played a crucial role in Cincinnati's 1961 National League championship, when he won 19 of 28 decisions, with an earned run average of 3.10, second in the National League behind Warren Spahn.He was named Player of the Month for September with a 5–0 record, 2.53 ERA, and 37 strikeouts. He finished 10th in MVP voting.
Though pitching effectively in the 1961 World Series, with an earned run average of 3.00, O'Toole lost his two decisions to Whitey Ford in games 1 and 4, as the New York Yankees bested the Reds in five games. In 1963, he was the starting pitcher of the National League in the Major League Baseball All-Star Game (his only appearance at the Summer Classic), pitching 2 innings and allowing 1 earned run, not involved in the decision. O'Toole later said that being selected as the starting pitcher by San Francisco Giants manager Alvin Dark was one of the proudest moments of his career.In 1964, he continued as an elite pitcher, with a career-best earned run average of 2.66, 6th in the National League, and a win-lost percentage of .708, third in the National League behind Sandy Koufax and Juan Marichal, two members of the National Baseball Hall of Fame and Museum.
Chicago White Sox
O'Toole played in Cincinnati until his final season, 1967, spent with his hometown team, the Chicago White Sox, but was ineffective due to arm troubles. O'Toole tried to return with a 1969 expansion team, the Seattle Pilots, but was cut in spring training before the season began.
Personal life
O'Toole married Betty Jane Wall, his high school sweetheart, on July 2, 1960. They had 11 children.After his baseball career ended, O'Toole had a successful second career in Cincinnati real estate sales and remained active in the community, supporting charities and participating in local events including the 2015 St. Patrick's Day parade where he served as the grand marshal.O'Toole died on December 26, 2015, from cancer in Cincinnati, Ohio at the age of 78.
References
External links
Career statistics and player information from MLB, or Baseball Reference, or Baseball Reference (Minors)
Retrosheet profile
SABR Biography
Venezuelan Professional Baseball League statistics | sport | {
"answer_start": [
89
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"text": [
"baseball"
]
} |
James Jerome O'Toole (January 10, 1937 – December 26, 2015) was an American professional baseball pitcher. He played in Major League Baseball (MLB) for the Cincinnati Reds and Chicago White Sox during his 10-year career.
College and minor league
After graduating from Chicago's Leo High School, O'Toole attended the University of Wisconsin–Madison. He made his Major League debut with the Reds after only one minor league season, with the 1958 Nashville Vols, where he led the AA Southern Association in wins (20), innings pitched, strikeouts and bases on balls.
Cincinnati Reds
From 1961–64, he won 19, 16, 17 and 17 games for the Cincinnati Reds, from 1961 to 1963 respectively 3rd, tied for 8th, and tied for 10th in the National League. He played a crucial role in Cincinnati's 1961 National League championship, when he won 19 of 28 decisions, with an earned run average of 3.10, second in the National League behind Warren Spahn.He was named Player of the Month for September with a 5–0 record, 2.53 ERA, and 37 strikeouts. He finished 10th in MVP voting.
Though pitching effectively in the 1961 World Series, with an earned run average of 3.00, O'Toole lost his two decisions to Whitey Ford in games 1 and 4, as the New York Yankees bested the Reds in five games. In 1963, he was the starting pitcher of the National League in the Major League Baseball All-Star Game (his only appearance at the Summer Classic), pitching 2 innings and allowing 1 earned run, not involved in the decision. O'Toole later said that being selected as the starting pitcher by San Francisco Giants manager Alvin Dark was one of the proudest moments of his career.In 1964, he continued as an elite pitcher, with a career-best earned run average of 2.66, 6th in the National League, and a win-lost percentage of .708, third in the National League behind Sandy Koufax and Juan Marichal, two members of the National Baseball Hall of Fame and Museum.
Chicago White Sox
O'Toole played in Cincinnati until his final season, 1967, spent with his hometown team, the Chicago White Sox, but was ineffective due to arm troubles. O'Toole tried to return with a 1969 expansion team, the Seattle Pilots, but was cut in spring training before the season began.
Personal life
O'Toole married Betty Jane Wall, his high school sweetheart, on July 2, 1960. They had 11 children.After his baseball career ended, O'Toole had a successful second career in Cincinnati real estate sales and remained active in the community, supporting charities and participating in local events including the 2015 St. Patrick's Day parade where he served as the grand marshal.O'Toole died on December 26, 2015, from cancer in Cincinnati, Ohio at the age of 78.
References
External links
Career statistics and player information from MLB, or Baseball Reference, or Baseball Reference (Minors)
Retrosheet profile
SABR Biography
Venezuelan Professional Baseball League statistics | family name | {
"answer_start": [
13
],
"text": [
"O'Toole"
]
} |
Alfred Edden (24 November 1850 – 27 July 1930) was a politician, trade union organiser and coal miner in New South Wales, Australia. He was a member of the New South Wales Legislative Assembly for more than 28 years, including 3 as Secretary for Mines. He was a foundation member of the Labor Party but left the party twice, in 1891 over the question of the solidarity pledge and was expelled in 1916 over the question of conscription .
Early life
Edden was born in Tamworth, England. He was the son of a coal-miner who died in a mining accident shortly before his birth. He had little education and worked as a coal miner from age 10. He migrated with his family to Australia in 1879 and worked in collieries in the Newcastle area. After 1879 Edden became an official of the coal miners union and was charged with unlawful assembly during an 1888 strike. He was elected as an alderman of Adamstown Municipal Council of which he was mayor in 1889 and 1891. Edden was a member of the Oddfellows, Masons and Single Tax League.
State Politics
Edden was selected by the nascent Labor party as its candidate for the seat of Northumberland at the 1891 colonial election. He was one of 35 Labor party members elected to the parliament. However, together with 25 of his colleagues he left the party when he was required to sign a pledge to support all caucus decisions. At the 1894 colonial election he successfully contested the newly created seat of Kahibah as an Independent Labor candidate. He then rejoined the Labor party and became the deputy leader in 1902.
Government
With the election of the New South Wales Labor Government of James McGowen in 1910 Edden was appointed the Secretary for Mines. He maintained this position in the first Holman ministry until 1914 when he was dropped from the ministry, after expressing his irritation with strikes. During the ALP split over conscription in World War I he supported William Holman and was expelled from the party. He joined William Holman's grand coalition, which coalesced into the Nationalist Party in 1917, but was not appointed to the second Holman ministry. He retired from parliament at the end of the term and did not contest the 1920 state election.
Personal life
On 20 February 1871 Edden married Maria Brown in Nottinghamshire, England and they had 2 sons and 2 daughters. Maria died during child birth on 1 June 1887, and on 28 September 1887 he married Mary Ann George, née Langley, a widow. Mary died on 18 March 1929.Edden died at Redfern on 27 July 1930(1930-07-27) (aged 79), survived by 2 sons and a daughter from his first marriage and 2 sons and a daughter from his second. There is conflicting information as to the number of his children, with the Australian Dictionary of Biography stating he had 9 children, while his parliamentary biography states that he had 7.
See also
== References == | place of birth | {
"answer_start": [
467
],
"text": [
"Tamworth"
]
} |
Alfred Edden (24 November 1850 – 27 July 1930) was a politician, trade union organiser and coal miner in New South Wales, Australia. He was a member of the New South Wales Legislative Assembly for more than 28 years, including 3 as Secretary for Mines. He was a foundation member of the Labor Party but left the party twice, in 1891 over the question of the solidarity pledge and was expelled in 1916 over the question of conscription .
Early life
Edden was born in Tamworth, England. He was the son of a coal-miner who died in a mining accident shortly before his birth. He had little education and worked as a coal miner from age 10. He migrated with his family to Australia in 1879 and worked in collieries in the Newcastle area. After 1879 Edden became an official of the coal miners union and was charged with unlawful assembly during an 1888 strike. He was elected as an alderman of Adamstown Municipal Council of which he was mayor in 1889 and 1891. Edden was a member of the Oddfellows, Masons and Single Tax League.
State Politics
Edden was selected by the nascent Labor party as its candidate for the seat of Northumberland at the 1891 colonial election. He was one of 35 Labor party members elected to the parliament. However, together with 25 of his colleagues he left the party when he was required to sign a pledge to support all caucus decisions. At the 1894 colonial election he successfully contested the newly created seat of Kahibah as an Independent Labor candidate. He then rejoined the Labor party and became the deputy leader in 1902.
Government
With the election of the New South Wales Labor Government of James McGowen in 1910 Edden was appointed the Secretary for Mines. He maintained this position in the first Holman ministry until 1914 when he was dropped from the ministry, after expressing his irritation with strikes. During the ALP split over conscription in World War I he supported William Holman and was expelled from the party. He joined William Holman's grand coalition, which coalesced into the Nationalist Party in 1917, but was not appointed to the second Holman ministry. He retired from parliament at the end of the term and did not contest the 1920 state election.
Personal life
On 20 February 1871 Edden married Maria Brown in Nottinghamshire, England and they had 2 sons and 2 daughters. Maria died during child birth on 1 June 1887, and on 28 September 1887 he married Mary Ann George, née Langley, a widow. Mary died on 18 March 1929.Edden died at Redfern on 27 July 1930(1930-07-27) (aged 79), survived by 2 sons and a daughter from his first marriage and 2 sons and a daughter from his second. There is conflicting information as to the number of his children, with the Australian Dictionary of Biography stating he had 9 children, while his parliamentary biography states that he had 7.
See also
== References == | place of death | {
"answer_start": [
2500
],
"text": [
"Redfern"
]
} |
Alfred Edden (24 November 1850 – 27 July 1930) was a politician, trade union organiser and coal miner in New South Wales, Australia. He was a member of the New South Wales Legislative Assembly for more than 28 years, including 3 as Secretary for Mines. He was a foundation member of the Labor Party but left the party twice, in 1891 over the question of the solidarity pledge and was expelled in 1916 over the question of conscription .
Early life
Edden was born in Tamworth, England. He was the son of a coal-miner who died in a mining accident shortly before his birth. He had little education and worked as a coal miner from age 10. He migrated with his family to Australia in 1879 and worked in collieries in the Newcastle area. After 1879 Edden became an official of the coal miners union and was charged with unlawful assembly during an 1888 strike. He was elected as an alderman of Adamstown Municipal Council of which he was mayor in 1889 and 1891. Edden was a member of the Oddfellows, Masons and Single Tax League.
State Politics
Edden was selected by the nascent Labor party as its candidate for the seat of Northumberland at the 1891 colonial election. He was one of 35 Labor party members elected to the parliament. However, together with 25 of his colleagues he left the party when he was required to sign a pledge to support all caucus decisions. At the 1894 colonial election he successfully contested the newly created seat of Kahibah as an Independent Labor candidate. He then rejoined the Labor party and became the deputy leader in 1902.
Government
With the election of the New South Wales Labor Government of James McGowen in 1910 Edden was appointed the Secretary for Mines. He maintained this position in the first Holman ministry until 1914 when he was dropped from the ministry, after expressing his irritation with strikes. During the ALP split over conscription in World War I he supported William Holman and was expelled from the party. He joined William Holman's grand coalition, which coalesced into the Nationalist Party in 1917, but was not appointed to the second Holman ministry. He retired from parliament at the end of the term and did not contest the 1920 state election.
Personal life
On 20 February 1871 Edden married Maria Brown in Nottinghamshire, England and they had 2 sons and 2 daughters. Maria died during child birth on 1 June 1887, and on 28 September 1887 he married Mary Ann George, née Langley, a widow. Mary died on 18 March 1929.Edden died at Redfern on 27 July 1930(1930-07-27) (aged 79), survived by 2 sons and a daughter from his first marriage and 2 sons and a daughter from his second. There is conflicting information as to the number of his children, with the Australian Dictionary of Biography stating he had 9 children, while his parliamentary biography states that he had 7.
See also
== References == | country of citizenship | {
"answer_start": [
122
],
"text": [
"Australia"
]
} |
Alfred Edden (24 November 1850 – 27 July 1930) was a politician, trade union organiser and coal miner in New South Wales, Australia. He was a member of the New South Wales Legislative Assembly for more than 28 years, including 3 as Secretary for Mines. He was a foundation member of the Labor Party but left the party twice, in 1891 over the question of the solidarity pledge and was expelled in 1916 over the question of conscription .
Early life
Edden was born in Tamworth, England. He was the son of a coal-miner who died in a mining accident shortly before his birth. He had little education and worked as a coal miner from age 10. He migrated with his family to Australia in 1879 and worked in collieries in the Newcastle area. After 1879 Edden became an official of the coal miners union and was charged with unlawful assembly during an 1888 strike. He was elected as an alderman of Adamstown Municipal Council of which he was mayor in 1889 and 1891. Edden was a member of the Oddfellows, Masons and Single Tax League.
State Politics
Edden was selected by the nascent Labor party as its candidate for the seat of Northumberland at the 1891 colonial election. He was one of 35 Labor party members elected to the parliament. However, together with 25 of his colleagues he left the party when he was required to sign a pledge to support all caucus decisions. At the 1894 colonial election he successfully contested the newly created seat of Kahibah as an Independent Labor candidate. He then rejoined the Labor party and became the deputy leader in 1902.
Government
With the election of the New South Wales Labor Government of James McGowen in 1910 Edden was appointed the Secretary for Mines. He maintained this position in the first Holman ministry until 1914 when he was dropped from the ministry, after expressing his irritation with strikes. During the ALP split over conscription in World War I he supported William Holman and was expelled from the party. He joined William Holman's grand coalition, which coalesced into the Nationalist Party in 1917, but was not appointed to the second Holman ministry. He retired from parliament at the end of the term and did not contest the 1920 state election.
Personal life
On 20 February 1871 Edden married Maria Brown in Nottinghamshire, England and they had 2 sons and 2 daughters. Maria died during child birth on 1 June 1887, and on 28 September 1887 he married Mary Ann George, née Langley, a widow. Mary died on 18 March 1929.Edden died at Redfern on 27 July 1930(1930-07-27) (aged 79), survived by 2 sons and a daughter from his first marriage and 2 sons and a daughter from his second. There is conflicting information as to the number of his children, with the Australian Dictionary of Biography stating he had 9 children, while his parliamentary biography states that he had 7.
See also
== References == | occupation | {
"answer_start": [
53
],
"text": [
"politician"
]
} |
Alfred Edden (24 November 1850 – 27 July 1930) was a politician, trade union organiser and coal miner in New South Wales, Australia. He was a member of the New South Wales Legislative Assembly for more than 28 years, including 3 as Secretary for Mines. He was a foundation member of the Labor Party but left the party twice, in 1891 over the question of the solidarity pledge and was expelled in 1916 over the question of conscription .
Early life
Edden was born in Tamworth, England. He was the son of a coal-miner who died in a mining accident shortly before his birth. He had little education and worked as a coal miner from age 10. He migrated with his family to Australia in 1879 and worked in collieries in the Newcastle area. After 1879 Edden became an official of the coal miners union and was charged with unlawful assembly during an 1888 strike. He was elected as an alderman of Adamstown Municipal Council of which he was mayor in 1889 and 1891. Edden was a member of the Oddfellows, Masons and Single Tax League.
State Politics
Edden was selected by the nascent Labor party as its candidate for the seat of Northumberland at the 1891 colonial election. He was one of 35 Labor party members elected to the parliament. However, together with 25 of his colleagues he left the party when he was required to sign a pledge to support all caucus decisions. At the 1894 colonial election he successfully contested the newly created seat of Kahibah as an Independent Labor candidate. He then rejoined the Labor party and became the deputy leader in 1902.
Government
With the election of the New South Wales Labor Government of James McGowen in 1910 Edden was appointed the Secretary for Mines. He maintained this position in the first Holman ministry until 1914 when he was dropped from the ministry, after expressing his irritation with strikes. During the ALP split over conscription in World War I he supported William Holman and was expelled from the party. He joined William Holman's grand coalition, which coalesced into the Nationalist Party in 1917, but was not appointed to the second Holman ministry. He retired from parliament at the end of the term and did not contest the 1920 state election.
Personal life
On 20 February 1871 Edden married Maria Brown in Nottinghamshire, England and they had 2 sons and 2 daughters. Maria died during child birth on 1 June 1887, and on 28 September 1887 he married Mary Ann George, née Langley, a widow. Mary died on 18 March 1929.Edden died at Redfern on 27 July 1930(1930-07-27) (aged 79), survived by 2 sons and a daughter from his first marriage and 2 sons and a daughter from his second. There is conflicting information as to the number of his children, with the Australian Dictionary of Biography stating he had 9 children, while his parliamentary biography states that he had 7.
See also
== References == | family name | {
"answer_start": [
7
],
"text": [
"Edden"
]
} |
Alfred Edden (24 November 1850 – 27 July 1930) was a politician, trade union organiser and coal miner in New South Wales, Australia. He was a member of the New South Wales Legislative Assembly for more than 28 years, including 3 as Secretary for Mines. He was a foundation member of the Labor Party but left the party twice, in 1891 over the question of the solidarity pledge and was expelled in 1916 over the question of conscription .
Early life
Edden was born in Tamworth, England. He was the son of a coal-miner who died in a mining accident shortly before his birth. He had little education and worked as a coal miner from age 10. He migrated with his family to Australia in 1879 and worked in collieries in the Newcastle area. After 1879 Edden became an official of the coal miners union and was charged with unlawful assembly during an 1888 strike. He was elected as an alderman of Adamstown Municipal Council of which he was mayor in 1889 and 1891. Edden was a member of the Oddfellows, Masons and Single Tax League.
State Politics
Edden was selected by the nascent Labor party as its candidate for the seat of Northumberland at the 1891 colonial election. He was one of 35 Labor party members elected to the parliament. However, together with 25 of his colleagues he left the party when he was required to sign a pledge to support all caucus decisions. At the 1894 colonial election he successfully contested the newly created seat of Kahibah as an Independent Labor candidate. He then rejoined the Labor party and became the deputy leader in 1902.
Government
With the election of the New South Wales Labor Government of James McGowen in 1910 Edden was appointed the Secretary for Mines. He maintained this position in the first Holman ministry until 1914 when he was dropped from the ministry, after expressing his irritation with strikes. During the ALP split over conscription in World War I he supported William Holman and was expelled from the party. He joined William Holman's grand coalition, which coalesced into the Nationalist Party in 1917, but was not appointed to the second Holman ministry. He retired from parliament at the end of the term and did not contest the 1920 state election.
Personal life
On 20 February 1871 Edden married Maria Brown in Nottinghamshire, England and they had 2 sons and 2 daughters. Maria died during child birth on 1 June 1887, and on 28 September 1887 he married Mary Ann George, née Langley, a widow. Mary died on 18 March 1929.Edden died at Redfern on 27 July 1930(1930-07-27) (aged 79), survived by 2 sons and a daughter from his first marriage and 2 sons and a daughter from his second. There is conflicting information as to the number of his children, with the Australian Dictionary of Biography stating he had 9 children, while his parliamentary biography states that he had 7.
See also
== References == | given name | {
"answer_start": [
0
],
"text": [
"Alfred"
]
} |
Vyninka Arlow (born 25 March 1974) is an Australian former diver who competed in the 1992 Summer Olympics in the 10 meter women's platform where she came 10th. She also competed in the 1996 Summer Olympics. She won a gold medal at the 1998 Commonwealth Games in the 10 metre springboard event.Vyninka is currently the Elite Pathway Program Coach at the Australian Institute of Sport diving program in Brisbane, Australia.She is the daughter of Robyn Bradshaw, also a competitive diver.
== References == | mother | {
"answer_start": [
444
],
"text": [
"Robyn Bradshaw"
]
} |
Vyninka Arlow (born 25 March 1974) is an Australian former diver who competed in the 1992 Summer Olympics in the 10 meter women's platform where she came 10th. She also competed in the 1996 Summer Olympics. She won a gold medal at the 1998 Commonwealth Games in the 10 metre springboard event.Vyninka is currently the Elite Pathway Program Coach at the Australian Institute of Sport diving program in Brisbane, Australia.She is the daughter of Robyn Bradshaw, also a competitive diver.
== References == | country of citizenship | {
"answer_start": [
41
],
"text": [
"Australia"
]
} |
Vyninka Arlow (born 25 March 1974) is an Australian former diver who competed in the 1992 Summer Olympics in the 10 meter women's platform where she came 10th. She also competed in the 1996 Summer Olympics. She won a gold medal at the 1998 Commonwealth Games in the 10 metre springboard event.Vyninka is currently the Elite Pathway Program Coach at the Australian Institute of Sport diving program in Brisbane, Australia.She is the daughter of Robyn Bradshaw, also a competitive diver.
== References == | occupation | {
"answer_start": [
467
],
"text": [
"competitive diver"
]
} |
Vyninka Arlow (born 25 March 1974) is an Australian former diver who competed in the 1992 Summer Olympics in the 10 meter women's platform where she came 10th. She also competed in the 1996 Summer Olympics. She won a gold medal at the 1998 Commonwealth Games in the 10 metre springboard event.Vyninka is currently the Elite Pathway Program Coach at the Australian Institute of Sport diving program in Brisbane, Australia.She is the daughter of Robyn Bradshaw, also a competitive diver.
== References == | sport | {
"answer_start": [
383
],
"text": [
"diving"
]
} |
Vyninka Arlow (born 25 March 1974) is an Australian former diver who competed in the 1992 Summer Olympics in the 10 meter women's platform where she came 10th. She also competed in the 1996 Summer Olympics. She won a gold medal at the 1998 Commonwealth Games in the 10 metre springboard event.Vyninka is currently the Elite Pathway Program Coach at the Australian Institute of Sport diving program in Brisbane, Australia.She is the daughter of Robyn Bradshaw, also a competitive diver.
== References == | family name | {
"answer_start": [
8
],
"text": [
"Arlow"
]
} |
Vyninka Arlow (born 25 March 1974) is an Australian former diver who competed in the 1992 Summer Olympics in the 10 meter women's platform where she came 10th. She also competed in the 1996 Summer Olympics. She won a gold medal at the 1998 Commonwealth Games in the 10 metre springboard event.Vyninka is currently the Elite Pathway Program Coach at the Australian Institute of Sport diving program in Brisbane, Australia.She is the daughter of Robyn Bradshaw, also a competitive diver.
== References == | participant in | {
"answer_start": [
85
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"text": [
"1992 Summer Olympics"
]
} |
Reperfusion injury, sometimes called ischemia-reperfusion injury (IRI) or reoxygenation injury, is the tissue damage caused when blood supply returns to tissue (re- + perfusion) after a period of ischemia or lack of oxygen (anoxia or hypoxia). The absence of oxygen and nutrients from blood during the ischemic period creates a condition in which the restoration of circulation results in inflammation and oxidative damage through the induction of oxidative stress rather than (or along with) restoration of normal function.
Reperfusion injury is distinct from cerebral hyperperfusion syndrome (sometimes called "Reperfusion syndrome"), a state of abnormal cerebral vasodilation.
Mechanisms
Reperfusion of ischemic tissues is often associated with microvascular injury, particularly due to increased permeability of capillaries and arterioles that lead to an increase of diffusion and fluid filtration across the tissues. Activated endothelial cells produce more reactive oxygen species but less nitric oxide following reperfusion, and the imbalance results in a subsequent inflammatory response.
The inflammatory response is partially responsible for the damage of reperfusion injury. White blood cells, carried to the area by the newly returning blood, release a host of inflammatory factors such as interleukins as well as free radicals in response to tissue damage. The restored blood flow reintroduces oxygen within cells that damages cellular proteins, DNA, and the plasma membrane. Damage to the cell's membrane may in turn cause the release of more free radicals. Such reactive species may also act indirectly in redox signaling to turn on apoptosis. White blood cells may also bind to the endothelium of small capillaries, obstructing them and leading to more ischemia.Reperfusion injury plays a major part in the biochemistry of hypoxic brain injury in stroke. Similar failure processes are involved in brain failure following reversal of cardiac arrest; control of these processes is the subject of ongoing research. Repeated bouts of ischemia and reperfusion injury also are thought to be a factor leading to the formation and failure to heal of chronic wounds such as pressure sores and diabetic foot ulcer. Continuous pressure limits blood supply and causes ischemia, and the inflammation occurs during reperfusion. As this process is repeated, it eventually damages tissue enough to cause a wound.The main reason for the acute phase of ischemia-reperfusion injury is oxygen deprivation and, therefore, arrest of generation of ATP (cellular energy currency) by mitochondria oxidative phosphorylation. Tissue damage due to the general energy deficit during ischemia is followed by reperfusion (increase of oxygen level) when the injury is enhanced. Mitochondrial complex I is thought to be the most vulnerable enzyme to tissue ischemia/reperfusion but the mechanism of damage is different in different tissues. For example brain ischemia/reperfusion injury is mediated via complex I redox-dependent inactivation. It was found that lack of oxygen leads to conditions in which mitochondrial complex I loses its natural cofactor, flavin mononucleotide (FMN) and become inactive. When oxygen is present the enzyme catalyzes a physiological reaction of NADH oxidation by ubiquinone, supplying electrons downstream of the respiratory chain (complexes III and IV). Ischemia leads to dramatic increase of succinate level. In the presence of succinate mitochondria catalyze reverse electron transfer so that fraction of electrons from succinate is directed upstream to FMN of complex I. Reverse electron transfer results in a reduction of complex I FMN, increased generation of ROS, followed by a loss of the reduced cofactor (FMNH2) and impairment of mitochondria energy production. The FMN loss by complex I and I/R injury can be alleviated by the administration of FMN precursor, riboflavin.Reperfusion can cause hyperkalemia.Reperfusion injury is a primary concern in liver transplantation surgery.
Treatment
Therapeutic hypothermia
However, the therapeutic effect of hypothermia does not confine itself to metabolism and membrane stability. Another school of thought focuses on hypothermia's ability to prevent the injuries that occur after circulation returns to the brain, or what is termed reperfusion injuries. In fact an individual suffering from an ischemic insult continues suffering injuries well after circulation is restored. In rats it has been shown that neurons often die a full 24 hours after blood flow returns. Some theorize that this delayed reaction derives from the various inflammatory immune responses that occur during reperfusion. These inflammatory responses cause intracranial pressure, pressure which leads to cell injury and in some situations cell death. Hypothermia has been shown to help moderate intracranial pressure and therefore to minimize the harmful effect of a patient's inflammatory immune responses during reperfusion. Beyond this, reperfusion also increases free radical production. Hypothermia too has been shown to minimize a patient's production of deadly free radicals during reperfusion. Many now suspect it is because hypothermia reduces both intracranial pressure and free radical production that hypothermia improves patient outcome following a blockage of blood flow to the brain.
Hydrogen sulfide treatment
There are some preliminary studies in mice that seem to indicate that treatment with hydrogen sulfide (H2S) can have a protective effect against reperfusion injury.
Cyclosporin
In addition to its well-known immunosuppressive capabilities, the one-time administration of cyclosporin at the time of percutaneous coronary intervention (PCI) has been found to deliver a 40 percent reduction in infarct size in a small group proof of concept study of human patients with reperfusion injury published in The New England Journal of Medicine in 2008.Cyclosporin has been confirmed in studies to inhibit the actions of cyclophilin D, a protein which is induced by excessive intracellular calcium flow to interact with other pore components and help open the MPT pore. Inhibiting cyclophilin D has been shown to prevent the opening of the MPT pore and protect the mitochondria and cellular energy production from excessive calcium inflows.However, the studies CIRCUS and CYCLE (published in September 2015 and February 2016 respectively) looked at the use of cyclosporin as a one time IV dose given right before perfusion therapy (PCI). Both studies found there is no statistical difference in outcome with cyclosporin administration.Reperfusion leads to biochemical imbalances within the cell that lead to cell death and increased infarct size. More specifically, calcium overload and excessive production of reactive oxygen species in the first few minutes after reperfusion set off a cascade of biochemical changes that result in the opening of the so-called mitochondrial permeability transition pore (MPT pore) in the mitochondrial membrane of cardiac cells.The opening of the MPT pore leads to the inrush of water into the mitochondria, resulting in mitochondrial dysfunction and collapse. Upon collapse, the calcium is then released to overwhelm the next mitochondria in a cascading series of events that cause mitochondrial energy production supporting the cell to be reduced or stopped completely. The cessation of energy production results in cellular death. Protecting mitochondria is a viable cardioprotective strategy.In 2008, an editorial in the New England Journal of Medicine called for more studies to determine if cyclosporin can become a treatment to ameliorate reperfusion injury by protecting mitochondria. To that end, in 2011 the researchers involved in the original 2008 NEJM study initiated a phase III clinical study of reperfusion injury in 1000 myocardial infarction patients in centers throughout Europe. Results of that study were announced in 2015 and indicated that "intravenous cyclosporine did not result in better clinical outcomes than those with placebo and did not prevent adverse left ventricular remodeling at 1 year."
This same process of mitochondrial destruction through the opening of the MPT pore is implicated in making traumatic brain injuries much worse.
TRO40303
TRO40303 is a new cardioprotective compound that was shown to inhibit the MPT pore and reduce infarct size after ischemia-reperfusion. It was developed by Trophos company and currently is in Phase I clinical trial.
Stem cell therapy
Recent investigations suggest a possible beneficial effect of mesenchymal stem cells on heart and kidney reperfusion injury.
Superoxide dismutase
Superoxide dismutase is an effective anti-oxidant enzyme which converts superoxide anions to water and hydrogen peroxide. Recent researches have shown significant therapeutic effects on pre-clinical models of reperfusion injury after ischemic stroke.
Metformin
A series of 2009 studies published in the Journal of Cardiovascular Pharmacology suggest that Metformin may prevent cardiac reperfusion injury by inhibition of Mitochondrial Complex I and the opening of MPT pore and in rats.
Riboflavin
In neonatal in vivo model of brain ischemia/reperfusion, tissue injury can be alleviated by the administration of FMN precursor, riboflavin that prevents inactivation of mitochondrial complex I.
Cannabinoids
A study published in 2012 show that the synthetic analogue of the phytocannabinoid Tetrahydrocannabivarin (THCV), Δ8-Tetrahydrocannabivarin (Δ8-THCV) and its metabolite 11-OH-Δ8-THCV, prevent hepatic ischaemia/reperfusion injury by decreasing oxidative stress and inflammatory responses through cannabinoid CB2 receptors and thereby decrease tissue injury and inflammation with a protective effect against liver damage. Pretreatment with a CB2 receptor antagonist attenuated the protective effects of Δ8-THCV, while a CB1 antagonist tended to enhance it.An earlier study published in 2011 found, that Cannabidiol (CBD) also protects against hepatic ischemia/reperfusion injury by attenuating inflammatory signaling and response of oxidative and nitrative stress, and thereby cell death and tissue injury, but independent from classical CB1 and CB2 receptors.
Reperfusion protection in obligate hibernators
Obligatory hibernators such as the ground squirrels show resistance to ischemia/reperfusion (I/R) injury in liver, heart, and small intestine during the hibernation season when there is a switch from carbohydrate metabolism to lipid metabolism for cellular energy supply. This metabolic switch limits anaerobic metabolism and the formation of lactate, a herald of poor prognosis and multi-organ failure (MOF) after I/R injury. In addition, the increase in lipid metabolism generates ketone bodies and activates peroxisome proliferating-activated receptors (PPARs), both of which have been shown to be protective against I/R injury.
See also
Crush syndrome
Ischemic stroke
Myocardial infarction — Reperfusion
Therapeutic hypothermia
Hypothermia therapy for neonatal encephalopathy
Remote ischemic conditioning
Ischemia-reperfusion injury of the appendicular musculoskeletal system
References
== External links == | main subject | {
"answer_start": [
46
],
"text": [
"reperfusion injury"
]
} |
Reperfusion injury, sometimes called ischemia-reperfusion injury (IRI) or reoxygenation injury, is the tissue damage caused when blood supply returns to tissue (re- + perfusion) after a period of ischemia or lack of oxygen (anoxia or hypoxia). The absence of oxygen and nutrients from blood during the ischemic period creates a condition in which the restoration of circulation results in inflammation and oxidative damage through the induction of oxidative stress rather than (or along with) restoration of normal function.
Reperfusion injury is distinct from cerebral hyperperfusion syndrome (sometimes called "Reperfusion syndrome"), a state of abnormal cerebral vasodilation.
Mechanisms
Reperfusion of ischemic tissues is often associated with microvascular injury, particularly due to increased permeability of capillaries and arterioles that lead to an increase of diffusion and fluid filtration across the tissues. Activated endothelial cells produce more reactive oxygen species but less nitric oxide following reperfusion, and the imbalance results in a subsequent inflammatory response.
The inflammatory response is partially responsible for the damage of reperfusion injury. White blood cells, carried to the area by the newly returning blood, release a host of inflammatory factors such as interleukins as well as free radicals in response to tissue damage. The restored blood flow reintroduces oxygen within cells that damages cellular proteins, DNA, and the plasma membrane. Damage to the cell's membrane may in turn cause the release of more free radicals. Such reactive species may also act indirectly in redox signaling to turn on apoptosis. White blood cells may also bind to the endothelium of small capillaries, obstructing them and leading to more ischemia.Reperfusion injury plays a major part in the biochemistry of hypoxic brain injury in stroke. Similar failure processes are involved in brain failure following reversal of cardiac arrest; control of these processes is the subject of ongoing research. Repeated bouts of ischemia and reperfusion injury also are thought to be a factor leading to the formation and failure to heal of chronic wounds such as pressure sores and diabetic foot ulcer. Continuous pressure limits blood supply and causes ischemia, and the inflammation occurs during reperfusion. As this process is repeated, it eventually damages tissue enough to cause a wound.The main reason for the acute phase of ischemia-reperfusion injury is oxygen deprivation and, therefore, arrest of generation of ATP (cellular energy currency) by mitochondria oxidative phosphorylation. Tissue damage due to the general energy deficit during ischemia is followed by reperfusion (increase of oxygen level) when the injury is enhanced. Mitochondrial complex I is thought to be the most vulnerable enzyme to tissue ischemia/reperfusion but the mechanism of damage is different in different tissues. For example brain ischemia/reperfusion injury is mediated via complex I redox-dependent inactivation. It was found that lack of oxygen leads to conditions in which mitochondrial complex I loses its natural cofactor, flavin mononucleotide (FMN) and become inactive. When oxygen is present the enzyme catalyzes a physiological reaction of NADH oxidation by ubiquinone, supplying electrons downstream of the respiratory chain (complexes III and IV). Ischemia leads to dramatic increase of succinate level. In the presence of succinate mitochondria catalyze reverse electron transfer so that fraction of electrons from succinate is directed upstream to FMN of complex I. Reverse electron transfer results in a reduction of complex I FMN, increased generation of ROS, followed by a loss of the reduced cofactor (FMNH2) and impairment of mitochondria energy production. The FMN loss by complex I and I/R injury can be alleviated by the administration of FMN precursor, riboflavin.Reperfusion can cause hyperkalemia.Reperfusion injury is a primary concern in liver transplantation surgery.
Treatment
Therapeutic hypothermia
However, the therapeutic effect of hypothermia does not confine itself to metabolism and membrane stability. Another school of thought focuses on hypothermia's ability to prevent the injuries that occur after circulation returns to the brain, or what is termed reperfusion injuries. In fact an individual suffering from an ischemic insult continues suffering injuries well after circulation is restored. In rats it has been shown that neurons often die a full 24 hours after blood flow returns. Some theorize that this delayed reaction derives from the various inflammatory immune responses that occur during reperfusion. These inflammatory responses cause intracranial pressure, pressure which leads to cell injury and in some situations cell death. Hypothermia has been shown to help moderate intracranial pressure and therefore to minimize the harmful effect of a patient's inflammatory immune responses during reperfusion. Beyond this, reperfusion also increases free radical production. Hypothermia too has been shown to minimize a patient's production of deadly free radicals during reperfusion. Many now suspect it is because hypothermia reduces both intracranial pressure and free radical production that hypothermia improves patient outcome following a blockage of blood flow to the brain.
Hydrogen sulfide treatment
There are some preliminary studies in mice that seem to indicate that treatment with hydrogen sulfide (H2S) can have a protective effect against reperfusion injury.
Cyclosporin
In addition to its well-known immunosuppressive capabilities, the one-time administration of cyclosporin at the time of percutaneous coronary intervention (PCI) has been found to deliver a 40 percent reduction in infarct size in a small group proof of concept study of human patients with reperfusion injury published in The New England Journal of Medicine in 2008.Cyclosporin has been confirmed in studies to inhibit the actions of cyclophilin D, a protein which is induced by excessive intracellular calcium flow to interact with other pore components and help open the MPT pore. Inhibiting cyclophilin D has been shown to prevent the opening of the MPT pore and protect the mitochondria and cellular energy production from excessive calcium inflows.However, the studies CIRCUS and CYCLE (published in September 2015 and February 2016 respectively) looked at the use of cyclosporin as a one time IV dose given right before perfusion therapy (PCI). Both studies found there is no statistical difference in outcome with cyclosporin administration.Reperfusion leads to biochemical imbalances within the cell that lead to cell death and increased infarct size. More specifically, calcium overload and excessive production of reactive oxygen species in the first few minutes after reperfusion set off a cascade of biochemical changes that result in the opening of the so-called mitochondrial permeability transition pore (MPT pore) in the mitochondrial membrane of cardiac cells.The opening of the MPT pore leads to the inrush of water into the mitochondria, resulting in mitochondrial dysfunction and collapse. Upon collapse, the calcium is then released to overwhelm the next mitochondria in a cascading series of events that cause mitochondrial energy production supporting the cell to be reduced or stopped completely. The cessation of energy production results in cellular death. Protecting mitochondria is a viable cardioprotective strategy.In 2008, an editorial in the New England Journal of Medicine called for more studies to determine if cyclosporin can become a treatment to ameliorate reperfusion injury by protecting mitochondria. To that end, in 2011 the researchers involved in the original 2008 NEJM study initiated a phase III clinical study of reperfusion injury in 1000 myocardial infarction patients in centers throughout Europe. Results of that study were announced in 2015 and indicated that "intravenous cyclosporine did not result in better clinical outcomes than those with placebo and did not prevent adverse left ventricular remodeling at 1 year."
This same process of mitochondrial destruction through the opening of the MPT pore is implicated in making traumatic brain injuries much worse.
TRO40303
TRO40303 is a new cardioprotective compound that was shown to inhibit the MPT pore and reduce infarct size after ischemia-reperfusion. It was developed by Trophos company and currently is in Phase I clinical trial.
Stem cell therapy
Recent investigations suggest a possible beneficial effect of mesenchymal stem cells on heart and kidney reperfusion injury.
Superoxide dismutase
Superoxide dismutase is an effective anti-oxidant enzyme which converts superoxide anions to water and hydrogen peroxide. Recent researches have shown significant therapeutic effects on pre-clinical models of reperfusion injury after ischemic stroke.
Metformin
A series of 2009 studies published in the Journal of Cardiovascular Pharmacology suggest that Metformin may prevent cardiac reperfusion injury by inhibition of Mitochondrial Complex I and the opening of MPT pore and in rats.
Riboflavin
In neonatal in vivo model of brain ischemia/reperfusion, tissue injury can be alleviated by the administration of FMN precursor, riboflavin that prevents inactivation of mitochondrial complex I.
Cannabinoids
A study published in 2012 show that the synthetic analogue of the phytocannabinoid Tetrahydrocannabivarin (THCV), Δ8-Tetrahydrocannabivarin (Δ8-THCV) and its metabolite 11-OH-Δ8-THCV, prevent hepatic ischaemia/reperfusion injury by decreasing oxidative stress and inflammatory responses through cannabinoid CB2 receptors and thereby decrease tissue injury and inflammation with a protective effect against liver damage. Pretreatment with a CB2 receptor antagonist attenuated the protective effects of Δ8-THCV, while a CB1 antagonist tended to enhance it.An earlier study published in 2011 found, that Cannabidiol (CBD) also protects against hepatic ischemia/reperfusion injury by attenuating inflammatory signaling and response of oxidative and nitrative stress, and thereby cell death and tissue injury, but independent from classical CB1 and CB2 receptors.
Reperfusion protection in obligate hibernators
Obligatory hibernators such as the ground squirrels show resistance to ischemia/reperfusion (I/R) injury in liver, heart, and small intestine during the hibernation season when there is a switch from carbohydrate metabolism to lipid metabolism for cellular energy supply. This metabolic switch limits anaerobic metabolism and the formation of lactate, a herald of poor prognosis and multi-organ failure (MOF) after I/R injury. In addition, the increase in lipid metabolism generates ketone bodies and activates peroxisome proliferating-activated receptors (PPARs), both of which have been shown to be protective against I/R injury.
See also
Crush syndrome
Ischemic stroke
Myocardial infarction — Reperfusion
Therapeutic hypothermia
Hypothermia therapy for neonatal encephalopathy
Remote ischemic conditioning
Ischemia-reperfusion injury of the appendicular musculoskeletal system
References
== External links == | title | {
"answer_start": [
0
],
"text": [
"Reperfusion injury"
]
} |
Reperfusion injury, sometimes called ischemia-reperfusion injury (IRI) or reoxygenation injury, is the tissue damage caused when blood supply returns to tissue (re- + perfusion) after a period of ischemia or lack of oxygen (anoxia or hypoxia). The absence of oxygen and nutrients from blood during the ischemic period creates a condition in which the restoration of circulation results in inflammation and oxidative damage through the induction of oxidative stress rather than (or along with) restoration of normal function.
Reperfusion injury is distinct from cerebral hyperperfusion syndrome (sometimes called "Reperfusion syndrome"), a state of abnormal cerebral vasodilation.
Mechanisms
Reperfusion of ischemic tissues is often associated with microvascular injury, particularly due to increased permeability of capillaries and arterioles that lead to an increase of diffusion and fluid filtration across the tissues. Activated endothelial cells produce more reactive oxygen species but less nitric oxide following reperfusion, and the imbalance results in a subsequent inflammatory response.
The inflammatory response is partially responsible for the damage of reperfusion injury. White blood cells, carried to the area by the newly returning blood, release a host of inflammatory factors such as interleukins as well as free radicals in response to tissue damage. The restored blood flow reintroduces oxygen within cells that damages cellular proteins, DNA, and the plasma membrane. Damage to the cell's membrane may in turn cause the release of more free radicals. Such reactive species may also act indirectly in redox signaling to turn on apoptosis. White blood cells may also bind to the endothelium of small capillaries, obstructing them and leading to more ischemia.Reperfusion injury plays a major part in the biochemistry of hypoxic brain injury in stroke. Similar failure processes are involved in brain failure following reversal of cardiac arrest; control of these processes is the subject of ongoing research. Repeated bouts of ischemia and reperfusion injury also are thought to be a factor leading to the formation and failure to heal of chronic wounds such as pressure sores and diabetic foot ulcer. Continuous pressure limits blood supply and causes ischemia, and the inflammation occurs during reperfusion. As this process is repeated, it eventually damages tissue enough to cause a wound.The main reason for the acute phase of ischemia-reperfusion injury is oxygen deprivation and, therefore, arrest of generation of ATP (cellular energy currency) by mitochondria oxidative phosphorylation. Tissue damage due to the general energy deficit during ischemia is followed by reperfusion (increase of oxygen level) when the injury is enhanced. Mitochondrial complex I is thought to be the most vulnerable enzyme to tissue ischemia/reperfusion but the mechanism of damage is different in different tissues. For example brain ischemia/reperfusion injury is mediated via complex I redox-dependent inactivation. It was found that lack of oxygen leads to conditions in which mitochondrial complex I loses its natural cofactor, flavin mononucleotide (FMN) and become inactive. When oxygen is present the enzyme catalyzes a physiological reaction of NADH oxidation by ubiquinone, supplying electrons downstream of the respiratory chain (complexes III and IV). Ischemia leads to dramatic increase of succinate level. In the presence of succinate mitochondria catalyze reverse electron transfer so that fraction of electrons from succinate is directed upstream to FMN of complex I. Reverse electron transfer results in a reduction of complex I FMN, increased generation of ROS, followed by a loss of the reduced cofactor (FMNH2) and impairment of mitochondria energy production. The FMN loss by complex I and I/R injury can be alleviated by the administration of FMN precursor, riboflavin.Reperfusion can cause hyperkalemia.Reperfusion injury is a primary concern in liver transplantation surgery.
Treatment
Therapeutic hypothermia
However, the therapeutic effect of hypothermia does not confine itself to metabolism and membrane stability. Another school of thought focuses on hypothermia's ability to prevent the injuries that occur after circulation returns to the brain, or what is termed reperfusion injuries. In fact an individual suffering from an ischemic insult continues suffering injuries well after circulation is restored. In rats it has been shown that neurons often die a full 24 hours after blood flow returns. Some theorize that this delayed reaction derives from the various inflammatory immune responses that occur during reperfusion. These inflammatory responses cause intracranial pressure, pressure which leads to cell injury and in some situations cell death. Hypothermia has been shown to help moderate intracranial pressure and therefore to minimize the harmful effect of a patient's inflammatory immune responses during reperfusion. Beyond this, reperfusion also increases free radical production. Hypothermia too has been shown to minimize a patient's production of deadly free radicals during reperfusion. Many now suspect it is because hypothermia reduces both intracranial pressure and free radical production that hypothermia improves patient outcome following a blockage of blood flow to the brain.
Hydrogen sulfide treatment
There are some preliminary studies in mice that seem to indicate that treatment with hydrogen sulfide (H2S) can have a protective effect against reperfusion injury.
Cyclosporin
In addition to its well-known immunosuppressive capabilities, the one-time administration of cyclosporin at the time of percutaneous coronary intervention (PCI) has been found to deliver a 40 percent reduction in infarct size in a small group proof of concept study of human patients with reperfusion injury published in The New England Journal of Medicine in 2008.Cyclosporin has been confirmed in studies to inhibit the actions of cyclophilin D, a protein which is induced by excessive intracellular calcium flow to interact with other pore components and help open the MPT pore. Inhibiting cyclophilin D has been shown to prevent the opening of the MPT pore and protect the mitochondria and cellular energy production from excessive calcium inflows.However, the studies CIRCUS and CYCLE (published in September 2015 and February 2016 respectively) looked at the use of cyclosporin as a one time IV dose given right before perfusion therapy (PCI). Both studies found there is no statistical difference in outcome with cyclosporin administration.Reperfusion leads to biochemical imbalances within the cell that lead to cell death and increased infarct size. More specifically, calcium overload and excessive production of reactive oxygen species in the first few minutes after reperfusion set off a cascade of biochemical changes that result in the opening of the so-called mitochondrial permeability transition pore (MPT pore) in the mitochondrial membrane of cardiac cells.The opening of the MPT pore leads to the inrush of water into the mitochondria, resulting in mitochondrial dysfunction and collapse. Upon collapse, the calcium is then released to overwhelm the next mitochondria in a cascading series of events that cause mitochondrial energy production supporting the cell to be reduced or stopped completely. The cessation of energy production results in cellular death. Protecting mitochondria is a viable cardioprotective strategy.In 2008, an editorial in the New England Journal of Medicine called for more studies to determine if cyclosporin can become a treatment to ameliorate reperfusion injury by protecting mitochondria. To that end, in 2011 the researchers involved in the original 2008 NEJM study initiated a phase III clinical study of reperfusion injury in 1000 myocardial infarction patients in centers throughout Europe. Results of that study were announced in 2015 and indicated that "intravenous cyclosporine did not result in better clinical outcomes than those with placebo and did not prevent adverse left ventricular remodeling at 1 year."
This same process of mitochondrial destruction through the opening of the MPT pore is implicated in making traumatic brain injuries much worse.
TRO40303
TRO40303 is a new cardioprotective compound that was shown to inhibit the MPT pore and reduce infarct size after ischemia-reperfusion. It was developed by Trophos company and currently is in Phase I clinical trial.
Stem cell therapy
Recent investigations suggest a possible beneficial effect of mesenchymal stem cells on heart and kidney reperfusion injury.
Superoxide dismutase
Superoxide dismutase is an effective anti-oxidant enzyme which converts superoxide anions to water and hydrogen peroxide. Recent researches have shown significant therapeutic effects on pre-clinical models of reperfusion injury after ischemic stroke.
Metformin
A series of 2009 studies published in the Journal of Cardiovascular Pharmacology suggest that Metformin may prevent cardiac reperfusion injury by inhibition of Mitochondrial Complex I and the opening of MPT pore and in rats.
Riboflavin
In neonatal in vivo model of brain ischemia/reperfusion, tissue injury can be alleviated by the administration of FMN precursor, riboflavin that prevents inactivation of mitochondrial complex I.
Cannabinoids
A study published in 2012 show that the synthetic analogue of the phytocannabinoid Tetrahydrocannabivarin (THCV), Δ8-Tetrahydrocannabivarin (Δ8-THCV) and its metabolite 11-OH-Δ8-THCV, prevent hepatic ischaemia/reperfusion injury by decreasing oxidative stress and inflammatory responses through cannabinoid CB2 receptors and thereby decrease tissue injury and inflammation with a protective effect against liver damage. Pretreatment with a CB2 receptor antagonist attenuated the protective effects of Δ8-THCV, while a CB1 antagonist tended to enhance it.An earlier study published in 2011 found, that Cannabidiol (CBD) also protects against hepatic ischemia/reperfusion injury by attenuating inflammatory signaling and response of oxidative and nitrative stress, and thereby cell death and tissue injury, but independent from classical CB1 and CB2 receptors.
Reperfusion protection in obligate hibernators
Obligatory hibernators such as the ground squirrels show resistance to ischemia/reperfusion (I/R) injury in liver, heart, and small intestine during the hibernation season when there is a switch from carbohydrate metabolism to lipid metabolism for cellular energy supply. This metabolic switch limits anaerobic metabolism and the formation of lactate, a herald of poor prognosis and multi-organ failure (MOF) after I/R injury. In addition, the increase in lipid metabolism generates ketone bodies and activates peroxisome proliferating-activated receptors (PPARs), both of which have been shown to be protective against I/R injury.
See also
Crush syndrome
Ischemic stroke
Myocardial infarction — Reperfusion
Therapeutic hypothermia
Hypothermia therapy for neonatal encephalopathy
Remote ischemic conditioning
Ischemia-reperfusion injury of the appendicular musculoskeletal system
References
== External links == | issue | {
"answer_start": [
8281
],
"text": [
"3"
]
} |
Reperfusion injury, sometimes called ischemia-reperfusion injury (IRI) or reoxygenation injury, is the tissue damage caused when blood supply returns to tissue (re- + perfusion) after a period of ischemia or lack of oxygen (anoxia or hypoxia). The absence of oxygen and nutrients from blood during the ischemic period creates a condition in which the restoration of circulation results in inflammation and oxidative damage through the induction of oxidative stress rather than (or along with) restoration of normal function.
Reperfusion injury is distinct from cerebral hyperperfusion syndrome (sometimes called "Reperfusion syndrome"), a state of abnormal cerebral vasodilation.
Mechanisms
Reperfusion of ischemic tissues is often associated with microvascular injury, particularly due to increased permeability of capillaries and arterioles that lead to an increase of diffusion and fluid filtration across the tissues. Activated endothelial cells produce more reactive oxygen species but less nitric oxide following reperfusion, and the imbalance results in a subsequent inflammatory response.
The inflammatory response is partially responsible for the damage of reperfusion injury. White blood cells, carried to the area by the newly returning blood, release a host of inflammatory factors such as interleukins as well as free radicals in response to tissue damage. The restored blood flow reintroduces oxygen within cells that damages cellular proteins, DNA, and the plasma membrane. Damage to the cell's membrane may in turn cause the release of more free radicals. Such reactive species may also act indirectly in redox signaling to turn on apoptosis. White blood cells may also bind to the endothelium of small capillaries, obstructing them and leading to more ischemia.Reperfusion injury plays a major part in the biochemistry of hypoxic brain injury in stroke. Similar failure processes are involved in brain failure following reversal of cardiac arrest; control of these processes is the subject of ongoing research. Repeated bouts of ischemia and reperfusion injury also are thought to be a factor leading to the formation and failure to heal of chronic wounds such as pressure sores and diabetic foot ulcer. Continuous pressure limits blood supply and causes ischemia, and the inflammation occurs during reperfusion. As this process is repeated, it eventually damages tissue enough to cause a wound.The main reason for the acute phase of ischemia-reperfusion injury is oxygen deprivation and, therefore, arrest of generation of ATP (cellular energy currency) by mitochondria oxidative phosphorylation. Tissue damage due to the general energy deficit during ischemia is followed by reperfusion (increase of oxygen level) when the injury is enhanced. Mitochondrial complex I is thought to be the most vulnerable enzyme to tissue ischemia/reperfusion but the mechanism of damage is different in different tissues. For example brain ischemia/reperfusion injury is mediated via complex I redox-dependent inactivation. It was found that lack of oxygen leads to conditions in which mitochondrial complex I loses its natural cofactor, flavin mononucleotide (FMN) and become inactive. When oxygen is present the enzyme catalyzes a physiological reaction of NADH oxidation by ubiquinone, supplying electrons downstream of the respiratory chain (complexes III and IV). Ischemia leads to dramatic increase of succinate level. In the presence of succinate mitochondria catalyze reverse electron transfer so that fraction of electrons from succinate is directed upstream to FMN of complex I. Reverse electron transfer results in a reduction of complex I FMN, increased generation of ROS, followed by a loss of the reduced cofactor (FMNH2) and impairment of mitochondria energy production. The FMN loss by complex I and I/R injury can be alleviated by the administration of FMN precursor, riboflavin.Reperfusion can cause hyperkalemia.Reperfusion injury is a primary concern in liver transplantation surgery.
Treatment
Therapeutic hypothermia
However, the therapeutic effect of hypothermia does not confine itself to metabolism and membrane stability. Another school of thought focuses on hypothermia's ability to prevent the injuries that occur after circulation returns to the brain, or what is termed reperfusion injuries. In fact an individual suffering from an ischemic insult continues suffering injuries well after circulation is restored. In rats it has been shown that neurons often die a full 24 hours after blood flow returns. Some theorize that this delayed reaction derives from the various inflammatory immune responses that occur during reperfusion. These inflammatory responses cause intracranial pressure, pressure which leads to cell injury and in some situations cell death. Hypothermia has been shown to help moderate intracranial pressure and therefore to minimize the harmful effect of a patient's inflammatory immune responses during reperfusion. Beyond this, reperfusion also increases free radical production. Hypothermia too has been shown to minimize a patient's production of deadly free radicals during reperfusion. Many now suspect it is because hypothermia reduces both intracranial pressure and free radical production that hypothermia improves patient outcome following a blockage of blood flow to the brain.
Hydrogen sulfide treatment
There are some preliminary studies in mice that seem to indicate that treatment with hydrogen sulfide (H2S) can have a protective effect against reperfusion injury.
Cyclosporin
In addition to its well-known immunosuppressive capabilities, the one-time administration of cyclosporin at the time of percutaneous coronary intervention (PCI) has been found to deliver a 40 percent reduction in infarct size in a small group proof of concept study of human patients with reperfusion injury published in The New England Journal of Medicine in 2008.Cyclosporin has been confirmed in studies to inhibit the actions of cyclophilin D, a protein which is induced by excessive intracellular calcium flow to interact with other pore components and help open the MPT pore. Inhibiting cyclophilin D has been shown to prevent the opening of the MPT pore and protect the mitochondria and cellular energy production from excessive calcium inflows.However, the studies CIRCUS and CYCLE (published in September 2015 and February 2016 respectively) looked at the use of cyclosporin as a one time IV dose given right before perfusion therapy (PCI). Both studies found there is no statistical difference in outcome with cyclosporin administration.Reperfusion leads to biochemical imbalances within the cell that lead to cell death and increased infarct size. More specifically, calcium overload and excessive production of reactive oxygen species in the first few minutes after reperfusion set off a cascade of biochemical changes that result in the opening of the so-called mitochondrial permeability transition pore (MPT pore) in the mitochondrial membrane of cardiac cells.The opening of the MPT pore leads to the inrush of water into the mitochondria, resulting in mitochondrial dysfunction and collapse. Upon collapse, the calcium is then released to overwhelm the next mitochondria in a cascading series of events that cause mitochondrial energy production supporting the cell to be reduced or stopped completely. The cessation of energy production results in cellular death. Protecting mitochondria is a viable cardioprotective strategy.In 2008, an editorial in the New England Journal of Medicine called for more studies to determine if cyclosporin can become a treatment to ameliorate reperfusion injury by protecting mitochondria. To that end, in 2011 the researchers involved in the original 2008 NEJM study initiated a phase III clinical study of reperfusion injury in 1000 myocardial infarction patients in centers throughout Europe. Results of that study were announced in 2015 and indicated that "intravenous cyclosporine did not result in better clinical outcomes than those with placebo and did not prevent adverse left ventricular remodeling at 1 year."
This same process of mitochondrial destruction through the opening of the MPT pore is implicated in making traumatic brain injuries much worse.
TRO40303
TRO40303 is a new cardioprotective compound that was shown to inhibit the MPT pore and reduce infarct size after ischemia-reperfusion. It was developed by Trophos company and currently is in Phase I clinical trial.
Stem cell therapy
Recent investigations suggest a possible beneficial effect of mesenchymal stem cells on heart and kidney reperfusion injury.
Superoxide dismutase
Superoxide dismutase is an effective anti-oxidant enzyme which converts superoxide anions to water and hydrogen peroxide. Recent researches have shown significant therapeutic effects on pre-clinical models of reperfusion injury after ischemic stroke.
Metformin
A series of 2009 studies published in the Journal of Cardiovascular Pharmacology suggest that Metformin may prevent cardiac reperfusion injury by inhibition of Mitochondrial Complex I and the opening of MPT pore and in rats.
Riboflavin
In neonatal in vivo model of brain ischemia/reperfusion, tissue injury can be alleviated by the administration of FMN precursor, riboflavin that prevents inactivation of mitochondrial complex I.
Cannabinoids
A study published in 2012 show that the synthetic analogue of the phytocannabinoid Tetrahydrocannabivarin (THCV), Δ8-Tetrahydrocannabivarin (Δ8-THCV) and its metabolite 11-OH-Δ8-THCV, prevent hepatic ischaemia/reperfusion injury by decreasing oxidative stress and inflammatory responses through cannabinoid CB2 receptors and thereby decrease tissue injury and inflammation with a protective effect against liver damage. Pretreatment with a CB2 receptor antagonist attenuated the protective effects of Δ8-THCV, while a CB1 antagonist tended to enhance it.An earlier study published in 2011 found, that Cannabidiol (CBD) also protects against hepatic ischemia/reperfusion injury by attenuating inflammatory signaling and response of oxidative and nitrative stress, and thereby cell death and tissue injury, but independent from classical CB1 and CB2 receptors.
Reperfusion protection in obligate hibernators
Obligatory hibernators such as the ground squirrels show resistance to ischemia/reperfusion (I/R) injury in liver, heart, and small intestine during the hibernation season when there is a switch from carbohydrate metabolism to lipid metabolism for cellular energy supply. This metabolic switch limits anaerobic metabolism and the formation of lactate, a herald of poor prognosis and multi-organ failure (MOF) after I/R injury. In addition, the increase in lipid metabolism generates ketone bodies and activates peroxisome proliferating-activated receptors (PPARs), both of which have been shown to be protective against I/R injury.
See also
Crush syndrome
Ischemic stroke
Myocardial infarction — Reperfusion
Therapeutic hypothermia
Hypothermia therapy for neonatal encephalopathy
Remote ischemic conditioning
Ischemia-reperfusion injury of the appendicular musculoskeletal system
References
== External links == | volume | {
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"Nana's Party" is the fifth episode of the second series of the British dark comedy anthology television programme Inside No. 9. It was first broadcast on 23 April 2015 on BBC Two. Written and directed by Steve Pemberton and Reece Shearsmith, the episode starred Claire Skinner as the obsessive-compulsive and aspirational Angela, who is hosting a party for the 79th birthday of her mother Maggie, played by Elsie Kelly. Angela's husband Jim, played by Pemberton, is keen to play a prank on Pat, Angela's brother-in-law, who is a practical joker. Pat is played by Shearsmith, while Carol, a recovering alcoholic who is Pat's wife and Angela's sister, is played by Lorraine Ashbourne. The episode also features Eve Gordon as Katie, Angela and Jim's teenage daughter, and Christopher Whitlow as a paramedic seen at the beginning and end of the episode.
Much of the episode's plot revolves around a practical joke with a fake cake that Jim has set up in an attempt to fool Pat. Moving the cake reveals the head of the person hiding under the table, but, in the meantime, the hidden character can hear conversations taking place nearby, unbeknownst to those who are not in on the joke. The episode plays on viewers' guesses as to what has led to the arrival—seen at the opening of the episode—of a paramedic. In particular, the person under the table is at risk of injury if candles burn down or someone puts a knife into the "cake".
"Nana's Party" was the first episode of Inside No. 9 to be written, but it was shelved when BBC executives instead suggested that it worked as the first episode of a sitcom. Pemberton and Shearsmith revisited and modified the script during the writing process for Inside No. 9's second series. The writers aimed for a feeling of suburban darkness reminiscent of the work of the playwright Alan Ayckbourn, while commentators compared the episode to the work of the playwright and screenwriter Mike Leigh, particularly the play Abigail's Party. The story addresses themes including alcoholism, extramarital affairs, aging and social class. Television critics responded positively to "Nana's Party", which was praised as a typically-strong instalment of Inside No. 9. Particular praise was directed towards the writing and performances, especially Skinner's performance as Angela, Ashbourne's performance as Carol and Shearsmith's performance as Pat.
Production
Writing
"Nana's Party" was the first episode of Inside No. 9 to be written by the programme's creators Reece Shearsmith and Steve Pemberton. BBC producers felt the episode worked as the opening episode of a sitcom, but Pemberton and Shearsmith were not happy to develop the idea into its own series, given the events of the plot. As such, the script was shelved, and revisited during planning for Inside No. 9's second series. A number of changes were made from the original script when the concept was revisited. For example, a paramedic was added to the opening scene in order to add a sense of danger and foreboding, and the character Angela's "borderline OCD" was accentuated.Shearsmith said that the episode's focus on a grandmother's birthday party felt "domestic" and "homely". Pemberton, too, called it a "domestic" story, describing it as playing upon the classic British plot device of a family party going wrong. Shearsmith suggested that the pleasant house did give the episode the feel of a sitcom, but said that the story went somewhere "darker" than a typical sitcom would. With "Nana's Party", the writers wanted to produce something "dark" and "suburban", with Pemberton citing the playwright Alan Ayckbourn as an influence. Indeed, at the time the episode was written, Shearsmith was starring in an adaptation of Ayckbourn's play Absent Friends.The writers intended to play off the idea of a hidden character being able to hear conversations revealing secrets. An initial idea of Pemberton's was to have a large parcel on a table at the birthday party, but with Maggie—on whose birthday the episode would be set—absent. Other characters would repeatedly ask where Maggie was, until it was revealed that her head was in the parcel. This idea developed into the possibility of a hollow cake hiding a character, a device used in the final episode. For the writers, there is humour in characters spending time talking earnestly to a cake; they noted that the prop cake had features resembling a face. In the editing stage, the production team kept reintroducing the cake in order to remind viewers of its presence. The original script ended with a knife being plunged into a fake cake followed by the revelation, contrary to viewers' expectations, that no one was under it at the time; instead, the writers upped the drama in the story, making it possible that any of the characters injured. For the writers, the original plot was, in a sense, darker, as some characters got away with wrongdoing in a way they do not in the final version.
Casting and characters
As each episode of Inside No. 9 features new characters, the writers were able to attract actors who might have been unwilling to commit to an entire series. "Nana's Party" featured Claire Skinner as Angela, who is hosting a party. Pemberton and Shearsmith lived close to Skinner, but they had not properly met. She was one of several members of the cast of the film Life Is Sweet (others being Alison Steadman and Jane Horrocks) who have starred in Inside No. 9. Skinner enjoyed the "funny" script and her "nice" character. Eve Gordon (trained at the Nottingham Television Workshop) starred as Angela's daughter Katie, and Pemberton starred as Angela's husband Jim. Pemberton and Shearsmith suggested that Pemberton's costume made him look like Mr Chow Mein, a Benny Hill character.Elsie Kelly played Angela's mother Maggie, on whose birthday the episode is set. The part was not written with anyone in mind, though Pemberton already knew Kelly well from their time together on the sitcom Benidorm. Lorraine Ashbourne played Angela's sister Carol, and Pat, Carol's husband, was played by Shearsmith. Carol was Pemberton's favourite character in the whole series; Shearsmith worried that an actor may not portray the character as they had hoped, but was very happy with Ashbourne's performance. Ashbourne said she was "thrilled" to be working with Pemberton and Shearsmith, for whom she had great admiration. She described the character of Carol as "hilarious", characterising her as "sexually frustrated" and "sad". To reflect Carol's alcoholism, Ashbourne swilled whiskey around her mouth before filming. Shearsmith wore a red wig to play Pat, something he had never done before. His skin-tone needed to be changed to match the hair, necessitating a white spray on his face every morning. In order not to give the impression that Pat was a thief or murderer (rather than simply a practical joker), Shearsmith was directed to chuckle while Pat set up his jokes. Christopher Whitlow plays a paramedic seen at the beginning and end of the episode. The scene featuring the paramedic at the end of the episode was longer in the final cut than had been initially intended in order to show more of the character's actions.
Filming and direction
The second series of Inside No. 9 was filmed from the end of 2014 into early 2015. "Nana's Party" was filmed in January, and was the final episode of the second series to be filmed. The writers saw a number of houses before selecting the one used in the episode; they wanted an open plan home to allow for easy movement between rooms. The one chosen was close to Twickenham Studios. A "deckhouse" was added to the house's garden; despite there already being two sheds, neither would have been visible on-screen. A new one was thus added. The executive producer Adam Tandy suggested that deckhouse would be preferable to shed, as the latter term suggested the site of something awful. Scenes in a bedroom used the room mostly as the production team found it. The room featured a number of books not seen on-screen, which reminded Shearsmith of a script (in the end not used for Inside No. 9's second series) of an episode set in a library. The front room had a buffet, including a prawn ring; by the third day of filming, this had begun to smell, and needed to be removed.Pemberton and Shearsmith, in addition to writing and starring in "Nana's Party", directed the episode. This was the second episode they jointly directed in the second series after "Cold Comfort", their directorial debut. The pair did not know, while writing for the series, which episodes they would be directing, meaning that their writing was unlikely to be influenced by the knowledge. Pemberton and Shearsmith had always intended to try directing, and the second series of Inside No. 9 offered them the opportunity. David Kerr, who had directed all of the episodes in the first series, was unable to return for the second. Guillem Morales and Dan Zeff each took on directorial duties for two episodes, while Pemberton and Shearsmith decided to direct the remaining two. Shearsmith said in an interview that the pair had considered directing episodes in which they did not appear much, but scheduling concerns left them with "Cold Comfort" and "Nana's Party"; both episodes feature the writers quite heavily."Nana's Party" represented a directorial challenge insofar as Pemberton and Shearsmith were both on-screen for a relatively large amount of the episode. The pair took turns off-camera; on one day, Shearsmith acted and Pemberton watched, and the next day, the two switched; they were, however, tired, not least because it was the final episode of the series filmed. "Nana's Party" required more direction than "Cold Comfort", due in part to the larger number of actors. Pemberton and Shearsmith leaned strongly on Stephan Pehrsson, their cinematographer. While Pemberton and Shearsmith handled staging, Pehrsson handled cinematography.
Plot
A paramedic is let into a house to the sounds of panic. Earlier, the fastidious Angela prepares to host a party for the 79th birthday of her mother, Maggie. Angela's daughter, Katie, heads to her room to complete her homework. When Angela moves a cake, she reveals the head of Jim, her husband. Jim plans to play a trick on Pat—a practical joker and the husband of Angela's sister, Carol (a recovering alcoholic)—by hiding under the cake. Maggie, Carol and Pat—the latter wearing a wolf mask—arrive at the house. As the three settle, Pat plugs in his mobile to charge—something Jim had asked Angela to prevent—and secretly places ice in a bucket. Carol privately drinks from a sunscreen bottle while ostensibly unblocking the toilet after her mother could not flush it. Angela is proud that the party food is from Marks's, but Carol mocks Angela's middle class affectations. Maggie wants a photograph with the food on the table, and Carol lights the cake's candles, which burn towards the flammable fake cake—under which Jim is still hiding. Katie greets her nana and aunt, with Maggie insisting that she tell the joke from Pat's card. Panicking, Angela blows out the candles. The room clears, and Jim is left frustrated.
Katie shows Maggie her tablet as the pair sit in the former's room. A visibly-drunk Carol enters and talks to Katie about the importance of having fun. Katie wants to finish her homework, but assures Carol that she would make a good mother. Downstairs, Jim persuades Angela to take up position under the table as Pat replaces the soap in the toilet. Pat joins Jim next to the table and returns a VHS; it becomes clear that Jim's apparent love for Countdown is actually a cover for his pornography habit, and Jim tries to steer the conversation away from the topic, worried that Angela will hear. Carol enters and puts on music. Pat sees Carol's sunscreen, and prepares her a drink of "Adam's ale". Carol aggressively flirts with Jim, who does not reciprocate. When Pat hands Carol water, she throws it in his face and he leaves. Carol confronts Jim about promises he made to her, and how this house should be hers, not Angela's. Jim remains terrified that Angela can hear the conversation.
Katie and Maggie enter. Maggie talks about Pat's "frozen willies"—novelty ice cubes—as a distressed Jim makes her a drink, and Carol dances with the uninterested Katie. Jim pulls Carol away from Katie, but Carol hits him; when Carol talks to Katie about becoming her stepmother, Jim shouts at her. Pat stops him, and, after Carol storms out, tells Jim that "he knows". Katie is distressed, and interrogates Jim as Maggie plunges a knife into the cake. Jim panics, believing Angela is still under the table, but Angela enters from the kitchen, and reveals that she left to buy a real cake—the story that Jim had told to cover her apparent absence. Katie wants to talk to her mother, but chaos ensues when Maggie chokes on an ice cube, which Pat reveals contains a fake spider. Carol enters, her face blackened by Pat's fake soap, and Pat, reaching for his charging phone to call the emergency services, receives an electric shock, his hands wet from the ice bucket. Angela performs the Heimlich manoeuver on her mother; Carol kneels by Pat and shouts for help. The new cake is pushed into Jim's face by Katie, who then answers the door. The paramedic enters, then begins a striptease for Maggie to the Casualty theme. His performance, it is revealed, was Pat's present to Maggie. Later, Jim talks to an oblivious Maggie. He sees Angela and Katie come down the stairs with bags. In silence, he watches them leave as Maggie tells him the joke from Pat's birthday card.
Analysis
Plotlines following a birthday party in disarray are common, particularly in plays, and an episode with a similar theme was also included in the first series of Inside No. 9. "Nana's Party" revolves around the relatively mundane problems of alcoholism, affairs and aging. Class is another theme, with Angela, Jim and Katie representing a typical middle class family, while Maggie, Carol and Pat are more working class. David Chater, writing for The Times, said that "Nana's Party" was like "a more twisted version" of Abigail's Party, with several critics likening the episode to a Mike Leigh drama. Critics also saw the influence of Ayckbourn's work.The episode's action revolves around the practical joke involving the cake and, in particular, viewers' attempts to guess what has caused injury, as they know that the paramedic will be coming. Both Angela and the alcoholic Carol are "ticking time-bomb[s]". Angela is the central character, and is similar to a more anxious version of Sue Brockman, Skinner's character from Outnumbered. She is stressed and obsessive-compulsive, but aspirational, fastidious, and dutiful. The comedy critic Bruce Dessau compared Ashbourne's characterisation of Carol to Elizabeth Taylor's characterisation in Who's Afraid of Virginia Woolf?; as the episode progresses, Carol becomes increasingly abusive. Commentators variously described Pat as "appalling", "tiresome", an "irritating tit" and "an insufferable booby". For Chris Bennion, writing in The Independent, Pat's character is more complex: "Behind Pat's cheesy jokes and schoolboy tomfoolery lies a desperately sad and dignified man, standing by and caring for a wife whose love for him has long gone." Pat and Carol, for Pemberton and Shearsmith, have a more honest relationship than Jim and Angela, despite the problems in their relationship.Jim is Pat's "weary nemesis", and a "classic everyman". Jim and Pat, for Gerard Gilbert of i, are like "two suburban grotesques straight out of a Mike Leigh drama". Maggie is unaware of the chaos around her, instead distracted by the tablet—on which she plays a game somewhere between Clash of Clans and Minecraft—or retelling the birthday card joke. As a "Middle England suburban" comedy, "Nana's Party" is "all about the depths and heartaches lurking beneath apparently happy families". As the story progresses, the characters subvert expectations, with the irritating Pat revealed as a caring husband and the alcoholic Carol revealed as recovering from an unsuccessful affair. Pemberton and Shearsmith characterised the episode's ending as "downbeat" and lacking a twist, noting that "Nana's Party" is the only episode of the first two series of Inside No. 9 in which no character dies.
Reception
Critics responded positively to "Nana's Party", with Patrick Mulkern of Radio Times calling it "another cracker", Chater characterising it as another "bullseye", and Julia Raeside and John Dugdale, writing in The Sunday Times, describing it as "another perfectly judged high-wire walk: comedy and tragedy balanced evenly and artfully at all times". Bennion called it "a tightly wound and hugely impressive half hour", and the freelance journalist Dan Owen called it "another great instalment" that "really worked" on its own terms.The episode's writing was praised. For Bennion, the writers displayed their intellect, but he noted that Skinner got "the lion's share of the good lines". He felt the ending was "as affecting as it is well-earned". Raeside, in the course of a review of the whole series for theguardian.com, claimed that one of the writers' strengths is "pulling at the loose threads of suburban life to reveal the worst of humanity just under the soft furnishings", and that, in "Nana's Party", despite the viewers' assumption that there would be a "gory" conclusion, the "tragedy was an altogether more gruesome punctuation to the story as Pemberton's face betrayed the total emotional collapse going on within". Jack Seale, also writing for theguardian.com, claimed that the script was able to move "effortlessly from funny to dark to desperately sad". Phoebe-Jane Boyd, in a review of the episode for the entertainment website Den of Geek, wrote that the tension in "Nana's Party" was "cranked up fantastically", as the story's genre, and viewer's expectations, shift. Owen felt that the writing and cast were able to save what could have been a predictable episode, picking out Skinner as particularly compelling. Bennion also praised the cast, claiming that Skinner, Ashbourne and Kelly were strong, but that Shearsmith gave the best performance. Dessau, too, called the cast "great", and felt that Shearsmith played his part "to perfection".
References
Cited sources
Pemberton, Steve; Shearsmith, Reece (2015). Nana's Party (episode commentary). Steve & Reece IN9 (via SoundCloud). Retrieved 3 April 2016.
Further reading
"Steve Pemberton and Reece Shearsmith on Inside No. 9". British Film Institute (via YouTube). 27 March 2015. Retrieved 13 June 2015.
External links
"Nana's Party" at BBC Programmes
"Nana's Party" at the British Comedy Guide
"Nana's Party" at the Internet Movie Database | director | {
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"Nana's Party" is the fifth episode of the second series of the British dark comedy anthology television programme Inside No. 9. It was first broadcast on 23 April 2015 on BBC Two. Written and directed by Steve Pemberton and Reece Shearsmith, the episode starred Claire Skinner as the obsessive-compulsive and aspirational Angela, who is hosting a party for the 79th birthday of her mother Maggie, played by Elsie Kelly. Angela's husband Jim, played by Pemberton, is keen to play a prank on Pat, Angela's brother-in-law, who is a practical joker. Pat is played by Shearsmith, while Carol, a recovering alcoholic who is Pat's wife and Angela's sister, is played by Lorraine Ashbourne. The episode also features Eve Gordon as Katie, Angela and Jim's teenage daughter, and Christopher Whitlow as a paramedic seen at the beginning and end of the episode.
Much of the episode's plot revolves around a practical joke with a fake cake that Jim has set up in an attempt to fool Pat. Moving the cake reveals the head of the person hiding under the table, but, in the meantime, the hidden character can hear conversations taking place nearby, unbeknownst to those who are not in on the joke. The episode plays on viewers' guesses as to what has led to the arrival—seen at the opening of the episode—of a paramedic. In particular, the person under the table is at risk of injury if candles burn down or someone puts a knife into the "cake".
"Nana's Party" was the first episode of Inside No. 9 to be written, but it was shelved when BBC executives instead suggested that it worked as the first episode of a sitcom. Pemberton and Shearsmith revisited and modified the script during the writing process for Inside No. 9's second series. The writers aimed for a feeling of suburban darkness reminiscent of the work of the playwright Alan Ayckbourn, while commentators compared the episode to the work of the playwright and screenwriter Mike Leigh, particularly the play Abigail's Party. The story addresses themes including alcoholism, extramarital affairs, aging and social class. Television critics responded positively to "Nana's Party", which was praised as a typically-strong instalment of Inside No. 9. Particular praise was directed towards the writing and performances, especially Skinner's performance as Angela, Ashbourne's performance as Carol and Shearsmith's performance as Pat.
Production
Writing
"Nana's Party" was the first episode of Inside No. 9 to be written by the programme's creators Reece Shearsmith and Steve Pemberton. BBC producers felt the episode worked as the opening episode of a sitcom, but Pemberton and Shearsmith were not happy to develop the idea into its own series, given the events of the plot. As such, the script was shelved, and revisited during planning for Inside No. 9's second series. A number of changes were made from the original script when the concept was revisited. For example, a paramedic was added to the opening scene in order to add a sense of danger and foreboding, and the character Angela's "borderline OCD" was accentuated.Shearsmith said that the episode's focus on a grandmother's birthday party felt "domestic" and "homely". Pemberton, too, called it a "domestic" story, describing it as playing upon the classic British plot device of a family party going wrong. Shearsmith suggested that the pleasant house did give the episode the feel of a sitcom, but said that the story went somewhere "darker" than a typical sitcom would. With "Nana's Party", the writers wanted to produce something "dark" and "suburban", with Pemberton citing the playwright Alan Ayckbourn as an influence. Indeed, at the time the episode was written, Shearsmith was starring in an adaptation of Ayckbourn's play Absent Friends.The writers intended to play off the idea of a hidden character being able to hear conversations revealing secrets. An initial idea of Pemberton's was to have a large parcel on a table at the birthday party, but with Maggie—on whose birthday the episode would be set—absent. Other characters would repeatedly ask where Maggie was, until it was revealed that her head was in the parcel. This idea developed into the possibility of a hollow cake hiding a character, a device used in the final episode. For the writers, there is humour in characters spending time talking earnestly to a cake; they noted that the prop cake had features resembling a face. In the editing stage, the production team kept reintroducing the cake in order to remind viewers of its presence. The original script ended with a knife being plunged into a fake cake followed by the revelation, contrary to viewers' expectations, that no one was under it at the time; instead, the writers upped the drama in the story, making it possible that any of the characters injured. For the writers, the original plot was, in a sense, darker, as some characters got away with wrongdoing in a way they do not in the final version.
Casting and characters
As each episode of Inside No. 9 features new characters, the writers were able to attract actors who might have been unwilling to commit to an entire series. "Nana's Party" featured Claire Skinner as Angela, who is hosting a party. Pemberton and Shearsmith lived close to Skinner, but they had not properly met. She was one of several members of the cast of the film Life Is Sweet (others being Alison Steadman and Jane Horrocks) who have starred in Inside No. 9. Skinner enjoyed the "funny" script and her "nice" character. Eve Gordon (trained at the Nottingham Television Workshop) starred as Angela's daughter Katie, and Pemberton starred as Angela's husband Jim. Pemberton and Shearsmith suggested that Pemberton's costume made him look like Mr Chow Mein, a Benny Hill character.Elsie Kelly played Angela's mother Maggie, on whose birthday the episode is set. The part was not written with anyone in mind, though Pemberton already knew Kelly well from their time together on the sitcom Benidorm. Lorraine Ashbourne played Angela's sister Carol, and Pat, Carol's husband, was played by Shearsmith. Carol was Pemberton's favourite character in the whole series; Shearsmith worried that an actor may not portray the character as they had hoped, but was very happy with Ashbourne's performance. Ashbourne said she was "thrilled" to be working with Pemberton and Shearsmith, for whom she had great admiration. She described the character of Carol as "hilarious", characterising her as "sexually frustrated" and "sad". To reflect Carol's alcoholism, Ashbourne swilled whiskey around her mouth before filming. Shearsmith wore a red wig to play Pat, something he had never done before. His skin-tone needed to be changed to match the hair, necessitating a white spray on his face every morning. In order not to give the impression that Pat was a thief or murderer (rather than simply a practical joker), Shearsmith was directed to chuckle while Pat set up his jokes. Christopher Whitlow plays a paramedic seen at the beginning and end of the episode. The scene featuring the paramedic at the end of the episode was longer in the final cut than had been initially intended in order to show more of the character's actions.
Filming and direction
The second series of Inside No. 9 was filmed from the end of 2014 into early 2015. "Nana's Party" was filmed in January, and was the final episode of the second series to be filmed. The writers saw a number of houses before selecting the one used in the episode; they wanted an open plan home to allow for easy movement between rooms. The one chosen was close to Twickenham Studios. A "deckhouse" was added to the house's garden; despite there already being two sheds, neither would have been visible on-screen. A new one was thus added. The executive producer Adam Tandy suggested that deckhouse would be preferable to shed, as the latter term suggested the site of something awful. Scenes in a bedroom used the room mostly as the production team found it. The room featured a number of books not seen on-screen, which reminded Shearsmith of a script (in the end not used for Inside No. 9's second series) of an episode set in a library. The front room had a buffet, including a prawn ring; by the third day of filming, this had begun to smell, and needed to be removed.Pemberton and Shearsmith, in addition to writing and starring in "Nana's Party", directed the episode. This was the second episode they jointly directed in the second series after "Cold Comfort", their directorial debut. The pair did not know, while writing for the series, which episodes they would be directing, meaning that their writing was unlikely to be influenced by the knowledge. Pemberton and Shearsmith had always intended to try directing, and the second series of Inside No. 9 offered them the opportunity. David Kerr, who had directed all of the episodes in the first series, was unable to return for the second. Guillem Morales and Dan Zeff each took on directorial duties for two episodes, while Pemberton and Shearsmith decided to direct the remaining two. Shearsmith said in an interview that the pair had considered directing episodes in which they did not appear much, but scheduling concerns left them with "Cold Comfort" and "Nana's Party"; both episodes feature the writers quite heavily."Nana's Party" represented a directorial challenge insofar as Pemberton and Shearsmith were both on-screen for a relatively large amount of the episode. The pair took turns off-camera; on one day, Shearsmith acted and Pemberton watched, and the next day, the two switched; they were, however, tired, not least because it was the final episode of the series filmed. "Nana's Party" required more direction than "Cold Comfort", due in part to the larger number of actors. Pemberton and Shearsmith leaned strongly on Stephan Pehrsson, their cinematographer. While Pemberton and Shearsmith handled staging, Pehrsson handled cinematography.
Plot
A paramedic is let into a house to the sounds of panic. Earlier, the fastidious Angela prepares to host a party for the 79th birthday of her mother, Maggie. Angela's daughter, Katie, heads to her room to complete her homework. When Angela moves a cake, she reveals the head of Jim, her husband. Jim plans to play a trick on Pat—a practical joker and the husband of Angela's sister, Carol (a recovering alcoholic)—by hiding under the cake. Maggie, Carol and Pat—the latter wearing a wolf mask—arrive at the house. As the three settle, Pat plugs in his mobile to charge—something Jim had asked Angela to prevent—and secretly places ice in a bucket. Carol privately drinks from a sunscreen bottle while ostensibly unblocking the toilet after her mother could not flush it. Angela is proud that the party food is from Marks's, but Carol mocks Angela's middle class affectations. Maggie wants a photograph with the food on the table, and Carol lights the cake's candles, which burn towards the flammable fake cake—under which Jim is still hiding. Katie greets her nana and aunt, with Maggie insisting that she tell the joke from Pat's card. Panicking, Angela blows out the candles. The room clears, and Jim is left frustrated.
Katie shows Maggie her tablet as the pair sit in the former's room. A visibly-drunk Carol enters and talks to Katie about the importance of having fun. Katie wants to finish her homework, but assures Carol that she would make a good mother. Downstairs, Jim persuades Angela to take up position under the table as Pat replaces the soap in the toilet. Pat joins Jim next to the table and returns a VHS; it becomes clear that Jim's apparent love for Countdown is actually a cover for his pornography habit, and Jim tries to steer the conversation away from the topic, worried that Angela will hear. Carol enters and puts on music. Pat sees Carol's sunscreen, and prepares her a drink of "Adam's ale". Carol aggressively flirts with Jim, who does not reciprocate. When Pat hands Carol water, she throws it in his face and he leaves. Carol confronts Jim about promises he made to her, and how this house should be hers, not Angela's. Jim remains terrified that Angela can hear the conversation.
Katie and Maggie enter. Maggie talks about Pat's "frozen willies"—novelty ice cubes—as a distressed Jim makes her a drink, and Carol dances with the uninterested Katie. Jim pulls Carol away from Katie, but Carol hits him; when Carol talks to Katie about becoming her stepmother, Jim shouts at her. Pat stops him, and, after Carol storms out, tells Jim that "he knows". Katie is distressed, and interrogates Jim as Maggie plunges a knife into the cake. Jim panics, believing Angela is still under the table, but Angela enters from the kitchen, and reveals that she left to buy a real cake—the story that Jim had told to cover her apparent absence. Katie wants to talk to her mother, but chaos ensues when Maggie chokes on an ice cube, which Pat reveals contains a fake spider. Carol enters, her face blackened by Pat's fake soap, and Pat, reaching for his charging phone to call the emergency services, receives an electric shock, his hands wet from the ice bucket. Angela performs the Heimlich manoeuver on her mother; Carol kneels by Pat and shouts for help. The new cake is pushed into Jim's face by Katie, who then answers the door. The paramedic enters, then begins a striptease for Maggie to the Casualty theme. His performance, it is revealed, was Pat's present to Maggie. Later, Jim talks to an oblivious Maggie. He sees Angela and Katie come down the stairs with bags. In silence, he watches them leave as Maggie tells him the joke from Pat's birthday card.
Analysis
Plotlines following a birthday party in disarray are common, particularly in plays, and an episode with a similar theme was also included in the first series of Inside No. 9. "Nana's Party" revolves around the relatively mundane problems of alcoholism, affairs and aging. Class is another theme, with Angela, Jim and Katie representing a typical middle class family, while Maggie, Carol and Pat are more working class. David Chater, writing for The Times, said that "Nana's Party" was like "a more twisted version" of Abigail's Party, with several critics likening the episode to a Mike Leigh drama. Critics also saw the influence of Ayckbourn's work.The episode's action revolves around the practical joke involving the cake and, in particular, viewers' attempts to guess what has caused injury, as they know that the paramedic will be coming. Both Angela and the alcoholic Carol are "ticking time-bomb[s]". Angela is the central character, and is similar to a more anxious version of Sue Brockman, Skinner's character from Outnumbered. She is stressed and obsessive-compulsive, but aspirational, fastidious, and dutiful. The comedy critic Bruce Dessau compared Ashbourne's characterisation of Carol to Elizabeth Taylor's characterisation in Who's Afraid of Virginia Woolf?; as the episode progresses, Carol becomes increasingly abusive. Commentators variously described Pat as "appalling", "tiresome", an "irritating tit" and "an insufferable booby". For Chris Bennion, writing in The Independent, Pat's character is more complex: "Behind Pat's cheesy jokes and schoolboy tomfoolery lies a desperately sad and dignified man, standing by and caring for a wife whose love for him has long gone." Pat and Carol, for Pemberton and Shearsmith, have a more honest relationship than Jim and Angela, despite the problems in their relationship.Jim is Pat's "weary nemesis", and a "classic everyman". Jim and Pat, for Gerard Gilbert of i, are like "two suburban grotesques straight out of a Mike Leigh drama". Maggie is unaware of the chaos around her, instead distracted by the tablet—on which she plays a game somewhere between Clash of Clans and Minecraft—or retelling the birthday card joke. As a "Middle England suburban" comedy, "Nana's Party" is "all about the depths and heartaches lurking beneath apparently happy families". As the story progresses, the characters subvert expectations, with the irritating Pat revealed as a caring husband and the alcoholic Carol revealed as recovering from an unsuccessful affair. Pemberton and Shearsmith characterised the episode's ending as "downbeat" and lacking a twist, noting that "Nana's Party" is the only episode of the first two series of Inside No. 9 in which no character dies.
Reception
Critics responded positively to "Nana's Party", with Patrick Mulkern of Radio Times calling it "another cracker", Chater characterising it as another "bullseye", and Julia Raeside and John Dugdale, writing in The Sunday Times, describing it as "another perfectly judged high-wire walk: comedy and tragedy balanced evenly and artfully at all times". Bennion called it "a tightly wound and hugely impressive half hour", and the freelance journalist Dan Owen called it "another great instalment" that "really worked" on its own terms.The episode's writing was praised. For Bennion, the writers displayed their intellect, but he noted that Skinner got "the lion's share of the good lines". He felt the ending was "as affecting as it is well-earned". Raeside, in the course of a review of the whole series for theguardian.com, claimed that one of the writers' strengths is "pulling at the loose threads of suburban life to reveal the worst of humanity just under the soft furnishings", and that, in "Nana's Party", despite the viewers' assumption that there would be a "gory" conclusion, the "tragedy was an altogether more gruesome punctuation to the story as Pemberton's face betrayed the total emotional collapse going on within". Jack Seale, also writing for theguardian.com, claimed that the script was able to move "effortlessly from funny to dark to desperately sad". Phoebe-Jane Boyd, in a review of the episode for the entertainment website Den of Geek, wrote that the tension in "Nana's Party" was "cranked up fantastically", as the story's genre, and viewer's expectations, shift. Owen felt that the writing and cast were able to save what could have been a predictable episode, picking out Skinner as particularly compelling. Bennion also praised the cast, claiming that Skinner, Ashbourne and Kelly were strong, but that Shearsmith gave the best performance. Dessau, too, called the cast "great", and felt that Shearsmith played his part "to perfection".
References
Cited sources
Pemberton, Steve; Shearsmith, Reece (2015). Nana's Party (episode commentary). Steve & Reece IN9 (via SoundCloud). Retrieved 3 April 2016.
Further reading
"Steve Pemberton and Reece Shearsmith on Inside No. 9". British Film Institute (via YouTube). 27 March 2015. Retrieved 13 June 2015.
External links
"Nana's Party" at BBC Programmes
"Nana's Party" at the British Comedy Guide
"Nana's Party" at the Internet Movie Database | follows | {
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8460
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"text": [
"Cold Comfort"
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"Nana's Party" is the fifth episode of the second series of the British dark comedy anthology television programme Inside No. 9. It was first broadcast on 23 April 2015 on BBC Two. Written and directed by Steve Pemberton and Reece Shearsmith, the episode starred Claire Skinner as the obsessive-compulsive and aspirational Angela, who is hosting a party for the 79th birthday of her mother Maggie, played by Elsie Kelly. Angela's husband Jim, played by Pemberton, is keen to play a prank on Pat, Angela's brother-in-law, who is a practical joker. Pat is played by Shearsmith, while Carol, a recovering alcoholic who is Pat's wife and Angela's sister, is played by Lorraine Ashbourne. The episode also features Eve Gordon as Katie, Angela and Jim's teenage daughter, and Christopher Whitlow as a paramedic seen at the beginning and end of the episode.
Much of the episode's plot revolves around a practical joke with a fake cake that Jim has set up in an attempt to fool Pat. Moving the cake reveals the head of the person hiding under the table, but, in the meantime, the hidden character can hear conversations taking place nearby, unbeknownst to those who are not in on the joke. The episode plays on viewers' guesses as to what has led to the arrival—seen at the opening of the episode—of a paramedic. In particular, the person under the table is at risk of injury if candles burn down or someone puts a knife into the "cake".
"Nana's Party" was the first episode of Inside No. 9 to be written, but it was shelved when BBC executives instead suggested that it worked as the first episode of a sitcom. Pemberton and Shearsmith revisited and modified the script during the writing process for Inside No. 9's second series. The writers aimed for a feeling of suburban darkness reminiscent of the work of the playwright Alan Ayckbourn, while commentators compared the episode to the work of the playwright and screenwriter Mike Leigh, particularly the play Abigail's Party. The story addresses themes including alcoholism, extramarital affairs, aging and social class. Television critics responded positively to "Nana's Party", which was praised as a typically-strong instalment of Inside No. 9. Particular praise was directed towards the writing and performances, especially Skinner's performance as Angela, Ashbourne's performance as Carol and Shearsmith's performance as Pat.
Production
Writing
"Nana's Party" was the first episode of Inside No. 9 to be written by the programme's creators Reece Shearsmith and Steve Pemberton. BBC producers felt the episode worked as the opening episode of a sitcom, but Pemberton and Shearsmith were not happy to develop the idea into its own series, given the events of the plot. As such, the script was shelved, and revisited during planning for Inside No. 9's second series. A number of changes were made from the original script when the concept was revisited. For example, a paramedic was added to the opening scene in order to add a sense of danger and foreboding, and the character Angela's "borderline OCD" was accentuated.Shearsmith said that the episode's focus on a grandmother's birthday party felt "domestic" and "homely". Pemberton, too, called it a "domestic" story, describing it as playing upon the classic British plot device of a family party going wrong. Shearsmith suggested that the pleasant house did give the episode the feel of a sitcom, but said that the story went somewhere "darker" than a typical sitcom would. With "Nana's Party", the writers wanted to produce something "dark" and "suburban", with Pemberton citing the playwright Alan Ayckbourn as an influence. Indeed, at the time the episode was written, Shearsmith was starring in an adaptation of Ayckbourn's play Absent Friends.The writers intended to play off the idea of a hidden character being able to hear conversations revealing secrets. An initial idea of Pemberton's was to have a large parcel on a table at the birthday party, but with Maggie—on whose birthday the episode would be set—absent. Other characters would repeatedly ask where Maggie was, until it was revealed that her head was in the parcel. This idea developed into the possibility of a hollow cake hiding a character, a device used in the final episode. For the writers, there is humour in characters spending time talking earnestly to a cake; they noted that the prop cake had features resembling a face. In the editing stage, the production team kept reintroducing the cake in order to remind viewers of its presence. The original script ended with a knife being plunged into a fake cake followed by the revelation, contrary to viewers' expectations, that no one was under it at the time; instead, the writers upped the drama in the story, making it possible that any of the characters injured. For the writers, the original plot was, in a sense, darker, as some characters got away with wrongdoing in a way they do not in the final version.
Casting and characters
As each episode of Inside No. 9 features new characters, the writers were able to attract actors who might have been unwilling to commit to an entire series. "Nana's Party" featured Claire Skinner as Angela, who is hosting a party. Pemberton and Shearsmith lived close to Skinner, but they had not properly met. She was one of several members of the cast of the film Life Is Sweet (others being Alison Steadman and Jane Horrocks) who have starred in Inside No. 9. Skinner enjoyed the "funny" script and her "nice" character. Eve Gordon (trained at the Nottingham Television Workshop) starred as Angela's daughter Katie, and Pemberton starred as Angela's husband Jim. Pemberton and Shearsmith suggested that Pemberton's costume made him look like Mr Chow Mein, a Benny Hill character.Elsie Kelly played Angela's mother Maggie, on whose birthday the episode is set. The part was not written with anyone in mind, though Pemberton already knew Kelly well from their time together on the sitcom Benidorm. Lorraine Ashbourne played Angela's sister Carol, and Pat, Carol's husband, was played by Shearsmith. Carol was Pemberton's favourite character in the whole series; Shearsmith worried that an actor may not portray the character as they had hoped, but was very happy with Ashbourne's performance. Ashbourne said she was "thrilled" to be working with Pemberton and Shearsmith, for whom she had great admiration. She described the character of Carol as "hilarious", characterising her as "sexually frustrated" and "sad". To reflect Carol's alcoholism, Ashbourne swilled whiskey around her mouth before filming. Shearsmith wore a red wig to play Pat, something he had never done before. His skin-tone needed to be changed to match the hair, necessitating a white spray on his face every morning. In order not to give the impression that Pat was a thief or murderer (rather than simply a practical joker), Shearsmith was directed to chuckle while Pat set up his jokes. Christopher Whitlow plays a paramedic seen at the beginning and end of the episode. The scene featuring the paramedic at the end of the episode was longer in the final cut than had been initially intended in order to show more of the character's actions.
Filming and direction
The second series of Inside No. 9 was filmed from the end of 2014 into early 2015. "Nana's Party" was filmed in January, and was the final episode of the second series to be filmed. The writers saw a number of houses before selecting the one used in the episode; they wanted an open plan home to allow for easy movement between rooms. The one chosen was close to Twickenham Studios. A "deckhouse" was added to the house's garden; despite there already being two sheds, neither would have been visible on-screen. A new one was thus added. The executive producer Adam Tandy suggested that deckhouse would be preferable to shed, as the latter term suggested the site of something awful. Scenes in a bedroom used the room mostly as the production team found it. The room featured a number of books not seen on-screen, which reminded Shearsmith of a script (in the end not used for Inside No. 9's second series) of an episode set in a library. The front room had a buffet, including a prawn ring; by the third day of filming, this had begun to smell, and needed to be removed.Pemberton and Shearsmith, in addition to writing and starring in "Nana's Party", directed the episode. This was the second episode they jointly directed in the second series after "Cold Comfort", their directorial debut. The pair did not know, while writing for the series, which episodes they would be directing, meaning that their writing was unlikely to be influenced by the knowledge. Pemberton and Shearsmith had always intended to try directing, and the second series of Inside No. 9 offered them the opportunity. David Kerr, who had directed all of the episodes in the first series, was unable to return for the second. Guillem Morales and Dan Zeff each took on directorial duties for two episodes, while Pemberton and Shearsmith decided to direct the remaining two. Shearsmith said in an interview that the pair had considered directing episodes in which they did not appear much, but scheduling concerns left them with "Cold Comfort" and "Nana's Party"; both episodes feature the writers quite heavily."Nana's Party" represented a directorial challenge insofar as Pemberton and Shearsmith were both on-screen for a relatively large amount of the episode. The pair took turns off-camera; on one day, Shearsmith acted and Pemberton watched, and the next day, the two switched; they were, however, tired, not least because it was the final episode of the series filmed. "Nana's Party" required more direction than "Cold Comfort", due in part to the larger number of actors. Pemberton and Shearsmith leaned strongly on Stephan Pehrsson, their cinematographer. While Pemberton and Shearsmith handled staging, Pehrsson handled cinematography.
Plot
A paramedic is let into a house to the sounds of panic. Earlier, the fastidious Angela prepares to host a party for the 79th birthday of her mother, Maggie. Angela's daughter, Katie, heads to her room to complete her homework. When Angela moves a cake, she reveals the head of Jim, her husband. Jim plans to play a trick on Pat—a practical joker and the husband of Angela's sister, Carol (a recovering alcoholic)—by hiding under the cake. Maggie, Carol and Pat—the latter wearing a wolf mask—arrive at the house. As the three settle, Pat plugs in his mobile to charge—something Jim had asked Angela to prevent—and secretly places ice in a bucket. Carol privately drinks from a sunscreen bottle while ostensibly unblocking the toilet after her mother could not flush it. Angela is proud that the party food is from Marks's, but Carol mocks Angela's middle class affectations. Maggie wants a photograph with the food on the table, and Carol lights the cake's candles, which burn towards the flammable fake cake—under which Jim is still hiding. Katie greets her nana and aunt, with Maggie insisting that she tell the joke from Pat's card. Panicking, Angela blows out the candles. The room clears, and Jim is left frustrated.
Katie shows Maggie her tablet as the pair sit in the former's room. A visibly-drunk Carol enters and talks to Katie about the importance of having fun. Katie wants to finish her homework, but assures Carol that she would make a good mother. Downstairs, Jim persuades Angela to take up position under the table as Pat replaces the soap in the toilet. Pat joins Jim next to the table and returns a VHS; it becomes clear that Jim's apparent love for Countdown is actually a cover for his pornography habit, and Jim tries to steer the conversation away from the topic, worried that Angela will hear. Carol enters and puts on music. Pat sees Carol's sunscreen, and prepares her a drink of "Adam's ale". Carol aggressively flirts with Jim, who does not reciprocate. When Pat hands Carol water, she throws it in his face and he leaves. Carol confronts Jim about promises he made to her, and how this house should be hers, not Angela's. Jim remains terrified that Angela can hear the conversation.
Katie and Maggie enter. Maggie talks about Pat's "frozen willies"—novelty ice cubes—as a distressed Jim makes her a drink, and Carol dances with the uninterested Katie. Jim pulls Carol away from Katie, but Carol hits him; when Carol talks to Katie about becoming her stepmother, Jim shouts at her. Pat stops him, and, after Carol storms out, tells Jim that "he knows". Katie is distressed, and interrogates Jim as Maggie plunges a knife into the cake. Jim panics, believing Angela is still under the table, but Angela enters from the kitchen, and reveals that she left to buy a real cake—the story that Jim had told to cover her apparent absence. Katie wants to talk to her mother, but chaos ensues when Maggie chokes on an ice cube, which Pat reveals contains a fake spider. Carol enters, her face blackened by Pat's fake soap, and Pat, reaching for his charging phone to call the emergency services, receives an electric shock, his hands wet from the ice bucket. Angela performs the Heimlich manoeuver on her mother; Carol kneels by Pat and shouts for help. The new cake is pushed into Jim's face by Katie, who then answers the door. The paramedic enters, then begins a striptease for Maggie to the Casualty theme. His performance, it is revealed, was Pat's present to Maggie. Later, Jim talks to an oblivious Maggie. He sees Angela and Katie come down the stairs with bags. In silence, he watches them leave as Maggie tells him the joke from Pat's birthday card.
Analysis
Plotlines following a birthday party in disarray are common, particularly in plays, and an episode with a similar theme was also included in the first series of Inside No. 9. "Nana's Party" revolves around the relatively mundane problems of alcoholism, affairs and aging. Class is another theme, with Angela, Jim and Katie representing a typical middle class family, while Maggie, Carol and Pat are more working class. David Chater, writing for The Times, said that "Nana's Party" was like "a more twisted version" of Abigail's Party, with several critics likening the episode to a Mike Leigh drama. Critics also saw the influence of Ayckbourn's work.The episode's action revolves around the practical joke involving the cake and, in particular, viewers' attempts to guess what has caused injury, as they know that the paramedic will be coming. Both Angela and the alcoholic Carol are "ticking time-bomb[s]". Angela is the central character, and is similar to a more anxious version of Sue Brockman, Skinner's character from Outnumbered. She is stressed and obsessive-compulsive, but aspirational, fastidious, and dutiful. The comedy critic Bruce Dessau compared Ashbourne's characterisation of Carol to Elizabeth Taylor's characterisation in Who's Afraid of Virginia Woolf?; as the episode progresses, Carol becomes increasingly abusive. Commentators variously described Pat as "appalling", "tiresome", an "irritating tit" and "an insufferable booby". For Chris Bennion, writing in The Independent, Pat's character is more complex: "Behind Pat's cheesy jokes and schoolboy tomfoolery lies a desperately sad and dignified man, standing by and caring for a wife whose love for him has long gone." Pat and Carol, for Pemberton and Shearsmith, have a more honest relationship than Jim and Angela, despite the problems in their relationship.Jim is Pat's "weary nemesis", and a "classic everyman". Jim and Pat, for Gerard Gilbert of i, are like "two suburban grotesques straight out of a Mike Leigh drama". Maggie is unaware of the chaos around her, instead distracted by the tablet—on which she plays a game somewhere between Clash of Clans and Minecraft—or retelling the birthday card joke. As a "Middle England suburban" comedy, "Nana's Party" is "all about the depths and heartaches lurking beneath apparently happy families". As the story progresses, the characters subvert expectations, with the irritating Pat revealed as a caring husband and the alcoholic Carol revealed as recovering from an unsuccessful affair. Pemberton and Shearsmith characterised the episode's ending as "downbeat" and lacking a twist, noting that "Nana's Party" is the only episode of the first two series of Inside No. 9 in which no character dies.
Reception
Critics responded positively to "Nana's Party", with Patrick Mulkern of Radio Times calling it "another cracker", Chater characterising it as another "bullseye", and Julia Raeside and John Dugdale, writing in The Sunday Times, describing it as "another perfectly judged high-wire walk: comedy and tragedy balanced evenly and artfully at all times". Bennion called it "a tightly wound and hugely impressive half hour", and the freelance journalist Dan Owen called it "another great instalment" that "really worked" on its own terms.The episode's writing was praised. For Bennion, the writers displayed their intellect, but he noted that Skinner got "the lion's share of the good lines". He felt the ending was "as affecting as it is well-earned". Raeside, in the course of a review of the whole series for theguardian.com, claimed that one of the writers' strengths is "pulling at the loose threads of suburban life to reveal the worst of humanity just under the soft furnishings", and that, in "Nana's Party", despite the viewers' assumption that there would be a "gory" conclusion, the "tragedy was an altogether more gruesome punctuation to the story as Pemberton's face betrayed the total emotional collapse going on within". Jack Seale, also writing for theguardian.com, claimed that the script was able to move "effortlessly from funny to dark to desperately sad". Phoebe-Jane Boyd, in a review of the episode for the entertainment website Den of Geek, wrote that the tension in "Nana's Party" was "cranked up fantastically", as the story's genre, and viewer's expectations, shift. Owen felt that the writing and cast were able to save what could have been a predictable episode, picking out Skinner as particularly compelling. Bennion also praised the cast, claiming that Skinner, Ashbourne and Kelly were strong, but that Shearsmith gave the best performance. Dessau, too, called the cast "great", and felt that Shearsmith played his part "to perfection".
References
Cited sources
Pemberton, Steve; Shearsmith, Reece (2015). Nana's Party (episode commentary). Steve & Reece IN9 (via SoundCloud). Retrieved 3 April 2016.
Further reading
"Steve Pemberton and Reece Shearsmith on Inside No. 9". British Film Institute (via YouTube). 27 March 2015. Retrieved 13 June 2015.
External links
"Nana's Party" at BBC Programmes
"Nana's Party" at the British Comedy Guide
"Nana's Party" at the Internet Movie Database | cast member | {
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"text": [
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"Nana's Party" is the fifth episode of the second series of the British dark comedy anthology television programme Inside No. 9. It was first broadcast on 23 April 2015 on BBC Two. Written and directed by Steve Pemberton and Reece Shearsmith, the episode starred Claire Skinner as the obsessive-compulsive and aspirational Angela, who is hosting a party for the 79th birthday of her mother Maggie, played by Elsie Kelly. Angela's husband Jim, played by Pemberton, is keen to play a prank on Pat, Angela's brother-in-law, who is a practical joker. Pat is played by Shearsmith, while Carol, a recovering alcoholic who is Pat's wife and Angela's sister, is played by Lorraine Ashbourne. The episode also features Eve Gordon as Katie, Angela and Jim's teenage daughter, and Christopher Whitlow as a paramedic seen at the beginning and end of the episode.
Much of the episode's plot revolves around a practical joke with a fake cake that Jim has set up in an attempt to fool Pat. Moving the cake reveals the head of the person hiding under the table, but, in the meantime, the hidden character can hear conversations taking place nearby, unbeknownst to those who are not in on the joke. The episode plays on viewers' guesses as to what has led to the arrival—seen at the opening of the episode—of a paramedic. In particular, the person under the table is at risk of injury if candles burn down or someone puts a knife into the "cake".
"Nana's Party" was the first episode of Inside No. 9 to be written, but it was shelved when BBC executives instead suggested that it worked as the first episode of a sitcom. Pemberton and Shearsmith revisited and modified the script during the writing process for Inside No. 9's second series. The writers aimed for a feeling of suburban darkness reminiscent of the work of the playwright Alan Ayckbourn, while commentators compared the episode to the work of the playwright and screenwriter Mike Leigh, particularly the play Abigail's Party. The story addresses themes including alcoholism, extramarital affairs, aging and social class. Television critics responded positively to "Nana's Party", which was praised as a typically-strong instalment of Inside No. 9. Particular praise was directed towards the writing and performances, especially Skinner's performance as Angela, Ashbourne's performance as Carol and Shearsmith's performance as Pat.
Production
Writing
"Nana's Party" was the first episode of Inside No. 9 to be written by the programme's creators Reece Shearsmith and Steve Pemberton. BBC producers felt the episode worked as the opening episode of a sitcom, but Pemberton and Shearsmith were not happy to develop the idea into its own series, given the events of the plot. As such, the script was shelved, and revisited during planning for Inside No. 9's second series. A number of changes were made from the original script when the concept was revisited. For example, a paramedic was added to the opening scene in order to add a sense of danger and foreboding, and the character Angela's "borderline OCD" was accentuated.Shearsmith said that the episode's focus on a grandmother's birthday party felt "domestic" and "homely". Pemberton, too, called it a "domestic" story, describing it as playing upon the classic British plot device of a family party going wrong. Shearsmith suggested that the pleasant house did give the episode the feel of a sitcom, but said that the story went somewhere "darker" than a typical sitcom would. With "Nana's Party", the writers wanted to produce something "dark" and "suburban", with Pemberton citing the playwright Alan Ayckbourn as an influence. Indeed, at the time the episode was written, Shearsmith was starring in an adaptation of Ayckbourn's play Absent Friends.The writers intended to play off the idea of a hidden character being able to hear conversations revealing secrets. An initial idea of Pemberton's was to have a large parcel on a table at the birthday party, but with Maggie—on whose birthday the episode would be set—absent. Other characters would repeatedly ask where Maggie was, until it was revealed that her head was in the parcel. This idea developed into the possibility of a hollow cake hiding a character, a device used in the final episode. For the writers, there is humour in characters spending time talking earnestly to a cake; they noted that the prop cake had features resembling a face. In the editing stage, the production team kept reintroducing the cake in order to remind viewers of its presence. The original script ended with a knife being plunged into a fake cake followed by the revelation, contrary to viewers' expectations, that no one was under it at the time; instead, the writers upped the drama in the story, making it possible that any of the characters injured. For the writers, the original plot was, in a sense, darker, as some characters got away with wrongdoing in a way they do not in the final version.
Casting and characters
As each episode of Inside No. 9 features new characters, the writers were able to attract actors who might have been unwilling to commit to an entire series. "Nana's Party" featured Claire Skinner as Angela, who is hosting a party. Pemberton and Shearsmith lived close to Skinner, but they had not properly met. She was one of several members of the cast of the film Life Is Sweet (others being Alison Steadman and Jane Horrocks) who have starred in Inside No. 9. Skinner enjoyed the "funny" script and her "nice" character. Eve Gordon (trained at the Nottingham Television Workshop) starred as Angela's daughter Katie, and Pemberton starred as Angela's husband Jim. Pemberton and Shearsmith suggested that Pemberton's costume made him look like Mr Chow Mein, a Benny Hill character.Elsie Kelly played Angela's mother Maggie, on whose birthday the episode is set. The part was not written with anyone in mind, though Pemberton already knew Kelly well from their time together on the sitcom Benidorm. Lorraine Ashbourne played Angela's sister Carol, and Pat, Carol's husband, was played by Shearsmith. Carol was Pemberton's favourite character in the whole series; Shearsmith worried that an actor may not portray the character as they had hoped, but was very happy with Ashbourne's performance. Ashbourne said she was "thrilled" to be working with Pemberton and Shearsmith, for whom she had great admiration. She described the character of Carol as "hilarious", characterising her as "sexually frustrated" and "sad". To reflect Carol's alcoholism, Ashbourne swilled whiskey around her mouth before filming. Shearsmith wore a red wig to play Pat, something he had never done before. His skin-tone needed to be changed to match the hair, necessitating a white spray on his face every morning. In order not to give the impression that Pat was a thief or murderer (rather than simply a practical joker), Shearsmith was directed to chuckle while Pat set up his jokes. Christopher Whitlow plays a paramedic seen at the beginning and end of the episode. The scene featuring the paramedic at the end of the episode was longer in the final cut than had been initially intended in order to show more of the character's actions.
Filming and direction
The second series of Inside No. 9 was filmed from the end of 2014 into early 2015. "Nana's Party" was filmed in January, and was the final episode of the second series to be filmed. The writers saw a number of houses before selecting the one used in the episode; they wanted an open plan home to allow for easy movement between rooms. The one chosen was close to Twickenham Studios. A "deckhouse" was added to the house's garden; despite there already being two sheds, neither would have been visible on-screen. A new one was thus added. The executive producer Adam Tandy suggested that deckhouse would be preferable to shed, as the latter term suggested the site of something awful. Scenes in a bedroom used the room mostly as the production team found it. The room featured a number of books not seen on-screen, which reminded Shearsmith of a script (in the end not used for Inside No. 9's second series) of an episode set in a library. The front room had a buffet, including a prawn ring; by the third day of filming, this had begun to smell, and needed to be removed.Pemberton and Shearsmith, in addition to writing and starring in "Nana's Party", directed the episode. This was the second episode they jointly directed in the second series after "Cold Comfort", their directorial debut. The pair did not know, while writing for the series, which episodes they would be directing, meaning that their writing was unlikely to be influenced by the knowledge. Pemberton and Shearsmith had always intended to try directing, and the second series of Inside No. 9 offered them the opportunity. David Kerr, who had directed all of the episodes in the first series, was unable to return for the second. Guillem Morales and Dan Zeff each took on directorial duties for two episodes, while Pemberton and Shearsmith decided to direct the remaining two. Shearsmith said in an interview that the pair had considered directing episodes in which they did not appear much, but scheduling concerns left them with "Cold Comfort" and "Nana's Party"; both episodes feature the writers quite heavily."Nana's Party" represented a directorial challenge insofar as Pemberton and Shearsmith were both on-screen for a relatively large amount of the episode. The pair took turns off-camera; on one day, Shearsmith acted and Pemberton watched, and the next day, the two switched; they were, however, tired, not least because it was the final episode of the series filmed. "Nana's Party" required more direction than "Cold Comfort", due in part to the larger number of actors. Pemberton and Shearsmith leaned strongly on Stephan Pehrsson, their cinematographer. While Pemberton and Shearsmith handled staging, Pehrsson handled cinematography.
Plot
A paramedic is let into a house to the sounds of panic. Earlier, the fastidious Angela prepares to host a party for the 79th birthday of her mother, Maggie. Angela's daughter, Katie, heads to her room to complete her homework. When Angela moves a cake, she reveals the head of Jim, her husband. Jim plans to play a trick on Pat—a practical joker and the husband of Angela's sister, Carol (a recovering alcoholic)—by hiding under the cake. Maggie, Carol and Pat—the latter wearing a wolf mask—arrive at the house. As the three settle, Pat plugs in his mobile to charge—something Jim had asked Angela to prevent—and secretly places ice in a bucket. Carol privately drinks from a sunscreen bottle while ostensibly unblocking the toilet after her mother could not flush it. Angela is proud that the party food is from Marks's, but Carol mocks Angela's middle class affectations. Maggie wants a photograph with the food on the table, and Carol lights the cake's candles, which burn towards the flammable fake cake—under which Jim is still hiding. Katie greets her nana and aunt, with Maggie insisting that she tell the joke from Pat's card. Panicking, Angela blows out the candles. The room clears, and Jim is left frustrated.
Katie shows Maggie her tablet as the pair sit in the former's room. A visibly-drunk Carol enters and talks to Katie about the importance of having fun. Katie wants to finish her homework, but assures Carol that she would make a good mother. Downstairs, Jim persuades Angela to take up position under the table as Pat replaces the soap in the toilet. Pat joins Jim next to the table and returns a VHS; it becomes clear that Jim's apparent love for Countdown is actually a cover for his pornography habit, and Jim tries to steer the conversation away from the topic, worried that Angela will hear. Carol enters and puts on music. Pat sees Carol's sunscreen, and prepares her a drink of "Adam's ale". Carol aggressively flirts with Jim, who does not reciprocate. When Pat hands Carol water, she throws it in his face and he leaves. Carol confronts Jim about promises he made to her, and how this house should be hers, not Angela's. Jim remains terrified that Angela can hear the conversation.
Katie and Maggie enter. Maggie talks about Pat's "frozen willies"—novelty ice cubes—as a distressed Jim makes her a drink, and Carol dances with the uninterested Katie. Jim pulls Carol away from Katie, but Carol hits him; when Carol talks to Katie about becoming her stepmother, Jim shouts at her. Pat stops him, and, after Carol storms out, tells Jim that "he knows". Katie is distressed, and interrogates Jim as Maggie plunges a knife into the cake. Jim panics, believing Angela is still under the table, but Angela enters from the kitchen, and reveals that she left to buy a real cake—the story that Jim had told to cover her apparent absence. Katie wants to talk to her mother, but chaos ensues when Maggie chokes on an ice cube, which Pat reveals contains a fake spider. Carol enters, her face blackened by Pat's fake soap, and Pat, reaching for his charging phone to call the emergency services, receives an electric shock, his hands wet from the ice bucket. Angela performs the Heimlich manoeuver on her mother; Carol kneels by Pat and shouts for help. The new cake is pushed into Jim's face by Katie, who then answers the door. The paramedic enters, then begins a striptease for Maggie to the Casualty theme. His performance, it is revealed, was Pat's present to Maggie. Later, Jim talks to an oblivious Maggie. He sees Angela and Katie come down the stairs with bags. In silence, he watches them leave as Maggie tells him the joke from Pat's birthday card.
Analysis
Plotlines following a birthday party in disarray are common, particularly in plays, and an episode with a similar theme was also included in the first series of Inside No. 9. "Nana's Party" revolves around the relatively mundane problems of alcoholism, affairs and aging. Class is another theme, with Angela, Jim and Katie representing a typical middle class family, while Maggie, Carol and Pat are more working class. David Chater, writing for The Times, said that "Nana's Party" was like "a more twisted version" of Abigail's Party, with several critics likening the episode to a Mike Leigh drama. Critics also saw the influence of Ayckbourn's work.The episode's action revolves around the practical joke involving the cake and, in particular, viewers' attempts to guess what has caused injury, as they know that the paramedic will be coming. Both Angela and the alcoholic Carol are "ticking time-bomb[s]". Angela is the central character, and is similar to a more anxious version of Sue Brockman, Skinner's character from Outnumbered. She is stressed and obsessive-compulsive, but aspirational, fastidious, and dutiful. The comedy critic Bruce Dessau compared Ashbourne's characterisation of Carol to Elizabeth Taylor's characterisation in Who's Afraid of Virginia Woolf?; as the episode progresses, Carol becomes increasingly abusive. Commentators variously described Pat as "appalling", "tiresome", an "irritating tit" and "an insufferable booby". For Chris Bennion, writing in The Independent, Pat's character is more complex: "Behind Pat's cheesy jokes and schoolboy tomfoolery lies a desperately sad and dignified man, standing by and caring for a wife whose love for him has long gone." Pat and Carol, for Pemberton and Shearsmith, have a more honest relationship than Jim and Angela, despite the problems in their relationship.Jim is Pat's "weary nemesis", and a "classic everyman". Jim and Pat, for Gerard Gilbert of i, are like "two suburban grotesques straight out of a Mike Leigh drama". Maggie is unaware of the chaos around her, instead distracted by the tablet—on which she plays a game somewhere between Clash of Clans and Minecraft—or retelling the birthday card joke. As a "Middle England suburban" comedy, "Nana's Party" is "all about the depths and heartaches lurking beneath apparently happy families". As the story progresses, the characters subvert expectations, with the irritating Pat revealed as a caring husband and the alcoholic Carol revealed as recovering from an unsuccessful affair. Pemberton and Shearsmith characterised the episode's ending as "downbeat" and lacking a twist, noting that "Nana's Party" is the only episode of the first two series of Inside No. 9 in which no character dies.
Reception
Critics responded positively to "Nana's Party", with Patrick Mulkern of Radio Times calling it "another cracker", Chater characterising it as another "bullseye", and Julia Raeside and John Dugdale, writing in The Sunday Times, describing it as "another perfectly judged high-wire walk: comedy and tragedy balanced evenly and artfully at all times". Bennion called it "a tightly wound and hugely impressive half hour", and the freelance journalist Dan Owen called it "another great instalment" that "really worked" on its own terms.The episode's writing was praised. For Bennion, the writers displayed their intellect, but he noted that Skinner got "the lion's share of the good lines". He felt the ending was "as affecting as it is well-earned". Raeside, in the course of a review of the whole series for theguardian.com, claimed that one of the writers' strengths is "pulling at the loose threads of suburban life to reveal the worst of humanity just under the soft furnishings", and that, in "Nana's Party", despite the viewers' assumption that there would be a "gory" conclusion, the "tragedy was an altogether more gruesome punctuation to the story as Pemberton's face betrayed the total emotional collapse going on within". Jack Seale, also writing for theguardian.com, claimed that the script was able to move "effortlessly from funny to dark to desperately sad". Phoebe-Jane Boyd, in a review of the episode for the entertainment website Den of Geek, wrote that the tension in "Nana's Party" was "cranked up fantastically", as the story's genre, and viewer's expectations, shift. Owen felt that the writing and cast were able to save what could have been a predictable episode, picking out Skinner as particularly compelling. Bennion also praised the cast, claiming that Skinner, Ashbourne and Kelly were strong, but that Shearsmith gave the best performance. Dessau, too, called the cast "great", and felt that Shearsmith played his part "to perfection".
References
Cited sources
Pemberton, Steve; Shearsmith, Reece (2015). Nana's Party (episode commentary). Steve & Reece IN9 (via SoundCloud). Retrieved 3 April 2016.
Further reading
"Steve Pemberton and Reece Shearsmith on Inside No. 9". British Film Institute (via YouTube). 27 March 2015. Retrieved 13 June 2015.
External links
"Nana's Party" at BBC Programmes
"Nana's Party" at the British Comedy Guide
"Nana's Party" at the Internet Movie Database | part of the series | {
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"Nana's Party" is the fifth episode of the second series of the British dark comedy anthology television programme Inside No. 9. It was first broadcast on 23 April 2015 on BBC Two. Written and directed by Steve Pemberton and Reece Shearsmith, the episode starred Claire Skinner as the obsessive-compulsive and aspirational Angela, who is hosting a party for the 79th birthday of her mother Maggie, played by Elsie Kelly. Angela's husband Jim, played by Pemberton, is keen to play a prank on Pat, Angela's brother-in-law, who is a practical joker. Pat is played by Shearsmith, while Carol, a recovering alcoholic who is Pat's wife and Angela's sister, is played by Lorraine Ashbourne. The episode also features Eve Gordon as Katie, Angela and Jim's teenage daughter, and Christopher Whitlow as a paramedic seen at the beginning and end of the episode.
Much of the episode's plot revolves around a practical joke with a fake cake that Jim has set up in an attempt to fool Pat. Moving the cake reveals the head of the person hiding under the table, but, in the meantime, the hidden character can hear conversations taking place nearby, unbeknownst to those who are not in on the joke. The episode plays on viewers' guesses as to what has led to the arrival—seen at the opening of the episode—of a paramedic. In particular, the person under the table is at risk of injury if candles burn down or someone puts a knife into the "cake".
"Nana's Party" was the first episode of Inside No. 9 to be written, but it was shelved when BBC executives instead suggested that it worked as the first episode of a sitcom. Pemberton and Shearsmith revisited and modified the script during the writing process for Inside No. 9's second series. The writers aimed for a feeling of suburban darkness reminiscent of the work of the playwright Alan Ayckbourn, while commentators compared the episode to the work of the playwright and screenwriter Mike Leigh, particularly the play Abigail's Party. The story addresses themes including alcoholism, extramarital affairs, aging and social class. Television critics responded positively to "Nana's Party", which was praised as a typically-strong instalment of Inside No. 9. Particular praise was directed towards the writing and performances, especially Skinner's performance as Angela, Ashbourne's performance as Carol and Shearsmith's performance as Pat.
Production
Writing
"Nana's Party" was the first episode of Inside No. 9 to be written by the programme's creators Reece Shearsmith and Steve Pemberton. BBC producers felt the episode worked as the opening episode of a sitcom, but Pemberton and Shearsmith were not happy to develop the idea into its own series, given the events of the plot. As such, the script was shelved, and revisited during planning for Inside No. 9's second series. A number of changes were made from the original script when the concept was revisited. For example, a paramedic was added to the opening scene in order to add a sense of danger and foreboding, and the character Angela's "borderline OCD" was accentuated.Shearsmith said that the episode's focus on a grandmother's birthday party felt "domestic" and "homely". Pemberton, too, called it a "domestic" story, describing it as playing upon the classic British plot device of a family party going wrong. Shearsmith suggested that the pleasant house did give the episode the feel of a sitcom, but said that the story went somewhere "darker" than a typical sitcom would. With "Nana's Party", the writers wanted to produce something "dark" and "suburban", with Pemberton citing the playwright Alan Ayckbourn as an influence. Indeed, at the time the episode was written, Shearsmith was starring in an adaptation of Ayckbourn's play Absent Friends.The writers intended to play off the idea of a hidden character being able to hear conversations revealing secrets. An initial idea of Pemberton's was to have a large parcel on a table at the birthday party, but with Maggie—on whose birthday the episode would be set—absent. Other characters would repeatedly ask where Maggie was, until it was revealed that her head was in the parcel. This idea developed into the possibility of a hollow cake hiding a character, a device used in the final episode. For the writers, there is humour in characters spending time talking earnestly to a cake; they noted that the prop cake had features resembling a face. In the editing stage, the production team kept reintroducing the cake in order to remind viewers of its presence. The original script ended with a knife being plunged into a fake cake followed by the revelation, contrary to viewers' expectations, that no one was under it at the time; instead, the writers upped the drama in the story, making it possible that any of the characters injured. For the writers, the original plot was, in a sense, darker, as some characters got away with wrongdoing in a way they do not in the final version.
Casting and characters
As each episode of Inside No. 9 features new characters, the writers were able to attract actors who might have been unwilling to commit to an entire series. "Nana's Party" featured Claire Skinner as Angela, who is hosting a party. Pemberton and Shearsmith lived close to Skinner, but they had not properly met. She was one of several members of the cast of the film Life Is Sweet (others being Alison Steadman and Jane Horrocks) who have starred in Inside No. 9. Skinner enjoyed the "funny" script and her "nice" character. Eve Gordon (trained at the Nottingham Television Workshop) starred as Angela's daughter Katie, and Pemberton starred as Angela's husband Jim. Pemberton and Shearsmith suggested that Pemberton's costume made him look like Mr Chow Mein, a Benny Hill character.Elsie Kelly played Angela's mother Maggie, on whose birthday the episode is set. The part was not written with anyone in mind, though Pemberton already knew Kelly well from their time together on the sitcom Benidorm. Lorraine Ashbourne played Angela's sister Carol, and Pat, Carol's husband, was played by Shearsmith. Carol was Pemberton's favourite character in the whole series; Shearsmith worried that an actor may not portray the character as they had hoped, but was very happy with Ashbourne's performance. Ashbourne said she was "thrilled" to be working with Pemberton and Shearsmith, for whom she had great admiration. She described the character of Carol as "hilarious", characterising her as "sexually frustrated" and "sad". To reflect Carol's alcoholism, Ashbourne swilled whiskey around her mouth before filming. Shearsmith wore a red wig to play Pat, something he had never done before. His skin-tone needed to be changed to match the hair, necessitating a white spray on his face every morning. In order not to give the impression that Pat was a thief or murderer (rather than simply a practical joker), Shearsmith was directed to chuckle while Pat set up his jokes. Christopher Whitlow plays a paramedic seen at the beginning and end of the episode. The scene featuring the paramedic at the end of the episode was longer in the final cut than had been initially intended in order to show more of the character's actions.
Filming and direction
The second series of Inside No. 9 was filmed from the end of 2014 into early 2015. "Nana's Party" was filmed in January, and was the final episode of the second series to be filmed. The writers saw a number of houses before selecting the one used in the episode; they wanted an open plan home to allow for easy movement between rooms. The one chosen was close to Twickenham Studios. A "deckhouse" was added to the house's garden; despite there already being two sheds, neither would have been visible on-screen. A new one was thus added. The executive producer Adam Tandy suggested that deckhouse would be preferable to shed, as the latter term suggested the site of something awful. Scenes in a bedroom used the room mostly as the production team found it. The room featured a number of books not seen on-screen, which reminded Shearsmith of a script (in the end not used for Inside No. 9's second series) of an episode set in a library. The front room had a buffet, including a prawn ring; by the third day of filming, this had begun to smell, and needed to be removed.Pemberton and Shearsmith, in addition to writing and starring in "Nana's Party", directed the episode. This was the second episode they jointly directed in the second series after "Cold Comfort", their directorial debut. The pair did not know, while writing for the series, which episodes they would be directing, meaning that their writing was unlikely to be influenced by the knowledge. Pemberton and Shearsmith had always intended to try directing, and the second series of Inside No. 9 offered them the opportunity. David Kerr, who had directed all of the episodes in the first series, was unable to return for the second. Guillem Morales and Dan Zeff each took on directorial duties for two episodes, while Pemberton and Shearsmith decided to direct the remaining two. Shearsmith said in an interview that the pair had considered directing episodes in which they did not appear much, but scheduling concerns left them with "Cold Comfort" and "Nana's Party"; both episodes feature the writers quite heavily."Nana's Party" represented a directorial challenge insofar as Pemberton and Shearsmith were both on-screen for a relatively large amount of the episode. The pair took turns off-camera; on one day, Shearsmith acted and Pemberton watched, and the next day, the two switched; they were, however, tired, not least because it was the final episode of the series filmed. "Nana's Party" required more direction than "Cold Comfort", due in part to the larger number of actors. Pemberton and Shearsmith leaned strongly on Stephan Pehrsson, their cinematographer. While Pemberton and Shearsmith handled staging, Pehrsson handled cinematography.
Plot
A paramedic is let into a house to the sounds of panic. Earlier, the fastidious Angela prepares to host a party for the 79th birthday of her mother, Maggie. Angela's daughter, Katie, heads to her room to complete her homework. When Angela moves a cake, she reveals the head of Jim, her husband. Jim plans to play a trick on Pat—a practical joker and the husband of Angela's sister, Carol (a recovering alcoholic)—by hiding under the cake. Maggie, Carol and Pat—the latter wearing a wolf mask—arrive at the house. As the three settle, Pat plugs in his mobile to charge—something Jim had asked Angela to prevent—and secretly places ice in a bucket. Carol privately drinks from a sunscreen bottle while ostensibly unblocking the toilet after her mother could not flush it. Angela is proud that the party food is from Marks's, but Carol mocks Angela's middle class affectations. Maggie wants a photograph with the food on the table, and Carol lights the cake's candles, which burn towards the flammable fake cake—under which Jim is still hiding. Katie greets her nana and aunt, with Maggie insisting that she tell the joke from Pat's card. Panicking, Angela blows out the candles. The room clears, and Jim is left frustrated.
Katie shows Maggie her tablet as the pair sit in the former's room. A visibly-drunk Carol enters and talks to Katie about the importance of having fun. Katie wants to finish her homework, but assures Carol that she would make a good mother. Downstairs, Jim persuades Angela to take up position under the table as Pat replaces the soap in the toilet. Pat joins Jim next to the table and returns a VHS; it becomes clear that Jim's apparent love for Countdown is actually a cover for his pornography habit, and Jim tries to steer the conversation away from the topic, worried that Angela will hear. Carol enters and puts on music. Pat sees Carol's sunscreen, and prepares her a drink of "Adam's ale". Carol aggressively flirts with Jim, who does not reciprocate. When Pat hands Carol water, she throws it in his face and he leaves. Carol confronts Jim about promises he made to her, and how this house should be hers, not Angela's. Jim remains terrified that Angela can hear the conversation.
Katie and Maggie enter. Maggie talks about Pat's "frozen willies"—novelty ice cubes—as a distressed Jim makes her a drink, and Carol dances with the uninterested Katie. Jim pulls Carol away from Katie, but Carol hits him; when Carol talks to Katie about becoming her stepmother, Jim shouts at her. Pat stops him, and, after Carol storms out, tells Jim that "he knows". Katie is distressed, and interrogates Jim as Maggie plunges a knife into the cake. Jim panics, believing Angela is still under the table, but Angela enters from the kitchen, and reveals that she left to buy a real cake—the story that Jim had told to cover her apparent absence. Katie wants to talk to her mother, but chaos ensues when Maggie chokes on an ice cube, which Pat reveals contains a fake spider. Carol enters, her face blackened by Pat's fake soap, and Pat, reaching for his charging phone to call the emergency services, receives an electric shock, his hands wet from the ice bucket. Angela performs the Heimlich manoeuver on her mother; Carol kneels by Pat and shouts for help. The new cake is pushed into Jim's face by Katie, who then answers the door. The paramedic enters, then begins a striptease for Maggie to the Casualty theme. His performance, it is revealed, was Pat's present to Maggie. Later, Jim talks to an oblivious Maggie. He sees Angela and Katie come down the stairs with bags. In silence, he watches them leave as Maggie tells him the joke from Pat's birthday card.
Analysis
Plotlines following a birthday party in disarray are common, particularly in plays, and an episode with a similar theme was also included in the first series of Inside No. 9. "Nana's Party" revolves around the relatively mundane problems of alcoholism, affairs and aging. Class is another theme, with Angela, Jim and Katie representing a typical middle class family, while Maggie, Carol and Pat are more working class. David Chater, writing for The Times, said that "Nana's Party" was like "a more twisted version" of Abigail's Party, with several critics likening the episode to a Mike Leigh drama. Critics also saw the influence of Ayckbourn's work.The episode's action revolves around the practical joke involving the cake and, in particular, viewers' attempts to guess what has caused injury, as they know that the paramedic will be coming. Both Angela and the alcoholic Carol are "ticking time-bomb[s]". Angela is the central character, and is similar to a more anxious version of Sue Brockman, Skinner's character from Outnumbered. She is stressed and obsessive-compulsive, but aspirational, fastidious, and dutiful. The comedy critic Bruce Dessau compared Ashbourne's characterisation of Carol to Elizabeth Taylor's characterisation in Who's Afraid of Virginia Woolf?; as the episode progresses, Carol becomes increasingly abusive. Commentators variously described Pat as "appalling", "tiresome", an "irritating tit" and "an insufferable booby". For Chris Bennion, writing in The Independent, Pat's character is more complex: "Behind Pat's cheesy jokes and schoolboy tomfoolery lies a desperately sad and dignified man, standing by and caring for a wife whose love for him has long gone." Pat and Carol, for Pemberton and Shearsmith, have a more honest relationship than Jim and Angela, despite the problems in their relationship.Jim is Pat's "weary nemesis", and a "classic everyman". Jim and Pat, for Gerard Gilbert of i, are like "two suburban grotesques straight out of a Mike Leigh drama". Maggie is unaware of the chaos around her, instead distracted by the tablet—on which she plays a game somewhere between Clash of Clans and Minecraft—or retelling the birthday card joke. As a "Middle England suburban" comedy, "Nana's Party" is "all about the depths and heartaches lurking beneath apparently happy families". As the story progresses, the characters subvert expectations, with the irritating Pat revealed as a caring husband and the alcoholic Carol revealed as recovering from an unsuccessful affair. Pemberton and Shearsmith characterised the episode's ending as "downbeat" and lacking a twist, noting that "Nana's Party" is the only episode of the first two series of Inside No. 9 in which no character dies.
Reception
Critics responded positively to "Nana's Party", with Patrick Mulkern of Radio Times calling it "another cracker", Chater characterising it as another "bullseye", and Julia Raeside and John Dugdale, writing in The Sunday Times, describing it as "another perfectly judged high-wire walk: comedy and tragedy balanced evenly and artfully at all times". Bennion called it "a tightly wound and hugely impressive half hour", and the freelance journalist Dan Owen called it "another great instalment" that "really worked" on its own terms.The episode's writing was praised. For Bennion, the writers displayed their intellect, but he noted that Skinner got "the lion's share of the good lines". He felt the ending was "as affecting as it is well-earned". Raeside, in the course of a review of the whole series for theguardian.com, claimed that one of the writers' strengths is "pulling at the loose threads of suburban life to reveal the worst of humanity just under the soft furnishings", and that, in "Nana's Party", despite the viewers' assumption that there would be a "gory" conclusion, the "tragedy was an altogether more gruesome punctuation to the story as Pemberton's face betrayed the total emotional collapse going on within". Jack Seale, also writing for theguardian.com, claimed that the script was able to move "effortlessly from funny to dark to desperately sad". Phoebe-Jane Boyd, in a review of the episode for the entertainment website Den of Geek, wrote that the tension in "Nana's Party" was "cranked up fantastically", as the story's genre, and viewer's expectations, shift. Owen felt that the writing and cast were able to save what could have been a predictable episode, picking out Skinner as particularly compelling. Bennion also praised the cast, claiming that Skinner, Ashbourne and Kelly were strong, but that Shearsmith gave the best performance. Dessau, too, called the cast "great", and felt that Shearsmith played his part "to perfection".
References
Cited sources
Pemberton, Steve; Shearsmith, Reece (2015). Nana's Party (episode commentary). Steve & Reece IN9 (via SoundCloud). Retrieved 3 April 2016.
Further reading
"Steve Pemberton and Reece Shearsmith on Inside No. 9". British Film Institute (via YouTube). 27 March 2015. Retrieved 13 June 2015.
External links
"Nana's Party" at BBC Programmes
"Nana's Party" at the British Comedy Guide
"Nana's Party" at the Internet Movie Database | title | {
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"Nana's Party" is the fifth episode of the second series of the British dark comedy anthology television programme Inside No. 9. It was first broadcast on 23 April 2015 on BBC Two. Written and directed by Steve Pemberton and Reece Shearsmith, the episode starred Claire Skinner as the obsessive-compulsive and aspirational Angela, who is hosting a party for the 79th birthday of her mother Maggie, played by Elsie Kelly. Angela's husband Jim, played by Pemberton, is keen to play a prank on Pat, Angela's brother-in-law, who is a practical joker. Pat is played by Shearsmith, while Carol, a recovering alcoholic who is Pat's wife and Angela's sister, is played by Lorraine Ashbourne. The episode also features Eve Gordon as Katie, Angela and Jim's teenage daughter, and Christopher Whitlow as a paramedic seen at the beginning and end of the episode.
Much of the episode's plot revolves around a practical joke with a fake cake that Jim has set up in an attempt to fool Pat. Moving the cake reveals the head of the person hiding under the table, but, in the meantime, the hidden character can hear conversations taking place nearby, unbeknownst to those who are not in on the joke. The episode plays on viewers' guesses as to what has led to the arrival—seen at the opening of the episode—of a paramedic. In particular, the person under the table is at risk of injury if candles burn down or someone puts a knife into the "cake".
"Nana's Party" was the first episode of Inside No. 9 to be written, but it was shelved when BBC executives instead suggested that it worked as the first episode of a sitcom. Pemberton and Shearsmith revisited and modified the script during the writing process for Inside No. 9's second series. The writers aimed for a feeling of suburban darkness reminiscent of the work of the playwright Alan Ayckbourn, while commentators compared the episode to the work of the playwright and screenwriter Mike Leigh, particularly the play Abigail's Party. The story addresses themes including alcoholism, extramarital affairs, aging and social class. Television critics responded positively to "Nana's Party", which was praised as a typically-strong instalment of Inside No. 9. Particular praise was directed towards the writing and performances, especially Skinner's performance as Angela, Ashbourne's performance as Carol and Shearsmith's performance as Pat.
Production
Writing
"Nana's Party" was the first episode of Inside No. 9 to be written by the programme's creators Reece Shearsmith and Steve Pemberton. BBC producers felt the episode worked as the opening episode of a sitcom, but Pemberton and Shearsmith were not happy to develop the idea into its own series, given the events of the plot. As such, the script was shelved, and revisited during planning for Inside No. 9's second series. A number of changes were made from the original script when the concept was revisited. For example, a paramedic was added to the opening scene in order to add a sense of danger and foreboding, and the character Angela's "borderline OCD" was accentuated.Shearsmith said that the episode's focus on a grandmother's birthday party felt "domestic" and "homely". Pemberton, too, called it a "domestic" story, describing it as playing upon the classic British plot device of a family party going wrong. Shearsmith suggested that the pleasant house did give the episode the feel of a sitcom, but said that the story went somewhere "darker" than a typical sitcom would. With "Nana's Party", the writers wanted to produce something "dark" and "suburban", with Pemberton citing the playwright Alan Ayckbourn as an influence. Indeed, at the time the episode was written, Shearsmith was starring in an adaptation of Ayckbourn's play Absent Friends.The writers intended to play off the idea of a hidden character being able to hear conversations revealing secrets. An initial idea of Pemberton's was to have a large parcel on a table at the birthday party, but with Maggie—on whose birthday the episode would be set—absent. Other characters would repeatedly ask where Maggie was, until it was revealed that her head was in the parcel. This idea developed into the possibility of a hollow cake hiding a character, a device used in the final episode. For the writers, there is humour in characters spending time talking earnestly to a cake; they noted that the prop cake had features resembling a face. In the editing stage, the production team kept reintroducing the cake in order to remind viewers of its presence. The original script ended with a knife being plunged into a fake cake followed by the revelation, contrary to viewers' expectations, that no one was under it at the time; instead, the writers upped the drama in the story, making it possible that any of the characters injured. For the writers, the original plot was, in a sense, darker, as some characters got away with wrongdoing in a way they do not in the final version.
Casting and characters
As each episode of Inside No. 9 features new characters, the writers were able to attract actors who might have been unwilling to commit to an entire series. "Nana's Party" featured Claire Skinner as Angela, who is hosting a party. Pemberton and Shearsmith lived close to Skinner, but they had not properly met. She was one of several members of the cast of the film Life Is Sweet (others being Alison Steadman and Jane Horrocks) who have starred in Inside No. 9. Skinner enjoyed the "funny" script and her "nice" character. Eve Gordon (trained at the Nottingham Television Workshop) starred as Angela's daughter Katie, and Pemberton starred as Angela's husband Jim. Pemberton and Shearsmith suggested that Pemberton's costume made him look like Mr Chow Mein, a Benny Hill character.Elsie Kelly played Angela's mother Maggie, on whose birthday the episode is set. The part was not written with anyone in mind, though Pemberton already knew Kelly well from their time together on the sitcom Benidorm. Lorraine Ashbourne played Angela's sister Carol, and Pat, Carol's husband, was played by Shearsmith. Carol was Pemberton's favourite character in the whole series; Shearsmith worried that an actor may not portray the character as they had hoped, but was very happy with Ashbourne's performance. Ashbourne said she was "thrilled" to be working with Pemberton and Shearsmith, for whom she had great admiration. She described the character of Carol as "hilarious", characterising her as "sexually frustrated" and "sad". To reflect Carol's alcoholism, Ashbourne swilled whiskey around her mouth before filming. Shearsmith wore a red wig to play Pat, something he had never done before. His skin-tone needed to be changed to match the hair, necessitating a white spray on his face every morning. In order not to give the impression that Pat was a thief or murderer (rather than simply a practical joker), Shearsmith was directed to chuckle while Pat set up his jokes. Christopher Whitlow plays a paramedic seen at the beginning and end of the episode. The scene featuring the paramedic at the end of the episode was longer in the final cut than had been initially intended in order to show more of the character's actions.
Filming and direction
The second series of Inside No. 9 was filmed from the end of 2014 into early 2015. "Nana's Party" was filmed in January, and was the final episode of the second series to be filmed. The writers saw a number of houses before selecting the one used in the episode; they wanted an open plan home to allow for easy movement between rooms. The one chosen was close to Twickenham Studios. A "deckhouse" was added to the house's garden; despite there already being two sheds, neither would have been visible on-screen. A new one was thus added. The executive producer Adam Tandy suggested that deckhouse would be preferable to shed, as the latter term suggested the site of something awful. Scenes in a bedroom used the room mostly as the production team found it. The room featured a number of books not seen on-screen, which reminded Shearsmith of a script (in the end not used for Inside No. 9's second series) of an episode set in a library. The front room had a buffet, including a prawn ring; by the third day of filming, this had begun to smell, and needed to be removed.Pemberton and Shearsmith, in addition to writing and starring in "Nana's Party", directed the episode. This was the second episode they jointly directed in the second series after "Cold Comfort", their directorial debut. The pair did not know, while writing for the series, which episodes they would be directing, meaning that their writing was unlikely to be influenced by the knowledge. Pemberton and Shearsmith had always intended to try directing, and the second series of Inside No. 9 offered them the opportunity. David Kerr, who had directed all of the episodes in the first series, was unable to return for the second. Guillem Morales and Dan Zeff each took on directorial duties for two episodes, while Pemberton and Shearsmith decided to direct the remaining two. Shearsmith said in an interview that the pair had considered directing episodes in which they did not appear much, but scheduling concerns left them with "Cold Comfort" and "Nana's Party"; both episodes feature the writers quite heavily."Nana's Party" represented a directorial challenge insofar as Pemberton and Shearsmith were both on-screen for a relatively large amount of the episode. The pair took turns off-camera; on one day, Shearsmith acted and Pemberton watched, and the next day, the two switched; they were, however, tired, not least because it was the final episode of the series filmed. "Nana's Party" required more direction than "Cold Comfort", due in part to the larger number of actors. Pemberton and Shearsmith leaned strongly on Stephan Pehrsson, their cinematographer. While Pemberton and Shearsmith handled staging, Pehrsson handled cinematography.
Plot
A paramedic is let into a house to the sounds of panic. Earlier, the fastidious Angela prepares to host a party for the 79th birthday of her mother, Maggie. Angela's daughter, Katie, heads to her room to complete her homework. When Angela moves a cake, she reveals the head of Jim, her husband. Jim plans to play a trick on Pat—a practical joker and the husband of Angela's sister, Carol (a recovering alcoholic)—by hiding under the cake. Maggie, Carol and Pat—the latter wearing a wolf mask—arrive at the house. As the three settle, Pat plugs in his mobile to charge—something Jim had asked Angela to prevent—and secretly places ice in a bucket. Carol privately drinks from a sunscreen bottle while ostensibly unblocking the toilet after her mother could not flush it. Angela is proud that the party food is from Marks's, but Carol mocks Angela's middle class affectations. Maggie wants a photograph with the food on the table, and Carol lights the cake's candles, which burn towards the flammable fake cake—under which Jim is still hiding. Katie greets her nana and aunt, with Maggie insisting that she tell the joke from Pat's card. Panicking, Angela blows out the candles. The room clears, and Jim is left frustrated.
Katie shows Maggie her tablet as the pair sit in the former's room. A visibly-drunk Carol enters and talks to Katie about the importance of having fun. Katie wants to finish her homework, but assures Carol that she would make a good mother. Downstairs, Jim persuades Angela to take up position under the table as Pat replaces the soap in the toilet. Pat joins Jim next to the table and returns a VHS; it becomes clear that Jim's apparent love for Countdown is actually a cover for his pornography habit, and Jim tries to steer the conversation away from the topic, worried that Angela will hear. Carol enters and puts on music. Pat sees Carol's sunscreen, and prepares her a drink of "Adam's ale". Carol aggressively flirts with Jim, who does not reciprocate. When Pat hands Carol water, she throws it in his face and he leaves. Carol confronts Jim about promises he made to her, and how this house should be hers, not Angela's. Jim remains terrified that Angela can hear the conversation.
Katie and Maggie enter. Maggie talks about Pat's "frozen willies"—novelty ice cubes—as a distressed Jim makes her a drink, and Carol dances with the uninterested Katie. Jim pulls Carol away from Katie, but Carol hits him; when Carol talks to Katie about becoming her stepmother, Jim shouts at her. Pat stops him, and, after Carol storms out, tells Jim that "he knows". Katie is distressed, and interrogates Jim as Maggie plunges a knife into the cake. Jim panics, believing Angela is still under the table, but Angela enters from the kitchen, and reveals that she left to buy a real cake—the story that Jim had told to cover her apparent absence. Katie wants to talk to her mother, but chaos ensues when Maggie chokes on an ice cube, which Pat reveals contains a fake spider. Carol enters, her face blackened by Pat's fake soap, and Pat, reaching for his charging phone to call the emergency services, receives an electric shock, his hands wet from the ice bucket. Angela performs the Heimlich manoeuver on her mother; Carol kneels by Pat and shouts for help. The new cake is pushed into Jim's face by Katie, who then answers the door. The paramedic enters, then begins a striptease for Maggie to the Casualty theme. His performance, it is revealed, was Pat's present to Maggie. Later, Jim talks to an oblivious Maggie. He sees Angela and Katie come down the stairs with bags. In silence, he watches them leave as Maggie tells him the joke from Pat's birthday card.
Analysis
Plotlines following a birthday party in disarray are common, particularly in plays, and an episode with a similar theme was also included in the first series of Inside No. 9. "Nana's Party" revolves around the relatively mundane problems of alcoholism, affairs and aging. Class is another theme, with Angela, Jim and Katie representing a typical middle class family, while Maggie, Carol and Pat are more working class. David Chater, writing for The Times, said that "Nana's Party" was like "a more twisted version" of Abigail's Party, with several critics likening the episode to a Mike Leigh drama. Critics also saw the influence of Ayckbourn's work.The episode's action revolves around the practical joke involving the cake and, in particular, viewers' attempts to guess what has caused injury, as they know that the paramedic will be coming. Both Angela and the alcoholic Carol are "ticking time-bomb[s]". Angela is the central character, and is similar to a more anxious version of Sue Brockman, Skinner's character from Outnumbered. She is stressed and obsessive-compulsive, but aspirational, fastidious, and dutiful. The comedy critic Bruce Dessau compared Ashbourne's characterisation of Carol to Elizabeth Taylor's characterisation in Who's Afraid of Virginia Woolf?; as the episode progresses, Carol becomes increasingly abusive. Commentators variously described Pat as "appalling", "tiresome", an "irritating tit" and "an insufferable booby". For Chris Bennion, writing in The Independent, Pat's character is more complex: "Behind Pat's cheesy jokes and schoolboy tomfoolery lies a desperately sad and dignified man, standing by and caring for a wife whose love for him has long gone." Pat and Carol, for Pemberton and Shearsmith, have a more honest relationship than Jim and Angela, despite the problems in their relationship.Jim is Pat's "weary nemesis", and a "classic everyman". Jim and Pat, for Gerard Gilbert of i, are like "two suburban grotesques straight out of a Mike Leigh drama". Maggie is unaware of the chaos around her, instead distracted by the tablet—on which she plays a game somewhere between Clash of Clans and Minecraft—or retelling the birthday card joke. As a "Middle England suburban" comedy, "Nana's Party" is "all about the depths and heartaches lurking beneath apparently happy families". As the story progresses, the characters subvert expectations, with the irritating Pat revealed as a caring husband and the alcoholic Carol revealed as recovering from an unsuccessful affair. Pemberton and Shearsmith characterised the episode's ending as "downbeat" and lacking a twist, noting that "Nana's Party" is the only episode of the first two series of Inside No. 9 in which no character dies.
Reception
Critics responded positively to "Nana's Party", with Patrick Mulkern of Radio Times calling it "another cracker", Chater characterising it as another "bullseye", and Julia Raeside and John Dugdale, writing in The Sunday Times, describing it as "another perfectly judged high-wire walk: comedy and tragedy balanced evenly and artfully at all times". Bennion called it "a tightly wound and hugely impressive half hour", and the freelance journalist Dan Owen called it "another great instalment" that "really worked" on its own terms.The episode's writing was praised. For Bennion, the writers displayed their intellect, but he noted that Skinner got "the lion's share of the good lines". He felt the ending was "as affecting as it is well-earned". Raeside, in the course of a review of the whole series for theguardian.com, claimed that one of the writers' strengths is "pulling at the loose threads of suburban life to reveal the worst of humanity just under the soft furnishings", and that, in "Nana's Party", despite the viewers' assumption that there would be a "gory" conclusion, the "tragedy was an altogether more gruesome punctuation to the story as Pemberton's face betrayed the total emotional collapse going on within". Jack Seale, also writing for theguardian.com, claimed that the script was able to move "effortlessly from funny to dark to desperately sad". Phoebe-Jane Boyd, in a review of the episode for the entertainment website Den of Geek, wrote that the tension in "Nana's Party" was "cranked up fantastically", as the story's genre, and viewer's expectations, shift. Owen felt that the writing and cast were able to save what could have been a predictable episode, picking out Skinner as particularly compelling. Bennion also praised the cast, claiming that Skinner, Ashbourne and Kelly were strong, but that Shearsmith gave the best performance. Dessau, too, called the cast "great", and felt that Shearsmith played his part "to perfection".
References
Cited sources
Pemberton, Steve; Shearsmith, Reece (2015). Nana's Party (episode commentary). Steve & Reece IN9 (via SoundCloud). Retrieved 3 April 2016.
Further reading
"Steve Pemberton and Reece Shearsmith on Inside No. 9". British Film Institute (via YouTube). 27 March 2015. Retrieved 13 June 2015.
External links
"Nana's Party" at BBC Programmes
"Nana's Party" at the British Comedy Guide
"Nana's Party" at the Internet Movie Database | set in environment | {
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The 2016 WNBA season was the 20th season for the San Antonio Stars franchise of the WNBA. It was their 14th in San Antonio.
Transactions
WNBA draft
Trades
2016 roster
Schedule
San Antonio Stars Schedule 2016
Preseason
Playoffs
Statistics
Regular season
Awards and honors
References
External links
The Official Site of the San Antonio Stars | season of club or team | {
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Resistencia Sport Club, is a Paraguayan football club based in Barrio Ricardo Brugada in Asunción. The club, founded on December 27, 1917, plays in the Primera División of the Paraguayan football league. Resistencia S.C. plays its home matches at the Tomás Beggan Correa Stadium.
Honours
Paraguayan Second Division: 41966, 1975, 1980, 1998Paraguayan Third Division: (runner-up) 12011
References
External links
Resistencia SC Info | country | {
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Resistencia Sport Club, is a Paraguayan football club based in Barrio Ricardo Brugada in Asunción. The club, founded on December 27, 1917, plays in the Primera División of the Paraguayan football league. Resistencia S.C. plays its home matches at the Tomás Beggan Correa Stadium.
Honours
Paraguayan Second Division: 41966, 1975, 1980, 1998Paraguayan Third Division: (runner-up) 12011
References
External links
Resistencia SC Info | Commons category | {
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Lyn Collingwood (born 6 September 1936, Sydney), credited also as Lynn Collingwood, is an Australian actress.
Biography
Collingwood was born in Sydney, New South Wales, in 1936, and did not start a career in the arts until later in life, she previously had worked as a social worker and English, drama and history teacher.
She appeared in a few TV roles starting from the late 1970s, and was cast as gossip comic character Colleen Smart, (later Stewart), in a similar vein to soap opera gossips like A Country Practice character Esme Watson (Joyce Jacobs) and Neighbours Mrs. Mangel (Vivean Gray) and on soap opera Home and Away and was a recurring original character in 1988 to 1989. In 1997 she returned for a guest appearance, and then returned in 1999 as a regular character until leaving in May 2012, after playing the role of Colleen for 13 years, she made a brief guest return to the series on 27 November 2012.Lynn has had roles in numerous serials such as E Street, G.P. and All Saints.
She has also worked in research and as an editor of The Australian Encyclopaedia, as well as The Cambridge Encyclopaedia of Australia and The New Age Encyclopaedia. [1]
Television series
Filmography
References
Lyn Collingwood at IMDb
Lyn Collingwood biography, Home and Away, Network Seven. | place of birth | {
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Lyn Collingwood (born 6 September 1936, Sydney), credited also as Lynn Collingwood, is an Australian actress.
Biography
Collingwood was born in Sydney, New South Wales, in 1936, and did not start a career in the arts until later in life, she previously had worked as a social worker and English, drama and history teacher.
She appeared in a few TV roles starting from the late 1970s, and was cast as gossip comic character Colleen Smart, (later Stewart), in a similar vein to soap opera gossips like A Country Practice character Esme Watson (Joyce Jacobs) and Neighbours Mrs. Mangel (Vivean Gray) and on soap opera Home and Away and was a recurring original character in 1988 to 1989. In 1997 she returned for a guest appearance, and then returned in 1999 as a regular character until leaving in May 2012, after playing the role of Colleen for 13 years, she made a brief guest return to the series on 27 November 2012.Lynn has had roles in numerous serials such as E Street, G.P. and All Saints.
She has also worked in research and as an editor of The Australian Encyclopaedia, as well as The Cambridge Encyclopaedia of Australia and The New Age Encyclopaedia. [1]
Television series
Filmography
References
Lyn Collingwood at IMDb
Lyn Collingwood biography, Home and Away, Network Seven. | country of citizenship | {
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Lyn Collingwood (born 6 September 1936, Sydney), credited also as Lynn Collingwood, is an Australian actress.
Biography
Collingwood was born in Sydney, New South Wales, in 1936, and did not start a career in the arts until later in life, she previously had worked as a social worker and English, drama and history teacher.
She appeared in a few TV roles starting from the late 1970s, and was cast as gossip comic character Colleen Smart, (later Stewart), in a similar vein to soap opera gossips like A Country Practice character Esme Watson (Joyce Jacobs) and Neighbours Mrs. Mangel (Vivean Gray) and on soap opera Home and Away and was a recurring original character in 1988 to 1989. In 1997 she returned for a guest appearance, and then returned in 1999 as a regular character until leaving in May 2012, after playing the role of Colleen for 13 years, she made a brief guest return to the series on 27 November 2012.Lynn has had roles in numerous serials such as E Street, G.P. and All Saints.
She has also worked in research and as an editor of The Australian Encyclopaedia, as well as The Cambridge Encyclopaedia of Australia and The New Age Encyclopaedia. [1]
Television series
Filmography
References
Lyn Collingwood at IMDb
Lyn Collingwood biography, Home and Away, Network Seven. | given name | {
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Qoşaqovaq (also, Koshakovag and Kosha-Kovakh) is a village and municipality in the Agdash Rayon of Azerbaijan. It has a population of 1,083.
References
Qoşaqovaq at GEOnet Names Server | country | {
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Marey-sur-Tille (French pronunciation: [maʁɛ syʁ tij], literally Marey on Tille) is a commune in the Côte-d'Or department in eastern France.
Population
See also
Communes of the Côte-d'Or department
== References == | country | {
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Marey-sur-Tille (French pronunciation: [maʁɛ syʁ tij], literally Marey on Tille) is a commune in the Côte-d'Or department in eastern France.
Population
See also
Communes of the Côte-d'Or department
== References == | named after | {
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Marey-sur-Tille (French pronunciation: [maʁɛ syʁ tij], literally Marey on Tille) is a commune in the Côte-d'Or department in eastern France.
Population
See also
Communes of the Côte-d'Or department
== References == | Commons category | {
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Marey-sur-Tille (French pronunciation: [maʁɛ syʁ tij], literally Marey on Tille) is a commune in the Côte-d'Or department in eastern France.
Population
See also
Communes of the Côte-d'Or department
== References == | official name | {
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Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | place of birth | {
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Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | place of death | {
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Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | country of citizenship | {
"answer_start": [
390
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"text": [
"Italy"
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} |
Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | Commons category | {
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Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | family name | {
"answer_start": [
7
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"text": [
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Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | given name | {
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Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | number of matches played/races/starts | {
"answer_start": [
993
],
"text": [
"7"
]
} |
Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | number of wins | {
"answer_start": [
35
],
"text": [
"0"
]
} |
Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | points for | {
"answer_start": [
180
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"text": [
"5"
]
} |
Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | languages spoken, written or signed | {
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54
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"text": [
"Italian"
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} |
Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | pole positions | {
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35
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"text": [
"0"
]
} |
Cesare Perdisa (21 October 1932 – 10 May 1998) was an Italian racing driver from Bologna. He participated in eight Formula One World Championship Grands Prix, debuting on 22 May 1955. He achieved two podiums and scored a total of five championship points.
Racing Career
Cesare Perdisa was born in Bologna. His father, Luigi Perdisa, was an agronomist from Ravenna and the editor of one of Italy's most popular magazines on agriculture, Terra e Vita (Soil and Life). Perdisa's older brother, Sergio, was to follow his father footsteps and join a publishing house specialized in books on farming but Cesare was more interested in a racing career. His Formula One debut was at the 1955 Monaco Grand Prix where he finished third on a Maserati behind Maurice Trintignant in a Ferrari and Eugenio Castellotti in a Lancia. Castellotti and Perdisa were significantly younger than the majority of the drivers around at the time, and forged a friendship that would last until Castellotti's death in 1957.During the course of his brief racing career, possibly due to his young age, Perdisa was often asked to give his car to his more experienced teammates when they encountered troubles. This happened, for example, on the 11th lap of the 1956 Belgian Grand Prix, when Stirling Moss lost the right rear wheel of his Maserati. Moss brought his car to a stop and ran a quarter of a mile back to the pits where he took over Perdisa's Maserati, which he drove to the finish.In January 1957 at the Argentine Grand Prix Perdisa gave his Ferrari to Wolfgang von Trips first and then to Peter Collins in an attempt to stop Juan-Manuel Fangio's dominance on his Maserati. Despite their best efforts, the trio couldn't keep up with Fangio and finished sixth. In March 1957 Perdisa was set to participate to the 12 Hours of Sebring but he withdrew his entry after he learned of the death of his teammate Eugenio Castellotti at the Modena Autodrome. Castellotti succumbed to his injuries after crashing a Ferrari he was testing for the event. Although Perdisa initially declared his decision to be of a temporary nature, his inability to overcome the shock for the loss of Castellotti eventually brought him to permanently retire from racing.
Life After Racing
A few months after his retirement, Perdisa hit the news again in September 1957 when he rushed Juan Manuel Fangio and his wife, Andrea, to a hospital in Bologna. The couple had been thrown from their 2.5 litre Lancia Aurelia while trying to avoid a truck entering the highway. Travelling at close to 100 mph, Fangio's car had smashed into a utility pole, although he and his wife only sustained minor injuries.Following their father's retirement in the mid-1960s, Perdisa and his brother Sergio continued to edit Terra e Vita. The magazine, initially published by Rizzoli, was eventually purchased by Calderini Agricole, the largest agricultural company in Italy, and switch its focus on farming regulations and technological development.
Complete Formula One World Championship results
(key)
* Indicates shared drive with Jean Behra
† Indicates shared drive with Stirling Moss
‡ Indicates shared drive with Peter Collins and Wolfgang von Trips
== References == | podium finishes | {
"answer_start": [
16
],
"text": [
"2"
]
} |
The Pappinbarra River, a perennial stream of the Hastings River catchment, is located in the Mid North Coast region of New South Wales, Australia.
Course and features
The Pappinbarra River rises below Mount Boss on the slopes of the Gibraltar Range within the Werrikimbe National Park, northwest of Pappinbarra Junction, New South Wales, and flows generally southeast before reaching its confluence with the Hastings River, near Beechwood. The river descends 376 metres (1,234 ft) over its 58 kilometres (36 mi) course.
See also
List of rivers of Australia
References
External links
"Camden Haven and Hastings River catchments" (map). Office of Environment and Heritage. Government of New South Wales. | country | {
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"text": [
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The Pappinbarra River, a perennial stream of the Hastings River catchment, is located in the Mid North Coast region of New South Wales, Australia.
Course and features
The Pappinbarra River rises below Mount Boss on the slopes of the Gibraltar Range within the Werrikimbe National Park, northwest of Pappinbarra Junction, New South Wales, and flows generally southeast before reaching its confluence with the Hastings River, near Beechwood. The river descends 376 metres (1,234 ft) over its 58 kilometres (36 mi) course.
See also
List of rivers of Australia
References
External links
"Camden Haven and Hastings River catchments" (map). Office of Environment and Heritage. Government of New South Wales. | instance of | {
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The Pappinbarra River, a perennial stream of the Hastings River catchment, is located in the Mid North Coast region of New South Wales, Australia.
Course and features
The Pappinbarra River rises below Mount Boss on the slopes of the Gibraltar Range within the Werrikimbe National Park, northwest of Pappinbarra Junction, New South Wales, and flows generally southeast before reaching its confluence with the Hastings River, near Beechwood. The river descends 376 metres (1,234 ft) over its 58 kilometres (36 mi) course.
See also
List of rivers of Australia
References
External links
"Camden Haven and Hastings River catchments" (map). Office of Environment and Heritage. Government of New South Wales. | located in the administrative territorial entity | {
"answer_start": [
119
],
"text": [
"New South Wales"
]
} |
The Pappinbarra River, a perennial stream of the Hastings River catchment, is located in the Mid North Coast region of New South Wales, Australia.
Course and features
The Pappinbarra River rises below Mount Boss on the slopes of the Gibraltar Range within the Werrikimbe National Park, northwest of Pappinbarra Junction, New South Wales, and flows generally southeast before reaching its confluence with the Hastings River, near Beechwood. The river descends 376 metres (1,234 ft) over its 58 kilometres (36 mi) course.
See also
List of rivers of Australia
References
External links
"Camden Haven and Hastings River catchments" (map). Office of Environment and Heritage. Government of New South Wales. | mouth of the watercourse | {
"answer_start": [
49
],
"text": [
"Hastings River"
]
} |
Yash Raj Films (YRF) is an Indian film production and distribution company founded by veteran filmmaker Yash Chopra in 1970 and being handled and led by his son, Aditya Chopra. It mainly produces and distributes Hindi and Punjabi films. The company has grown to be one of the largest film studios in India, releasing various films.
History
YRF was founded by Yash Raj Chopra, a veteran director and producer of the Indian film industry, in 1970. He started out as an assistant to his elder brother, B. R. Chopra, and went on to direct five films for his brother's banner, B.R. Films.
YRF Studios
Upon realising the lack of a proper film shooting studio during their years of film-making, YRF went on build their dream film production studio in the year 2005, located in Mumbai city. The first film to be shot in YRF Studios was the company's 2006 critical and commercial blockbuster romantic thriller Fanaa. Some of the notable films of outside banners that were shot in the studio over the years are; Kabhi Alvida Naa Kehna (2006), Partner (2007), Taare Zameen Par (2007), Dostana (2008), Wanted (2009), 3 Idiots (2009), Dabangg (2010), Bodyguard (2011), Ra.One (2011), Agneepath (2012), Chennai Express (2013), Jai Ho (2014) and PK (2014). The studio was created and designed by Chopra and his then-wife, Payal Khanna and is equipped with high technology film shooting equipment and materials. The studio, sprawling over 20 acres (81,000 m2) and towering up to six floors, is used to shoot films for the company and is also rented for other filming and television shoots such as 10 Ka Dum and Kaun Banega Crorepati for Sony and Kya Aap Paanchvi Pass Se Tez Hain?, Koffee With Karan and Satyamev Jayate for STAR.
YRF Home Entertainment
Apart from film production, Chopra's YRF also distributed (theatrical, home entertainment and satellite) and canvassed a wide variety of independent films that came out of the Parallel Cinema industry of India, such as Godmother (1999), Zubeidaa (2001), Maqbool (2004), Meenaxi: A Tale of Three Cities (2004), My Brother Nikhil (2005), Mangal Pandey: The Rising (2005) and Maine Gandhi Ko Nahin Mara (2005), that helped them leverage with a powerful film production house such as his, and thereby reach a wider audience on their release. YRF Distributors also released several big-budgeted films such as Kuch Kuch Hota Hai (1998), Kaho Naa... Pyaar Hai (2000), Kabhi Khushi Kabhie Gham... (2001), Koi... Mil Gaya (2003), Kal Ho Naa Ho (2003), Black (2005), Krrish (2006) and Kabhi Alvida Naa Kehna (2006). In 2013, the company's distribution leg reportedly sold the satellite rights of its highly anticipated venture Dhoom 3 for ₹75 crore (US$9.4 million) to Sony Entertainment Television.
YRF Music
After constantly delivering musical successes such as Darr, Dilwale Dulhaniya Le Jayenge and Dil To Pagal Hai throughout the years of its existence, the company decided to leverage their growing clout in the music industry. YRF established their independent feature music distribution leg under the name YRF Music in 2004. The leg was developed for the purpose of digital as well as physical distribution of all the film soundtracks released under the banner. The first soundtrack to be distributed under YRF Music was the company's critical and commercial blockbuster epic love saga Veer-Zaara. The leg established careers of many budding music composers throughout the years, who leveraged themselves by scoring music for YRF projects such as Jatin–Lalit (Dilwale Dulhania Le Jayenge), Shankar–Ehsaan–Loy (Bunty Aur Babli), Pritam (Dhoom), Vishal–Shekhar (Salaam Namaste), Salim–Sulaiman (Rab Ne Bana Di Jodi), Amit Trivedi (Ishaqzaade), Ram Sampath (Luv Ka The End), Sajid–Wajid (Daawat-e-Ishq), Sohail Sen (Mere Brother Ki Dulhan), Raghu Dixit (Mujhse Fraaandship Karoge), Sachin–Jigar (Shuddh Desi Romance) and Amartya Rahut (Aurangzeb).
Walt Disney buyout-refusal
The Walt Disney Company entered Indian Entertainment in 2007 through a three-film co-production agreement (Ta Ra Rum Pum, Thoda Pyaar Thoda Magic and Roadside Romeo) with YRF. Disney's move was seen as a bid to increase its global clout and finally enter the increasingly lucrative Indian Cinema arena. The company offered a 49% acquisition of YRF at ₹2,500 crore (US$310 million) (unadjusted for inflation) in 2009, which took the valuation of the Indian entertainment company to ₹5,000 crore (equivalent to ₹110 billion or US$1.3 billion in 2020), at the time. YRF however declined the acquisition offer made by the American conglomerate.
In 2011, a 99% share acquisition offer by Disney was accepted by UTV at ₹2,000 crore (US$250 million) (unadjusted for inflation). The two companies together established Disney UTV, that functioned as the Indian subsidiary of the American company. In December 2016, Disney announced that is restructuring its Indian operations and UTV will no longer produce movies and will focus only on distribution of its Hollywood films.
Aditya Chopra as Vice-Chairman
The company saw an all-time low, with several of their high-budgeted films not doing well at the box office, despite favourable critical reviews and the company thereby suffering losses amounting to millions from 2007 to 2010. The films broke YRF's perfect success ratio and were oddly released one after another. Some of the most unsuccessful films produced under the banner were Jhoom Barabar Jhoom, Laaga Chunari Mein Daag, Aaja Nachle, Tashan, Thoda Pyaar Thoda Magic and Roadside Romeo, Dil Bole Hadippa!, Rocket Singh: Salesman of the Year and Pyaar Impossible.
Aditya Chopra then took over as the Vice-Chairman of Yash Raj Films in 2010, soon after the release of the film Badmaash Company under the same banner.
2011 landmark deal
In 2011, the company took the critical decision of banking on the successes of 3 Idiots (2009), Ra.One (2011) and Bodyguard (2011) and went into production of three individual mainstream films with Aamir Khan for Dhoom 3, Shahrukh Khan for Jab Tak Hai Jaan and with Salman Khan for Ek Tha Tiger, the first installment in the YRF Spy Universe. The move was seen as a landmark deal by YRF as it engaged three of the most commercially successful actors of Indian Cinema in independent projects at the time. Moreover, the three films turned out to be the most expensive productions by YRF; Ek Tha Tiger was produced at ₹75 crore (US$9.4 million), Jab Tak Hai Jaan was produced at ₹60 crore (US$7.5 million) and Dhoom 3 was produced at ₹150 crore (US$19 million).
All three of these films broke box office records of India and went on to become some of the highest-grossing films of their time. Ek Tha Tiger, which released on the 66th Independence Day of India, earned approximately ₹320 crore (US$40 million) and became the eleventh highest-grossing film of Indian cinema. Jab Tak Hai Jaan opened worldwide on the Diwali day of 2012 and went on to earn ₹241 crore (US$30 million) and became the fifteenth highest-grossing film in India. Dhoom 3 released in (Hindi, Tamil, Telugu and Arabic) on the Christmas week of 2013 and grossed approximately ₹542 crore (US$68 million), in the worldwide market and went on to become the twelfth highest-grossing film of Indian cinema, as of January 2022.
Aditya Chopra as Chairman
After the demise of Yash Chopra in October 2012, Aditya Chopra was elevated to the position of chairman and Chief Executive of the company's studio wing. Facing overwhelming pressure by the Indian bourses to be publicly listed around the same period, the company went for a soft-launch on 3 January 2013.
The company received angel investment by institutional fund-raisers such as LIC of India, RNT Associates, PremjiInvest, Catamaran Ventures, Maruti Udyog and Unilazer Ventures. YRF was made open to Indian enterprises only and no FDI was accepted. Venture capitalists also showed interest with Adi Godrej, Y. C. Deveshwar, Kumar Birla, Arundhati Bhattacharya, Anand Mahindra, Chanda Kochhar, Sunil Mittal, Shikha Sharma and Uday Kotak investing undisclosed sums. YRF came out with more films, under the chairmanship of Chopra and the new management.
Work with newcomers
YRF launched a number of budding screenwriters and directors under their banner throughout these years. Directors and screenwriters such as Karan Johar (his Kuch Kuch Hota Hai was co-produced and released by Yash Raj Film Distributors), Kunal Kohli, Kabir Khan, Sanjay Gadhvi, Jaideep Sahni, Siddharth Anand, Shimit Amin, Habib Faisal, Shaad Ali, Maneesh Sharma and Vijay Acharya debuted under YRF and have gone on to become independent entities in films. The company also produced films for filmmakers such as Anil Mehta and Pradeep Sarkar under their banner. The company was eventually ranked #1 (among the most successful film production companies in India) in a survey conducted by Filmfare and Number 27 (among the most successful film production companies in the world) in a survey by The Hollywood Reporter.
Talent Management
Apart from producing big-budgeted films with established actors, YRF also announced several films featuring relative newcomers in the fourth quarter of Fiscal year 2012; Aurangzeb starring Prithviraj Sukumaran, Sashaa Agha and Arjun Kapoor, Gunday starring Ranveer Singh, Bewakoofiyaan starring Ayushmann Khurrana and Sonam Kapoor, Daawat-e-Ishq with Aditya Roy Kapur, Mardaani with Rani Mukerji, and Kill Dil starring Ali Zafar and Govinda. The films released all through 2013 and 2014 were seen as a strategic move by the company to infuse newer talent into Indian Cinema in the form of actors, screenwriters, directors and technicians. In a bid to break away from the traditional star system of Indian cinema, the company ventured into producing low-budgeted independent films with new talent (actors, creatives and technicians) from 2008. Apart from working with upcoming actors, the company independently launched several new faces as leading actors in several of their big-budgeted films through their home banner and through Y-Films, including:
Offices
YRF is headquartered in Mumbai. In India, YRF has a network of distribution offices in Mumbai, Delhi, Jalandhar, Jaipur, Amravati, Indore, Bengaluru, Hyderabad, Kolkata, Chennai and Kochi. Internationally, there are offices in the United Kingdom, the United States of America, and the United Arab Emirates.
Tie-ups
Throughout the years of its existence, YRF inked various strategic business agreements with independent film and media entities present in the country.
Produced and distributed films
References
External links
Official website | country | {
"answer_start": [
27
],
"text": [
"India"
]
} |
Yash Raj Films (YRF) is an Indian film production and distribution company founded by veteran filmmaker Yash Chopra in 1970 and being handled and led by his son, Aditya Chopra. It mainly produces and distributes Hindi and Punjabi films. The company has grown to be one of the largest film studios in India, releasing various films.
History
YRF was founded by Yash Raj Chopra, a veteran director and producer of the Indian film industry, in 1970. He started out as an assistant to his elder brother, B. R. Chopra, and went on to direct five films for his brother's banner, B.R. Films.
YRF Studios
Upon realising the lack of a proper film shooting studio during their years of film-making, YRF went on build their dream film production studio in the year 2005, located in Mumbai city. The first film to be shot in YRF Studios was the company's 2006 critical and commercial blockbuster romantic thriller Fanaa. Some of the notable films of outside banners that were shot in the studio over the years are; Kabhi Alvida Naa Kehna (2006), Partner (2007), Taare Zameen Par (2007), Dostana (2008), Wanted (2009), 3 Idiots (2009), Dabangg (2010), Bodyguard (2011), Ra.One (2011), Agneepath (2012), Chennai Express (2013), Jai Ho (2014) and PK (2014). The studio was created and designed by Chopra and his then-wife, Payal Khanna and is equipped with high technology film shooting equipment and materials. The studio, sprawling over 20 acres (81,000 m2) and towering up to six floors, is used to shoot films for the company and is also rented for other filming and television shoots such as 10 Ka Dum and Kaun Banega Crorepati for Sony and Kya Aap Paanchvi Pass Se Tez Hain?, Koffee With Karan and Satyamev Jayate for STAR.
YRF Home Entertainment
Apart from film production, Chopra's YRF also distributed (theatrical, home entertainment and satellite) and canvassed a wide variety of independent films that came out of the Parallel Cinema industry of India, such as Godmother (1999), Zubeidaa (2001), Maqbool (2004), Meenaxi: A Tale of Three Cities (2004), My Brother Nikhil (2005), Mangal Pandey: The Rising (2005) and Maine Gandhi Ko Nahin Mara (2005), that helped them leverage with a powerful film production house such as his, and thereby reach a wider audience on their release. YRF Distributors also released several big-budgeted films such as Kuch Kuch Hota Hai (1998), Kaho Naa... Pyaar Hai (2000), Kabhi Khushi Kabhie Gham... (2001), Koi... Mil Gaya (2003), Kal Ho Naa Ho (2003), Black (2005), Krrish (2006) and Kabhi Alvida Naa Kehna (2006). In 2013, the company's distribution leg reportedly sold the satellite rights of its highly anticipated venture Dhoom 3 for ₹75 crore (US$9.4 million) to Sony Entertainment Television.
YRF Music
After constantly delivering musical successes such as Darr, Dilwale Dulhaniya Le Jayenge and Dil To Pagal Hai throughout the years of its existence, the company decided to leverage their growing clout in the music industry. YRF established their independent feature music distribution leg under the name YRF Music in 2004. The leg was developed for the purpose of digital as well as physical distribution of all the film soundtracks released under the banner. The first soundtrack to be distributed under YRF Music was the company's critical and commercial blockbuster epic love saga Veer-Zaara. The leg established careers of many budding music composers throughout the years, who leveraged themselves by scoring music for YRF projects such as Jatin–Lalit (Dilwale Dulhania Le Jayenge), Shankar–Ehsaan–Loy (Bunty Aur Babli), Pritam (Dhoom), Vishal–Shekhar (Salaam Namaste), Salim–Sulaiman (Rab Ne Bana Di Jodi), Amit Trivedi (Ishaqzaade), Ram Sampath (Luv Ka The End), Sajid–Wajid (Daawat-e-Ishq), Sohail Sen (Mere Brother Ki Dulhan), Raghu Dixit (Mujhse Fraaandship Karoge), Sachin–Jigar (Shuddh Desi Romance) and Amartya Rahut (Aurangzeb).
Walt Disney buyout-refusal
The Walt Disney Company entered Indian Entertainment in 2007 through a three-film co-production agreement (Ta Ra Rum Pum, Thoda Pyaar Thoda Magic and Roadside Romeo) with YRF. Disney's move was seen as a bid to increase its global clout and finally enter the increasingly lucrative Indian Cinema arena. The company offered a 49% acquisition of YRF at ₹2,500 crore (US$310 million) (unadjusted for inflation) in 2009, which took the valuation of the Indian entertainment company to ₹5,000 crore (equivalent to ₹110 billion or US$1.3 billion in 2020), at the time. YRF however declined the acquisition offer made by the American conglomerate.
In 2011, a 99% share acquisition offer by Disney was accepted by UTV at ₹2,000 crore (US$250 million) (unadjusted for inflation). The two companies together established Disney UTV, that functioned as the Indian subsidiary of the American company. In December 2016, Disney announced that is restructuring its Indian operations and UTV will no longer produce movies and will focus only on distribution of its Hollywood films.
Aditya Chopra as Vice-Chairman
The company saw an all-time low, with several of their high-budgeted films not doing well at the box office, despite favourable critical reviews and the company thereby suffering losses amounting to millions from 2007 to 2010. The films broke YRF's perfect success ratio and were oddly released one after another. Some of the most unsuccessful films produced under the banner were Jhoom Barabar Jhoom, Laaga Chunari Mein Daag, Aaja Nachle, Tashan, Thoda Pyaar Thoda Magic and Roadside Romeo, Dil Bole Hadippa!, Rocket Singh: Salesman of the Year and Pyaar Impossible.
Aditya Chopra then took over as the Vice-Chairman of Yash Raj Films in 2010, soon after the release of the film Badmaash Company under the same banner.
2011 landmark deal
In 2011, the company took the critical decision of banking on the successes of 3 Idiots (2009), Ra.One (2011) and Bodyguard (2011) and went into production of three individual mainstream films with Aamir Khan for Dhoom 3, Shahrukh Khan for Jab Tak Hai Jaan and with Salman Khan for Ek Tha Tiger, the first installment in the YRF Spy Universe. The move was seen as a landmark deal by YRF as it engaged three of the most commercially successful actors of Indian Cinema in independent projects at the time. Moreover, the three films turned out to be the most expensive productions by YRF; Ek Tha Tiger was produced at ₹75 crore (US$9.4 million), Jab Tak Hai Jaan was produced at ₹60 crore (US$7.5 million) and Dhoom 3 was produced at ₹150 crore (US$19 million).
All three of these films broke box office records of India and went on to become some of the highest-grossing films of their time. Ek Tha Tiger, which released on the 66th Independence Day of India, earned approximately ₹320 crore (US$40 million) and became the eleventh highest-grossing film of Indian cinema. Jab Tak Hai Jaan opened worldwide on the Diwali day of 2012 and went on to earn ₹241 crore (US$30 million) and became the fifteenth highest-grossing film in India. Dhoom 3 released in (Hindi, Tamil, Telugu and Arabic) on the Christmas week of 2013 and grossed approximately ₹542 crore (US$68 million), in the worldwide market and went on to become the twelfth highest-grossing film of Indian cinema, as of January 2022.
Aditya Chopra as Chairman
After the demise of Yash Chopra in October 2012, Aditya Chopra was elevated to the position of chairman and Chief Executive of the company's studio wing. Facing overwhelming pressure by the Indian bourses to be publicly listed around the same period, the company went for a soft-launch on 3 January 2013.
The company received angel investment by institutional fund-raisers such as LIC of India, RNT Associates, PremjiInvest, Catamaran Ventures, Maruti Udyog and Unilazer Ventures. YRF was made open to Indian enterprises only and no FDI was accepted. Venture capitalists also showed interest with Adi Godrej, Y. C. Deveshwar, Kumar Birla, Arundhati Bhattacharya, Anand Mahindra, Chanda Kochhar, Sunil Mittal, Shikha Sharma and Uday Kotak investing undisclosed sums. YRF came out with more films, under the chairmanship of Chopra and the new management.
Work with newcomers
YRF launched a number of budding screenwriters and directors under their banner throughout these years. Directors and screenwriters such as Karan Johar (his Kuch Kuch Hota Hai was co-produced and released by Yash Raj Film Distributors), Kunal Kohli, Kabir Khan, Sanjay Gadhvi, Jaideep Sahni, Siddharth Anand, Shimit Amin, Habib Faisal, Shaad Ali, Maneesh Sharma and Vijay Acharya debuted under YRF and have gone on to become independent entities in films. The company also produced films for filmmakers such as Anil Mehta and Pradeep Sarkar under their banner. The company was eventually ranked #1 (among the most successful film production companies in India) in a survey conducted by Filmfare and Number 27 (among the most successful film production companies in the world) in a survey by The Hollywood Reporter.
Talent Management
Apart from producing big-budgeted films with established actors, YRF also announced several films featuring relative newcomers in the fourth quarter of Fiscal year 2012; Aurangzeb starring Prithviraj Sukumaran, Sashaa Agha and Arjun Kapoor, Gunday starring Ranveer Singh, Bewakoofiyaan starring Ayushmann Khurrana and Sonam Kapoor, Daawat-e-Ishq with Aditya Roy Kapur, Mardaani with Rani Mukerji, and Kill Dil starring Ali Zafar and Govinda. The films released all through 2013 and 2014 were seen as a strategic move by the company to infuse newer talent into Indian Cinema in the form of actors, screenwriters, directors and technicians. In a bid to break away from the traditional star system of Indian cinema, the company ventured into producing low-budgeted independent films with new talent (actors, creatives and technicians) from 2008. Apart from working with upcoming actors, the company independently launched several new faces as leading actors in several of their big-budgeted films through their home banner and through Y-Films, including:
Offices
YRF is headquartered in Mumbai. In India, YRF has a network of distribution offices in Mumbai, Delhi, Jalandhar, Jaipur, Amravati, Indore, Bengaluru, Hyderabad, Kolkata, Chennai and Kochi. Internationally, there are offices in the United Kingdom, the United States of America, and the United Arab Emirates.
Tie-ups
Throughout the years of its existence, YRF inked various strategic business agreements with independent film and media entities present in the country.
Produced and distributed films
References
External links
Official website | founded by | {
"answer_start": [
104
],
"text": [
"Yash Chopra"
]
} |
Yash Raj Films (YRF) is an Indian film production and distribution company founded by veteran filmmaker Yash Chopra in 1970 and being handled and led by his son, Aditya Chopra. It mainly produces and distributes Hindi and Punjabi films. The company has grown to be one of the largest film studios in India, releasing various films.
History
YRF was founded by Yash Raj Chopra, a veteran director and producer of the Indian film industry, in 1970. He started out as an assistant to his elder brother, B. R. Chopra, and went on to direct five films for his brother's banner, B.R. Films.
YRF Studios
Upon realising the lack of a proper film shooting studio during their years of film-making, YRF went on build their dream film production studio in the year 2005, located in Mumbai city. The first film to be shot in YRF Studios was the company's 2006 critical and commercial blockbuster romantic thriller Fanaa. Some of the notable films of outside banners that were shot in the studio over the years are; Kabhi Alvida Naa Kehna (2006), Partner (2007), Taare Zameen Par (2007), Dostana (2008), Wanted (2009), 3 Idiots (2009), Dabangg (2010), Bodyguard (2011), Ra.One (2011), Agneepath (2012), Chennai Express (2013), Jai Ho (2014) and PK (2014). The studio was created and designed by Chopra and his then-wife, Payal Khanna and is equipped with high technology film shooting equipment and materials. The studio, sprawling over 20 acres (81,000 m2) and towering up to six floors, is used to shoot films for the company and is also rented for other filming and television shoots such as 10 Ka Dum and Kaun Banega Crorepati for Sony and Kya Aap Paanchvi Pass Se Tez Hain?, Koffee With Karan and Satyamev Jayate for STAR.
YRF Home Entertainment
Apart from film production, Chopra's YRF also distributed (theatrical, home entertainment and satellite) and canvassed a wide variety of independent films that came out of the Parallel Cinema industry of India, such as Godmother (1999), Zubeidaa (2001), Maqbool (2004), Meenaxi: A Tale of Three Cities (2004), My Brother Nikhil (2005), Mangal Pandey: The Rising (2005) and Maine Gandhi Ko Nahin Mara (2005), that helped them leverage with a powerful film production house such as his, and thereby reach a wider audience on their release. YRF Distributors also released several big-budgeted films such as Kuch Kuch Hota Hai (1998), Kaho Naa... Pyaar Hai (2000), Kabhi Khushi Kabhie Gham... (2001), Koi... Mil Gaya (2003), Kal Ho Naa Ho (2003), Black (2005), Krrish (2006) and Kabhi Alvida Naa Kehna (2006). In 2013, the company's distribution leg reportedly sold the satellite rights of its highly anticipated venture Dhoom 3 for ₹75 crore (US$9.4 million) to Sony Entertainment Television.
YRF Music
After constantly delivering musical successes such as Darr, Dilwale Dulhaniya Le Jayenge and Dil To Pagal Hai throughout the years of its existence, the company decided to leverage their growing clout in the music industry. YRF established their independent feature music distribution leg under the name YRF Music in 2004. The leg was developed for the purpose of digital as well as physical distribution of all the film soundtracks released under the banner. The first soundtrack to be distributed under YRF Music was the company's critical and commercial blockbuster epic love saga Veer-Zaara. The leg established careers of many budding music composers throughout the years, who leveraged themselves by scoring music for YRF projects such as Jatin–Lalit (Dilwale Dulhania Le Jayenge), Shankar–Ehsaan–Loy (Bunty Aur Babli), Pritam (Dhoom), Vishal–Shekhar (Salaam Namaste), Salim–Sulaiman (Rab Ne Bana Di Jodi), Amit Trivedi (Ishaqzaade), Ram Sampath (Luv Ka The End), Sajid–Wajid (Daawat-e-Ishq), Sohail Sen (Mere Brother Ki Dulhan), Raghu Dixit (Mujhse Fraaandship Karoge), Sachin–Jigar (Shuddh Desi Romance) and Amartya Rahut (Aurangzeb).
Walt Disney buyout-refusal
The Walt Disney Company entered Indian Entertainment in 2007 through a three-film co-production agreement (Ta Ra Rum Pum, Thoda Pyaar Thoda Magic and Roadside Romeo) with YRF. Disney's move was seen as a bid to increase its global clout and finally enter the increasingly lucrative Indian Cinema arena. The company offered a 49% acquisition of YRF at ₹2,500 crore (US$310 million) (unadjusted for inflation) in 2009, which took the valuation of the Indian entertainment company to ₹5,000 crore (equivalent to ₹110 billion or US$1.3 billion in 2020), at the time. YRF however declined the acquisition offer made by the American conglomerate.
In 2011, a 99% share acquisition offer by Disney was accepted by UTV at ₹2,000 crore (US$250 million) (unadjusted for inflation). The two companies together established Disney UTV, that functioned as the Indian subsidiary of the American company. In December 2016, Disney announced that is restructuring its Indian operations and UTV will no longer produce movies and will focus only on distribution of its Hollywood films.
Aditya Chopra as Vice-Chairman
The company saw an all-time low, with several of their high-budgeted films not doing well at the box office, despite favourable critical reviews and the company thereby suffering losses amounting to millions from 2007 to 2010. The films broke YRF's perfect success ratio and were oddly released one after another. Some of the most unsuccessful films produced under the banner were Jhoom Barabar Jhoom, Laaga Chunari Mein Daag, Aaja Nachle, Tashan, Thoda Pyaar Thoda Magic and Roadside Romeo, Dil Bole Hadippa!, Rocket Singh: Salesman of the Year and Pyaar Impossible.
Aditya Chopra then took over as the Vice-Chairman of Yash Raj Films in 2010, soon after the release of the film Badmaash Company under the same banner.
2011 landmark deal
In 2011, the company took the critical decision of banking on the successes of 3 Idiots (2009), Ra.One (2011) and Bodyguard (2011) and went into production of three individual mainstream films with Aamir Khan for Dhoom 3, Shahrukh Khan for Jab Tak Hai Jaan and with Salman Khan for Ek Tha Tiger, the first installment in the YRF Spy Universe. The move was seen as a landmark deal by YRF as it engaged three of the most commercially successful actors of Indian Cinema in independent projects at the time. Moreover, the three films turned out to be the most expensive productions by YRF; Ek Tha Tiger was produced at ₹75 crore (US$9.4 million), Jab Tak Hai Jaan was produced at ₹60 crore (US$7.5 million) and Dhoom 3 was produced at ₹150 crore (US$19 million).
All three of these films broke box office records of India and went on to become some of the highest-grossing films of their time. Ek Tha Tiger, which released on the 66th Independence Day of India, earned approximately ₹320 crore (US$40 million) and became the eleventh highest-grossing film of Indian cinema. Jab Tak Hai Jaan opened worldwide on the Diwali day of 2012 and went on to earn ₹241 crore (US$30 million) and became the fifteenth highest-grossing film in India. Dhoom 3 released in (Hindi, Tamil, Telugu and Arabic) on the Christmas week of 2013 and grossed approximately ₹542 crore (US$68 million), in the worldwide market and went on to become the twelfth highest-grossing film of Indian cinema, as of January 2022.
Aditya Chopra as Chairman
After the demise of Yash Chopra in October 2012, Aditya Chopra was elevated to the position of chairman and Chief Executive of the company's studio wing. Facing overwhelming pressure by the Indian bourses to be publicly listed around the same period, the company went for a soft-launch on 3 January 2013.
The company received angel investment by institutional fund-raisers such as LIC of India, RNT Associates, PremjiInvest, Catamaran Ventures, Maruti Udyog and Unilazer Ventures. YRF was made open to Indian enterprises only and no FDI was accepted. Venture capitalists also showed interest with Adi Godrej, Y. C. Deveshwar, Kumar Birla, Arundhati Bhattacharya, Anand Mahindra, Chanda Kochhar, Sunil Mittal, Shikha Sharma and Uday Kotak investing undisclosed sums. YRF came out with more films, under the chairmanship of Chopra and the new management.
Work with newcomers
YRF launched a number of budding screenwriters and directors under their banner throughout these years. Directors and screenwriters such as Karan Johar (his Kuch Kuch Hota Hai was co-produced and released by Yash Raj Film Distributors), Kunal Kohli, Kabir Khan, Sanjay Gadhvi, Jaideep Sahni, Siddharth Anand, Shimit Amin, Habib Faisal, Shaad Ali, Maneesh Sharma and Vijay Acharya debuted under YRF and have gone on to become independent entities in films. The company also produced films for filmmakers such as Anil Mehta and Pradeep Sarkar under their banner. The company was eventually ranked #1 (among the most successful film production companies in India) in a survey conducted by Filmfare and Number 27 (among the most successful film production companies in the world) in a survey by The Hollywood Reporter.
Talent Management
Apart from producing big-budgeted films with established actors, YRF also announced several films featuring relative newcomers in the fourth quarter of Fiscal year 2012; Aurangzeb starring Prithviraj Sukumaran, Sashaa Agha and Arjun Kapoor, Gunday starring Ranveer Singh, Bewakoofiyaan starring Ayushmann Khurrana and Sonam Kapoor, Daawat-e-Ishq with Aditya Roy Kapur, Mardaani with Rani Mukerji, and Kill Dil starring Ali Zafar and Govinda. The films released all through 2013 and 2014 were seen as a strategic move by the company to infuse newer talent into Indian Cinema in the form of actors, screenwriters, directors and technicians. In a bid to break away from the traditional star system of Indian cinema, the company ventured into producing low-budgeted independent films with new talent (actors, creatives and technicians) from 2008. Apart from working with upcoming actors, the company independently launched several new faces as leading actors in several of their big-budgeted films through their home banner and through Y-Films, including:
Offices
YRF is headquartered in Mumbai. In India, YRF has a network of distribution offices in Mumbai, Delhi, Jalandhar, Jaipur, Amravati, Indore, Bengaluru, Hyderabad, Kolkata, Chennai and Kochi. Internationally, there are offices in the United Kingdom, the United States of America, and the United Arab Emirates.
Tie-ups
Throughout the years of its existence, YRF inked various strategic business agreements with independent film and media entities present in the country.
Produced and distributed films
References
External links
Official website | headquarters location | {
"answer_start": [
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Yash Raj Films (YRF) is an Indian film production and distribution company founded by veteran filmmaker Yash Chopra in 1970 and being handled and led by his son, Aditya Chopra. It mainly produces and distributes Hindi and Punjabi films. The company has grown to be one of the largest film studios in India, releasing various films.
History
YRF was founded by Yash Raj Chopra, a veteran director and producer of the Indian film industry, in 1970. He started out as an assistant to his elder brother, B. R. Chopra, and went on to direct five films for his brother's banner, B.R. Films.
YRF Studios
Upon realising the lack of a proper film shooting studio during their years of film-making, YRF went on build their dream film production studio in the year 2005, located in Mumbai city. The first film to be shot in YRF Studios was the company's 2006 critical and commercial blockbuster romantic thriller Fanaa. Some of the notable films of outside banners that were shot in the studio over the years are; Kabhi Alvida Naa Kehna (2006), Partner (2007), Taare Zameen Par (2007), Dostana (2008), Wanted (2009), 3 Idiots (2009), Dabangg (2010), Bodyguard (2011), Ra.One (2011), Agneepath (2012), Chennai Express (2013), Jai Ho (2014) and PK (2014). The studio was created and designed by Chopra and his then-wife, Payal Khanna and is equipped with high technology film shooting equipment and materials. The studio, sprawling over 20 acres (81,000 m2) and towering up to six floors, is used to shoot films for the company and is also rented for other filming and television shoots such as 10 Ka Dum and Kaun Banega Crorepati for Sony and Kya Aap Paanchvi Pass Se Tez Hain?, Koffee With Karan and Satyamev Jayate for STAR.
YRF Home Entertainment
Apart from film production, Chopra's YRF also distributed (theatrical, home entertainment and satellite) and canvassed a wide variety of independent films that came out of the Parallel Cinema industry of India, such as Godmother (1999), Zubeidaa (2001), Maqbool (2004), Meenaxi: A Tale of Three Cities (2004), My Brother Nikhil (2005), Mangal Pandey: The Rising (2005) and Maine Gandhi Ko Nahin Mara (2005), that helped them leverage with a powerful film production house such as his, and thereby reach a wider audience on their release. YRF Distributors also released several big-budgeted films such as Kuch Kuch Hota Hai (1998), Kaho Naa... Pyaar Hai (2000), Kabhi Khushi Kabhie Gham... (2001), Koi... Mil Gaya (2003), Kal Ho Naa Ho (2003), Black (2005), Krrish (2006) and Kabhi Alvida Naa Kehna (2006). In 2013, the company's distribution leg reportedly sold the satellite rights of its highly anticipated venture Dhoom 3 for ₹75 crore (US$9.4 million) to Sony Entertainment Television.
YRF Music
After constantly delivering musical successes such as Darr, Dilwale Dulhaniya Le Jayenge and Dil To Pagal Hai throughout the years of its existence, the company decided to leverage their growing clout in the music industry. YRF established their independent feature music distribution leg under the name YRF Music in 2004. The leg was developed for the purpose of digital as well as physical distribution of all the film soundtracks released under the banner. The first soundtrack to be distributed under YRF Music was the company's critical and commercial blockbuster epic love saga Veer-Zaara. The leg established careers of many budding music composers throughout the years, who leveraged themselves by scoring music for YRF projects such as Jatin–Lalit (Dilwale Dulhania Le Jayenge), Shankar–Ehsaan–Loy (Bunty Aur Babli), Pritam (Dhoom), Vishal–Shekhar (Salaam Namaste), Salim–Sulaiman (Rab Ne Bana Di Jodi), Amit Trivedi (Ishaqzaade), Ram Sampath (Luv Ka The End), Sajid–Wajid (Daawat-e-Ishq), Sohail Sen (Mere Brother Ki Dulhan), Raghu Dixit (Mujhse Fraaandship Karoge), Sachin–Jigar (Shuddh Desi Romance) and Amartya Rahut (Aurangzeb).
Walt Disney buyout-refusal
The Walt Disney Company entered Indian Entertainment in 2007 through a three-film co-production agreement (Ta Ra Rum Pum, Thoda Pyaar Thoda Magic and Roadside Romeo) with YRF. Disney's move was seen as a bid to increase its global clout and finally enter the increasingly lucrative Indian Cinema arena. The company offered a 49% acquisition of YRF at ₹2,500 crore (US$310 million) (unadjusted for inflation) in 2009, which took the valuation of the Indian entertainment company to ₹5,000 crore (equivalent to ₹110 billion or US$1.3 billion in 2020), at the time. YRF however declined the acquisition offer made by the American conglomerate.
In 2011, a 99% share acquisition offer by Disney was accepted by UTV at ₹2,000 crore (US$250 million) (unadjusted for inflation). The two companies together established Disney UTV, that functioned as the Indian subsidiary of the American company. In December 2016, Disney announced that is restructuring its Indian operations and UTV will no longer produce movies and will focus only on distribution of its Hollywood films.
Aditya Chopra as Vice-Chairman
The company saw an all-time low, with several of their high-budgeted films not doing well at the box office, despite favourable critical reviews and the company thereby suffering losses amounting to millions from 2007 to 2010. The films broke YRF's perfect success ratio and were oddly released one after another. Some of the most unsuccessful films produced under the banner were Jhoom Barabar Jhoom, Laaga Chunari Mein Daag, Aaja Nachle, Tashan, Thoda Pyaar Thoda Magic and Roadside Romeo, Dil Bole Hadippa!, Rocket Singh: Salesman of the Year and Pyaar Impossible.
Aditya Chopra then took over as the Vice-Chairman of Yash Raj Films in 2010, soon after the release of the film Badmaash Company under the same banner.
2011 landmark deal
In 2011, the company took the critical decision of banking on the successes of 3 Idiots (2009), Ra.One (2011) and Bodyguard (2011) and went into production of three individual mainstream films with Aamir Khan for Dhoom 3, Shahrukh Khan for Jab Tak Hai Jaan and with Salman Khan for Ek Tha Tiger, the first installment in the YRF Spy Universe. The move was seen as a landmark deal by YRF as it engaged three of the most commercially successful actors of Indian Cinema in independent projects at the time. Moreover, the three films turned out to be the most expensive productions by YRF; Ek Tha Tiger was produced at ₹75 crore (US$9.4 million), Jab Tak Hai Jaan was produced at ₹60 crore (US$7.5 million) and Dhoom 3 was produced at ₹150 crore (US$19 million).
All three of these films broke box office records of India and went on to become some of the highest-grossing films of their time. Ek Tha Tiger, which released on the 66th Independence Day of India, earned approximately ₹320 crore (US$40 million) and became the eleventh highest-grossing film of Indian cinema. Jab Tak Hai Jaan opened worldwide on the Diwali day of 2012 and went on to earn ₹241 crore (US$30 million) and became the fifteenth highest-grossing film in India. Dhoom 3 released in (Hindi, Tamil, Telugu and Arabic) on the Christmas week of 2013 and grossed approximately ₹542 crore (US$68 million), in the worldwide market and went on to become the twelfth highest-grossing film of Indian cinema, as of January 2022.
Aditya Chopra as Chairman
After the demise of Yash Chopra in October 2012, Aditya Chopra was elevated to the position of chairman and Chief Executive of the company's studio wing. Facing overwhelming pressure by the Indian bourses to be publicly listed around the same period, the company went for a soft-launch on 3 January 2013.
The company received angel investment by institutional fund-raisers such as LIC of India, RNT Associates, PremjiInvest, Catamaran Ventures, Maruti Udyog and Unilazer Ventures. YRF was made open to Indian enterprises only and no FDI was accepted. Venture capitalists also showed interest with Adi Godrej, Y. C. Deveshwar, Kumar Birla, Arundhati Bhattacharya, Anand Mahindra, Chanda Kochhar, Sunil Mittal, Shikha Sharma and Uday Kotak investing undisclosed sums. YRF came out with more films, under the chairmanship of Chopra and the new management.
Work with newcomers
YRF launched a number of budding screenwriters and directors under their banner throughout these years. Directors and screenwriters such as Karan Johar (his Kuch Kuch Hota Hai was co-produced and released by Yash Raj Film Distributors), Kunal Kohli, Kabir Khan, Sanjay Gadhvi, Jaideep Sahni, Siddharth Anand, Shimit Amin, Habib Faisal, Shaad Ali, Maneesh Sharma and Vijay Acharya debuted under YRF and have gone on to become independent entities in films. The company also produced films for filmmakers such as Anil Mehta and Pradeep Sarkar under their banner. The company was eventually ranked #1 (among the most successful film production companies in India) in a survey conducted by Filmfare and Number 27 (among the most successful film production companies in the world) in a survey by The Hollywood Reporter.
Talent Management
Apart from producing big-budgeted films with established actors, YRF also announced several films featuring relative newcomers in the fourth quarter of Fiscal year 2012; Aurangzeb starring Prithviraj Sukumaran, Sashaa Agha and Arjun Kapoor, Gunday starring Ranveer Singh, Bewakoofiyaan starring Ayushmann Khurrana and Sonam Kapoor, Daawat-e-Ishq with Aditya Roy Kapur, Mardaani with Rani Mukerji, and Kill Dil starring Ali Zafar and Govinda. The films released all through 2013 and 2014 were seen as a strategic move by the company to infuse newer talent into Indian Cinema in the form of actors, screenwriters, directors and technicians. In a bid to break away from the traditional star system of Indian cinema, the company ventured into producing low-budgeted independent films with new talent (actors, creatives and technicians) from 2008. Apart from working with upcoming actors, the company independently launched several new faces as leading actors in several of their big-budgeted films through their home banner and through Y-Films, including:
Offices
YRF is headquartered in Mumbai. In India, YRF has a network of distribution offices in Mumbai, Delhi, Jalandhar, Jaipur, Amravati, Indore, Bengaluru, Hyderabad, Kolkata, Chennai and Kochi. Internationally, there are offices in the United Kingdom, the United States of America, and the United Arab Emirates.
Tie-ups
Throughout the years of its existence, YRF inked various strategic business agreements with independent film and media entities present in the country.
Produced and distributed films
References
External links
Official website | location of formation | {
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Rochev (Russian: Ро́чев, Belarusian: Рочаў), female form Rocheva (Russian: Ро́чева) is a slavic surname.
Notable people with this surname include:
Isabel Rochev, character in Arrow (TV series)
Nikita Rochev, Belarusian footballer
Nina Rocheva, Soviet skier
Olga Rocheva, Russian skier
Vasily Rochev (skier, born 1951), Soviet skier
Vasily Rochev (skier, born 1980), Soviet skier | different from | {
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Rochev (Russian: Ро́чев, Belarusian: Рочаў), female form Rocheva (Russian: Ро́чева) is a slavic surname.
Notable people with this surname include:
Isabel Rochev, character in Arrow (TV series)
Nikita Rochev, Belarusian footballer
Nina Rocheva, Soviet skier
Olga Rocheva, Russian skier
Vasily Rochev (skier, born 1951), Soviet skier
Vasily Rochev (skier, born 1980), Soviet skier | native label | {
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The 2018 Foxwoods Resort Casino 301 is a Monster Energy NASCAR Cup Series race held on July 22, 2018 at New Hampshire Motor Speedway in Loudon, New Hampshire. Contested over 301 laps on the 1.058-mile (1.703 km) speedway, it was the 20th race of the 2018 Monster Energy NASCAR Cup Series season.
Report
Background
New Hampshire Motor Speedway is a 1.058-mile (1.703 km) oval speedway located in Loudon, New Hampshire, which has hosted NASCAR racing annually since the early 1990s, as well as the longest-running motorcycle race in North America, the Loudon Classic. Nicknamed "The Magic Mile", the speedway is often converted into a 1.6-mile (2.6 km) road course, which includes much of the oval.
The track was originally the site of Bryar Motorsports Park before being purchased and redeveloped by Bob Bahre. The track is currently one of eight major NASCAR tracks owned and operated by Speedway Motorsports.
Entry list
First practice
Kyle Busch was the fastest in the first practice session with a time of 28.362 seconds and a speed of 134.292 mph (216.122 km/h).
Qualifying
Kurt Busch scored the pole for the race with a time of 28.511 and a speed of 133.591 mph (214.994 km/h).
Qualifying results
Practice (post-qualifying)
Second practice
Denny Hamlin was the fastest in the second practice session with a time of 28.650 seconds and a speed of 132.942 mph (213.949 km/h).
Final practice
Martin Truex Jr. was the fastest in the final practice session with a time of 28.937 seconds and a speed of 131.624 mph (211.828 km/h).
Race
Stage Results
Stage 1
Laps: 75
Stage 2
Laps: 75
Final Stage Results
Stage 3
Laps: 151
Race statistics
Lead changes: 7 among different drivers
Cautions/Laps: 7 for 31
Red flags: 0
Time of race: 2 hours, 52 minutes and 56 seconds
Average speed: 110.490 miles per hour (177.816 km/h)
Media
Television
NBC Sports covered the race on the television side. Steve Letarte, four-time and all-time Loudon winner Jeff Burton and Dale Earnhardt Jr. had the call in the booth for the race as part of an NBC Special Analyst Broadcast. Rick Allen, Parker Kligerman, Marty Snider and Kelli Stavast reported from pit lane during the race.
Radio
PRN had the radio call for the race, which was simulcast on Sirius XM NASCAR Radio.
Standings after the race
== References == | location | {
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"New Hampshire Motor Speedway"
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The 2018 Foxwoods Resort Casino 301 is a Monster Energy NASCAR Cup Series race held on July 22, 2018 at New Hampshire Motor Speedway in Loudon, New Hampshire. Contested over 301 laps on the 1.058-mile (1.703 km) speedway, it was the 20th race of the 2018 Monster Energy NASCAR Cup Series season.
Report
Background
New Hampshire Motor Speedway is a 1.058-mile (1.703 km) oval speedway located in Loudon, New Hampshire, which has hosted NASCAR racing annually since the early 1990s, as well as the longest-running motorcycle race in North America, the Loudon Classic. Nicknamed "The Magic Mile", the speedway is often converted into a 1.6-mile (2.6 km) road course, which includes much of the oval.
The track was originally the site of Bryar Motorsports Park before being purchased and redeveloped by Bob Bahre. The track is currently one of eight major NASCAR tracks owned and operated by Speedway Motorsports.
Entry list
First practice
Kyle Busch was the fastest in the first practice session with a time of 28.362 seconds and a speed of 134.292 mph (216.122 km/h).
Qualifying
Kurt Busch scored the pole for the race with a time of 28.511 and a speed of 133.591 mph (214.994 km/h).
Qualifying results
Practice (post-qualifying)
Second practice
Denny Hamlin was the fastest in the second practice session with a time of 28.650 seconds and a speed of 132.942 mph (213.949 km/h).
Final practice
Martin Truex Jr. was the fastest in the final practice session with a time of 28.937 seconds and a speed of 131.624 mph (211.828 km/h).
Race
Stage Results
Stage 1
Laps: 75
Stage 2
Laps: 75
Final Stage Results
Stage 3
Laps: 151
Race statistics
Lead changes: 7 among different drivers
Cautions/Laps: 7 for 31
Red flags: 0
Time of race: 2 hours, 52 minutes and 56 seconds
Average speed: 110.490 miles per hour (177.816 km/h)
Media
Television
NBC Sports covered the race on the television side. Steve Letarte, four-time and all-time Loudon winner Jeff Burton and Dale Earnhardt Jr. had the call in the booth for the race as part of an NBC Special Analyst Broadcast. Rick Allen, Parker Kligerman, Marty Snider and Kelli Stavast reported from pit lane during the race.
Radio
PRN had the radio call for the race, which was simulcast on Sirius XM NASCAR Radio.
Standings after the race
== References == | part of | {
"answer_start": [
250
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"text": [
"2018 Monster Energy NASCAR Cup Series"
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} |
The 2018 Foxwoods Resort Casino 301 is a Monster Energy NASCAR Cup Series race held on July 22, 2018 at New Hampshire Motor Speedway in Loudon, New Hampshire. Contested over 301 laps on the 1.058-mile (1.703 km) speedway, it was the 20th race of the 2018 Monster Energy NASCAR Cup Series season.
Report
Background
New Hampshire Motor Speedway is a 1.058-mile (1.703 km) oval speedway located in Loudon, New Hampshire, which has hosted NASCAR racing annually since the early 1990s, as well as the longest-running motorcycle race in North America, the Loudon Classic. Nicknamed "The Magic Mile", the speedway is often converted into a 1.6-mile (2.6 km) road course, which includes much of the oval.
The track was originally the site of Bryar Motorsports Park before being purchased and redeveloped by Bob Bahre. The track is currently one of eight major NASCAR tracks owned and operated by Speedway Motorsports.
Entry list
First practice
Kyle Busch was the fastest in the first practice session with a time of 28.362 seconds and a speed of 134.292 mph (216.122 km/h).
Qualifying
Kurt Busch scored the pole for the race with a time of 28.511 and a speed of 133.591 mph (214.994 km/h).
Qualifying results
Practice (post-qualifying)
Second practice
Denny Hamlin was the fastest in the second practice session with a time of 28.650 seconds and a speed of 132.942 mph (213.949 km/h).
Final practice
Martin Truex Jr. was the fastest in the final practice session with a time of 28.937 seconds and a speed of 131.624 mph (211.828 km/h).
Race
Stage Results
Stage 1
Laps: 75
Stage 2
Laps: 75
Final Stage Results
Stage 3
Laps: 151
Race statistics
Lead changes: 7 among different drivers
Cautions/Laps: 7 for 31
Red flags: 0
Time of race: 2 hours, 52 minutes and 56 seconds
Average speed: 110.490 miles per hour (177.816 km/h)
Media
Television
NBC Sports covered the race on the television side. Steve Letarte, four-time and all-time Loudon winner Jeff Burton and Dale Earnhardt Jr. had the call in the booth for the race as part of an NBC Special Analyst Broadcast. Rick Allen, Parker Kligerman, Marty Snider and Kelli Stavast reported from pit lane during the race.
Radio
PRN had the radio call for the race, which was simulcast on Sirius XM NASCAR Radio.
Standings after the race
== References == | pole position | {
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Pukaki Airport (IATA: TWZ, ICAO: NZUK) is a small airport in the Mackenzie District of the South Island of New Zealand. The airport is located about 3 km North from the township of Twizel and is 284 km from Christchurch.
The airport contains a fully automated Met Service weather station, thirteen hangars, and a fuel supplies.
Resident operators offer charter and scenic flights from the aerodrome.
A record low temperature was set at Pukaki Airport of -19.8 °C on the morning of 23 June 2015.The airport was also one of the filming locations of the 2009 zombie movie Last of the Living.
See also
List of airports in New Zealand
List of airlines of New Zealand
Transport in New Zealand
References
AIP New Zealand (PDF)
External links
Official Airport Site | country | {
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"New Zealand"
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Pukaki Airport (IATA: TWZ, ICAO: NZUK) is a small airport in the Mackenzie District of the South Island of New Zealand. The airport is located about 3 km North from the township of Twizel and is 284 km from Christchurch.
The airport contains a fully automated Met Service weather station, thirteen hangars, and a fuel supplies.
Resident operators offer charter and scenic flights from the aerodrome.
A record low temperature was set at Pukaki Airport of -19.8 °C on the morning of 23 June 2015.The airport was also one of the filming locations of the 2009 zombie movie Last of the Living.
See also
List of airports in New Zealand
List of airlines of New Zealand
Transport in New Zealand
References
AIP New Zealand (PDF)
External links
Official Airport Site | instance of | {
"answer_start": [
50
],
"text": [
"airport"
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} |
Pukaki Airport (IATA: TWZ, ICAO: NZUK) is a small airport in the Mackenzie District of the South Island of New Zealand. The airport is located about 3 km North from the township of Twizel and is 284 km from Christchurch.
The airport contains a fully automated Met Service weather station, thirteen hangars, and a fuel supplies.
Resident operators offer charter and scenic flights from the aerodrome.
A record low temperature was set at Pukaki Airport of -19.8 °C on the morning of 23 June 2015.The airport was also one of the filming locations of the 2009 zombie movie Last of the Living.
See also
List of airports in New Zealand
List of airlines of New Zealand
Transport in New Zealand
References
AIP New Zealand (PDF)
External links
Official Airport Site | located in the administrative territorial entity | {
"answer_start": [
65
],
"text": [
"Mackenzie District"
]
} |
Pukaki Airport (IATA: TWZ, ICAO: NZUK) is a small airport in the Mackenzie District of the South Island of New Zealand. The airport is located about 3 km North from the township of Twizel and is 284 km from Christchurch.
The airport contains a fully automated Met Service weather station, thirteen hangars, and a fuel supplies.
Resident operators offer charter and scenic flights from the aerodrome.
A record low temperature was set at Pukaki Airport of -19.8 °C on the morning of 23 June 2015.The airport was also one of the filming locations of the 2009 zombie movie Last of the Living.
See also
List of airports in New Zealand
List of airlines of New Zealand
Transport in New Zealand
References
AIP New Zealand (PDF)
External links
Official Airport Site | IATA airport code | {
"answer_start": [
22
],
"text": [
"TWZ"
]
} |
Pukaki Airport (IATA: TWZ, ICAO: NZUK) is a small airport in the Mackenzie District of the South Island of New Zealand. The airport is located about 3 km North from the township of Twizel and is 284 km from Christchurch.
The airport contains a fully automated Met Service weather station, thirteen hangars, and a fuel supplies.
Resident operators offer charter and scenic flights from the aerodrome.
A record low temperature was set at Pukaki Airport of -19.8 °C on the morning of 23 June 2015.The airport was also one of the filming locations of the 2009 zombie movie Last of the Living.
See also
List of airports in New Zealand
List of airlines of New Zealand
Transport in New Zealand
References
AIP New Zealand (PDF)
External links
Official Airport Site | ICAO airport code | {
"answer_start": [
33
],
"text": [
"NZUK"
]
} |
The University of Pennsylvania Smell Identification Test (UPSIT) is a test that is commercially available for smell identification to test the function of an individual's olfactory system.
Known for its accuracy among smell identification tests it is considered to be one of the most reliable (r=.94) and trusted.UPSIT was created by University of Pennsylvania physician and professor of psychology and otorhinolaryngology Richard Doty. Doty is also the director of the University of Pennsylvania’s Smell and Taste Center.
The test has a secondary purpose as a self-examination test in the diagnosis of many diseases including Parkinson's disease and Alzheimer's. The original test has been altered in several ways to be useful in numerous languages and cultures. There are also several trends that are found when UPSIT is administered based on demographics such as age, gender, history of smoking and other characteristics.
Format
The UPSIT is a measurement of the individual's ability to detect odors at a suprathreshold level. The test is usually administered in a waiting room and takes only a few minutes. The test has a total of 40 questions and consists of 4 different 10 page booklets. On each page, there is a different scratch and sniff strip which are embedded with a microencapsulated odorant. There is also a four choice multiple choice question on each page. The scents are released using a pencil. After each scent is released, the patient smells the level and detects the odor from the four choices. There is an answer column on the back of the test booklet, and the test is scored out of 40 items. The score is compared to scores in a normative database from 4000 normal individuals, this tells the level of absolute smell function. The score also indicates how the patient does in accordance to their age group and gender.
The test is occasionally judged to have an American cultural bias. There have been British, Chinese, French, German, Italian, Korean and Spanish UPSIT versions made. There are also the Brief (Cross-Cultural) Smell Identification Test, the Scandinavian Odor Identification Test.
Demographics
In general, women have a better sense of smell than men do. This advantage can be observed as early as 4 years of age. This is evidenced by several cultures. This superiority in women also increases with age. Overall, women have a higher functioning olfactory system than men do starting from a young age.
With the increase in age, there is an increased loss of the olfactory function. On average, individuals begin to lose function of their olfactory system by the age of 65. Of the individuals who do suffer a loss of olfactory function, half of the losses begin between the ages of 65 and 80. Three quarters of these occur after the age of 80. This plays a role in diagnosing Alzheimer's.
Genetics have been found to play a significant role in the ability of one's olfactory system as well. If an individual does suffer from olfactory dysfunction, it is five times more likely that their first order relatives will also suffer from olfactory dysfunction.Another major factor in a decrease of olfactory function is smoking. It can take years for past smokers to regain their presmoking olfactory function. Occasionally it is even impossible for individuals to regain this level in its entirety. The length of time it can take for smokers to regain this level depends on the duration and intensity of their smoking habits.The olfactory system can be compromised in several environments. This includes large urban cities and certain industries, for example paper and chemical manufacturing.
Diagnosis
There are many central nervous system disorders that are associated with olfactory dysfunction. Most of these dysfunctions classify as degenerative neuropsychiatric disorders. Some of these diseases are: Alzheimer's disease, Parkinson's disease, Huntington's disease, Korsakoff's Psychosis, schizophrenia, congenital anosmia, head trauma, brain tumors, acquired immunodeficiency syndrome (AIDS), and multiple sclerosis.
Alzheimer's
UPSIT has been used to detect Alzheimer's (AD). Smell loss can be a very early sign of detecting AD. It has been suggested that AD affects odor identification and odor detection, this shows that AD patients have more trouble performing higher olfactory tasks that involve specific cognitive processes. During a functional magnetic resonance imaging (fMRI) study, blood oxygen level-dependent was found more strongly in control patients than AD patients, who showed a weaker signal. It has also been found through several studies that olfactory function and cognition correlates to the severity of AD. Therefore, UPSIT is a very good clinical test to be able to determine the severity of AD. During AD, a patient's olfactory bulb, amygdala and temporal cortices are affected. There is also severe nerve cell loss.
Parkinson's disease
UPSIT is also used to diagnose Parkinson's disease (PD). Smell dysfunction occurs in 90% of cases with PD. After the commercial release of UPSIT, there have been many studies published that have shown olfactory dysfunction in patients with PD. After it was discovered that smell tests can differentiate PD from progressive supranuclear palsy, essential tremor, and parkinsonism induced by MPTP, many studies were undertaken. It has been shown that the olfactory bulb is one of the two main regions where PD seems to begin. In families where there are individuals with PD, UPSIT can be used to predict whether other first degree relatives will also develop PD. It has been discovered that multiple factors contribute to the development of PD-related olfactory dysfunction. As with AD, the UPSIT score can also determine the severity of PD. But people develop various levels of olfactory dysfunction. The disorders with the olfactory dysfunction are those with the most pathology, such as PD and AD.
References
External links
University of Pennsylvania Smell and Taste Center | subclass of | {
"answer_start": [
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"text": [
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Kamil Oziemczuk (born 29 March 1988 in Lublin) is a Polish footballer who plays for Hetman Zamość.
Career
Club
Oziemczuk began his career at Górnik Łęczna before moving to AJ Auxerre in June 2006. In September 2008 he joined Motor Lublin.
International
He also appeared at the 2006 European U-19 Championship.
External links
Kamil Oziemczuk – French league stats at LFP – also available in French
Kamil Oziemczuk at 90minut.pl (in Polish) | place of birth | {
"answer_start": [
39
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"text": [
"Lublin"
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} |
Kamil Oziemczuk (born 29 March 1988 in Lublin) is a Polish footballer who plays for Hetman Zamość.
Career
Club
Oziemczuk began his career at Górnik Łęczna before moving to AJ Auxerre in June 2006. In September 2008 he joined Motor Lublin.
International
He also appeared at the 2006 European U-19 Championship.
External links
Kamil Oziemczuk – French league stats at LFP – also available in French
Kamil Oziemczuk at 90minut.pl (in Polish) | member of sports team | {
"answer_start": [
173
],
"text": [
"AJ Auxerre"
]
} |
Kamil Oziemczuk (born 29 March 1988 in Lublin) is a Polish footballer who plays for Hetman Zamość.
Career
Club
Oziemczuk began his career at Górnik Łęczna before moving to AJ Auxerre in June 2006. In September 2008 he joined Motor Lublin.
International
He also appeared at the 2006 European U-19 Championship.
External links
Kamil Oziemczuk – French league stats at LFP – also available in French
Kamil Oziemczuk at 90minut.pl (in Polish) | given name | {
"answer_start": [
0
],
"text": [
"Kamil"
]
} |
Kamil Oziemczuk (born 29 March 1988 in Lublin) is a Polish footballer who plays for Hetman Zamość.
Career
Club
Oziemczuk began his career at Górnik Łęczna before moving to AJ Auxerre in June 2006. In September 2008 he joined Motor Lublin.
International
He also appeared at the 2006 European U-19 Championship.
External links
Kamil Oziemczuk – French league stats at LFP – also available in French
Kamil Oziemczuk at 90minut.pl (in Polish) | languages spoken, written or signed | {
"answer_start": [
52
],
"text": [
"Polish"
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Avi Nash is an American actor. He played Siddiq in the AMC television series The Walking Dead (2017–2020).
Early life
Nash was born in the United States, his father is Indo-Guyanese and his mother is from Mumbai.Nash started acting in senior year of high school off a dare to audition for the school play; prior to this, he identified primarily as a visual artist.Nash began attending Stanford University when he was 17 years old, performing with the Stanford Shakespeare Company. He was classmates with Young the Giant's Sameer Gadhia, who encouraged Nash to seriously pursue acting dropping out himself to pursue a professional music career. So, after freshman year, Nash left Stanford to attend acting school under Anupam Kher at Actor Prepares in Mumbai for six months. However, he returned to complete his degree, citing conflicting feelings between his various interests. He returned to Stanford University and majored in Mathematical and Computational Sciences while studying architecture.Nash trained in theatre at the London Academy of Music and Dramatic Art and graduated with an MA in 2016.
Career
Prior to acting, he was a cook in a closed door restaurant (puerta cerradas) that he ran out of a hostel in Buenos Aires and conducted bike tours.He made his feature film debut in Learning to Drive alongside Sir Ben Kingsley and Patricia Clarkson, directed by Spanish director Isabel Coixet. The film premiered at the 2014 Toronto International Film Festival, where it won First Runner Up for the People’s Choice Award.
In 2017, Nash portrayed AMC's The Walking Dead's first male Muslim-American character, Siddiq, in season 8 - 10 of the show. As a result, he has attended different comic book conventions throughout the years, including Walker Stalker Con.
Personal life
Nash can read and write in Devanagari and Urdu. He studied Hindi at Stanford and took his acting class in India completely in Hindi. Nash learned Portuguese from his ex-girlfriend while briefly living near the Brazilian border.
Filmography
Film
Television
References
External links
Avi Nash at IMDb | sex or gender | {
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Avi Nash is an American actor. He played Siddiq in the AMC television series The Walking Dead (2017–2020).
Early life
Nash was born in the United States, his father is Indo-Guyanese and his mother is from Mumbai.Nash started acting in senior year of high school off a dare to audition for the school play; prior to this, he identified primarily as a visual artist.Nash began attending Stanford University when he was 17 years old, performing with the Stanford Shakespeare Company. He was classmates with Young the Giant's Sameer Gadhia, who encouraged Nash to seriously pursue acting dropping out himself to pursue a professional music career. So, after freshman year, Nash left Stanford to attend acting school under Anupam Kher at Actor Prepares in Mumbai for six months. However, he returned to complete his degree, citing conflicting feelings between his various interests. He returned to Stanford University and majored in Mathematical and Computational Sciences while studying architecture.Nash trained in theatre at the London Academy of Music and Dramatic Art and graduated with an MA in 2016.
Career
Prior to acting, he was a cook in a closed door restaurant (puerta cerradas) that he ran out of a hostel in Buenos Aires and conducted bike tours.He made his feature film debut in Learning to Drive alongside Sir Ben Kingsley and Patricia Clarkson, directed by Spanish director Isabel Coixet. The film premiered at the 2014 Toronto International Film Festival, where it won First Runner Up for the People’s Choice Award.
In 2017, Nash portrayed AMC's The Walking Dead's first male Muslim-American character, Siddiq, in season 8 - 10 of the show. As a result, he has attended different comic book conventions throughout the years, including Walker Stalker Con.
Personal life
Nash can read and write in Devanagari and Urdu. He studied Hindi at Stanford and took his acting class in India completely in Hindi. Nash learned Portuguese from his ex-girlfriend while briefly living near the Brazilian border.
Filmography
Film
Television
References
External links
Avi Nash at IMDb | educated at | {
"answer_start": [
387
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"text": [
"Stanford University"
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} |
Avi Nash is an American actor. He played Siddiq in the AMC television series The Walking Dead (2017–2020).
Early life
Nash was born in the United States, his father is Indo-Guyanese and his mother is from Mumbai.Nash started acting in senior year of high school off a dare to audition for the school play; prior to this, he identified primarily as a visual artist.Nash began attending Stanford University when he was 17 years old, performing with the Stanford Shakespeare Company. He was classmates with Young the Giant's Sameer Gadhia, who encouraged Nash to seriously pursue acting dropping out himself to pursue a professional music career. So, after freshman year, Nash left Stanford to attend acting school under Anupam Kher at Actor Prepares in Mumbai for six months. However, he returned to complete his degree, citing conflicting feelings between his various interests. He returned to Stanford University and majored in Mathematical and Computational Sciences while studying architecture.Nash trained in theatre at the London Academy of Music and Dramatic Art and graduated with an MA in 2016.
Career
Prior to acting, he was a cook in a closed door restaurant (puerta cerradas) that he ran out of a hostel in Buenos Aires and conducted bike tours.He made his feature film debut in Learning to Drive alongside Sir Ben Kingsley and Patricia Clarkson, directed by Spanish director Isabel Coixet. The film premiered at the 2014 Toronto International Film Festival, where it won First Runner Up for the People’s Choice Award.
In 2017, Nash portrayed AMC's The Walking Dead's first male Muslim-American character, Siddiq, in season 8 - 10 of the show. As a result, he has attended different comic book conventions throughout the years, including Walker Stalker Con.
Personal life
Nash can read and write in Devanagari and Urdu. He studied Hindi at Stanford and took his acting class in India completely in Hindi. Nash learned Portuguese from his ex-girlfriend while briefly living near the Brazilian border.
Filmography
Film
Television
References
External links
Avi Nash at IMDb | occupation | {
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Avi Nash is an American actor. He played Siddiq in the AMC television series The Walking Dead (2017–2020).
Early life
Nash was born in the United States, his father is Indo-Guyanese and his mother is from Mumbai.Nash started acting in senior year of high school off a dare to audition for the school play; prior to this, he identified primarily as a visual artist.Nash began attending Stanford University when he was 17 years old, performing with the Stanford Shakespeare Company. He was classmates with Young the Giant's Sameer Gadhia, who encouraged Nash to seriously pursue acting dropping out himself to pursue a professional music career. So, after freshman year, Nash left Stanford to attend acting school under Anupam Kher at Actor Prepares in Mumbai for six months. However, he returned to complete his degree, citing conflicting feelings between his various interests. He returned to Stanford University and majored in Mathematical and Computational Sciences while studying architecture.Nash trained in theatre at the London Academy of Music and Dramatic Art and graduated with an MA in 2016.
Career
Prior to acting, he was a cook in a closed door restaurant (puerta cerradas) that he ran out of a hostel in Buenos Aires and conducted bike tours.He made his feature film debut in Learning to Drive alongside Sir Ben Kingsley and Patricia Clarkson, directed by Spanish director Isabel Coixet. The film premiered at the 2014 Toronto International Film Festival, where it won First Runner Up for the People’s Choice Award.
In 2017, Nash portrayed AMC's The Walking Dead's first male Muslim-American character, Siddiq, in season 8 - 10 of the show. As a result, he has attended different comic book conventions throughout the years, including Walker Stalker Con.
Personal life
Nash can read and write in Devanagari and Urdu. He studied Hindi at Stanford and took his acting class in India completely in Hindi. Nash learned Portuguese from his ex-girlfriend while briefly living near the Brazilian border.
Filmography
Film
Television
References
External links
Avi Nash at IMDb | Commons category | {
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Avi Nash is an American actor. He played Siddiq in the AMC television series The Walking Dead (2017–2020).
Early life
Nash was born in the United States, his father is Indo-Guyanese and his mother is from Mumbai.Nash started acting in senior year of high school off a dare to audition for the school play; prior to this, he identified primarily as a visual artist.Nash began attending Stanford University when he was 17 years old, performing with the Stanford Shakespeare Company. He was classmates with Young the Giant's Sameer Gadhia, who encouraged Nash to seriously pursue acting dropping out himself to pursue a professional music career. So, after freshman year, Nash left Stanford to attend acting school under Anupam Kher at Actor Prepares in Mumbai for six months. However, he returned to complete his degree, citing conflicting feelings between his various interests. He returned to Stanford University and majored in Mathematical and Computational Sciences while studying architecture.Nash trained in theatre at the London Academy of Music and Dramatic Art and graduated with an MA in 2016.
Career
Prior to acting, he was a cook in a closed door restaurant (puerta cerradas) that he ran out of a hostel in Buenos Aires and conducted bike tours.He made his feature film debut in Learning to Drive alongside Sir Ben Kingsley and Patricia Clarkson, directed by Spanish director Isabel Coixet. The film premiered at the 2014 Toronto International Film Festival, where it won First Runner Up for the People’s Choice Award.
In 2017, Nash portrayed AMC's The Walking Dead's first male Muslim-American character, Siddiq, in season 8 - 10 of the show. As a result, he has attended different comic book conventions throughout the years, including Walker Stalker Con.
Personal life
Nash can read and write in Devanagari and Urdu. He studied Hindi at Stanford and took his acting class in India completely in Hindi. Nash learned Portuguese from his ex-girlfriend while briefly living near the Brazilian border.
Filmography
Film
Television
References
External links
Avi Nash at IMDb | family name | {
"answer_start": [
4
],
"text": [
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} |
Avi Nash is an American actor. He played Siddiq in the AMC television series The Walking Dead (2017–2020).
Early life
Nash was born in the United States, his father is Indo-Guyanese and his mother is from Mumbai.Nash started acting in senior year of high school off a dare to audition for the school play; prior to this, he identified primarily as a visual artist.Nash began attending Stanford University when he was 17 years old, performing with the Stanford Shakespeare Company. He was classmates with Young the Giant's Sameer Gadhia, who encouraged Nash to seriously pursue acting dropping out himself to pursue a professional music career. So, after freshman year, Nash left Stanford to attend acting school under Anupam Kher at Actor Prepares in Mumbai for six months. However, he returned to complete his degree, citing conflicting feelings between his various interests. He returned to Stanford University and majored in Mathematical and Computational Sciences while studying architecture.Nash trained in theatre at the London Academy of Music and Dramatic Art and graduated with an MA in 2016.
Career
Prior to acting, he was a cook in a closed door restaurant (puerta cerradas) that he ran out of a hostel in Buenos Aires and conducted bike tours.He made his feature film debut in Learning to Drive alongside Sir Ben Kingsley and Patricia Clarkson, directed by Spanish director Isabel Coixet. The film premiered at the 2014 Toronto International Film Festival, where it won First Runner Up for the People’s Choice Award.
In 2017, Nash portrayed AMC's The Walking Dead's first male Muslim-American character, Siddiq, in season 8 - 10 of the show. As a result, he has attended different comic book conventions throughout the years, including Walker Stalker Con.
Personal life
Nash can read and write in Devanagari and Urdu. He studied Hindi at Stanford and took his acting class in India completely in Hindi. Nash learned Portuguese from his ex-girlfriend while briefly living near the Brazilian border.
Filmography
Film
Television
References
External links
Avi Nash at IMDb | given name | {
"answer_start": [
0
],
"text": [
"Avi"
]
} |
Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | instance of | {
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Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | commissioned by | {
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Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | located in the administrative territorial entity | {
"answer_start": [
222
],
"text": [
"Indianapolis"
]
} |
Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | genre | {
"answer_start": [
17
],
"text": [
"public art"
]
} |
Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | creator | {
"answer_start": [
35
],
"text": [
"Atelier Van Lieshout"
]
} |
Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | depicts | {
"answer_start": [
616
],
"text": [
"skeleton"
]
} |
Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | made from material | {
"answer_start": [
681
],
"text": [
"plywood"
]
} |
Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | collection | {
"answer_start": [
1513
],
"text": [
"Indianapolis Museum of Art"
]
} |
Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | location | {
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"Indianapolis Museum of Art"
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Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | exhibition history | {
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"Indianapolis Museum of Art"
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Funky Bones is a public artwork by Atelier Van Lieshout, a Dutch artist collective led by Joep van Lieshout, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is on the grounds of Newfields in Indianapolis, Indiana, United States. The artwork, primarily made from fiberglass, consists of twenty white and black bone-shaped benches.
Description
Funky Bones is situated in the Meadow region just south of the lake at 100 Acres. It is a site-specific artwork consisting of twenty white bone-shaped benches inscribed with black drawings of bones that together form a large stylized human skeleton. The artwork was constructed primarily from fiberglass, plywood, and concrete. Each bench is a fiberglass shell filled with a lightweight foam material. The fiberglass surface has been impregnated with pigment, carved, and coated in polyester resin. Plywood was used only during the detailing process of the black bone segments and is not visible in the completed artwork. The concrete component for this artwork is not visible but rather serves as a structural aid, anchoring and securing the individual benches into the ground. A standard ready-mix concrete was used for this application.
The skeleton is positioned with its arms spread out horizontally while the legs point straight down. The individual benches range in both length and width, but all are approximately 26 inches in height. The artwork was fabricated in Atelier Van Lieshout's studio in Rotterdam and shipped to the Indianapolis Museum of Art where it was installed by the design and installation crew.
Historical information
Funky Bones was installed at the Indianapolis Museum of Art in May 2010 and is currently on temporary loan. The artwork arose from many disparate interests of Joep van Lieshout, the founder and head designer of AVL. These include human anatomy and the history of the site. Concerning the original concept and inspiration behind Funky Bones, Joep van Lieshout stated:
I came up with [this] design that is not only a site specific artwork referring to the history of the continent, but also provides a function and will improve the stay of the park's visitors. Even as a child I knew the state Indiana and Indianapolis as an exotic place where the 'Indians' came from and were living, and even though this is not true, it is important for my proposition. Another field of interest is the history of art and especially in early developments of art from primitive and native cultures. In early art forms, techniques and skills were not so developed and the artworks were made in a very basic way, therefore art had a direct relation to the people, its time and environment. Native American art, design, and architecture produced beautiful artifacts, religion, and lifestyle, but after the appearance of the 'more advanced' culture from the east the original inhabitants were moved around and dispersed. The very few things that remained are their cultural heritage and artifacts scattered around. At this time of rapid production and consumption, their primitive lifestyle, close to nature, seems to become a necessary utopia. The dislocated Funky Bone benches installed in the park stand symbolic for the leftovers of their sold culture and the spread of Native Americans over the continent.
In addition to resonating with the location's history, Funky Bones also has the functional purpose of providing an ideal spot for visitors to sit, picnic, lounge, or climb. Joep van Lieshout observed visitors sitting on rocks during visits to the site, and decided to provide them with more comfortable seating arrangements in order to facilitate interaction, both among viewers as well as between viewer and art. This degree of interactivity, and even fun, makes Funky Bones extremely child-friendly.
Artist
Atelier Van Lieshout (AVL) is a multidisciplinary company that operates internationally in the field of contemporary art, design, and architecture. Joep van Lieshout (born 1963), founder of AVL, is a Dutch artist born in Ravenstein, The Netherlands. He received his formal education and training from the Academy of Modern Art in Rotterdam (1980–1985), Ateliers '63 in Haarlem (1985-1987), and from the Villa Arson in Nice, France (1987). Joep van Lieshout formed the AVL studio group in 1995 in Rotterdam, The Netherlands, where the company continues to design and fabricate their widely exhibited works. Atelier Van Lieshout has attained international recognition for objects-based projects that balance on the boundary between art, architecture and design. Recurring themes in the work of AVL include self-sufficiency, power, politics, and the more classical themes of life and death. The name Atelier Van Lieshout emphasizes the fact that, although Joep van Lieshout founded and leads the collective, the work produced stems from the creative impulses of the entire team.For Funky Bones, AVL's most relevant recurring themes are domestication, politics, complex functioning systems, and the re-contextualization of familiar, domestic objects. The Atelier van Lieshout claims to make no distinction between "real artworks" and "just building something for someone." The studio group focuses on creating artworks whose design principles challenge conventional ideas of utility and functionality by reinventing how the viewer perceives or approaches an object and the environment in which it is placed. This is achieved by the implementation of non-traditional materials and color palettes, odd or unusual subject matter, and through the strategic positioning or locale of the artwork. Funky Bones is impossible to see in its entirety except at a distance, preferably from above. Moving close enough to actually interact with it produces an entirely different perspective.
Condition
In general, the bones require regular cleaning in order to maintain their white color. Instrumental analysis involving the artwork's color and gloss levels has been recorded for future reference.
Reception
In the 2012 novel The Fault in Our Stars, by Indianapolis-based author John Green, the sculpture is the location of a romantic picnic, having been picked by one of the characters as being the most Dutch place in Indianapolis. Funky Bones was recreated in Pittsburgh, Pennsylvania for the 2014 film adaptation. The replica was built by set designers, with help from the artist and Sarah Urist Green, wife of John Green, and former Curator of Contemporary Art at the Indianapolis Museum of Art. In 2017, PopSugar named Funky Bones to its list of "22 Public Works of Art You Have to Visit in Your Lifetime".
See also
List of outdoor artworks at the Indianapolis Museum of Art
References
External links
Atelier Van Lieshout | depicted by | {
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"The Fault in Our Stars"
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Bohdan Mykolayovych Orynchak (Ukrainian: Богдан Миколайович Оринчак; born 10 September 1993) is a Ukrainian professional footballer who plays as a right winger for Ukrainian club Prykarpattia Ivano-Frankivsk.
Career
Orynchak is a product of the Ivano-Frankivsk city Youth Sportive School System.
He made his professional debut for FC Prykarpattia in the away game against FC Arsenal-Kyivshchyna Bila Tserkva on 24 July 2016 in the Ukrainian Second League scoring a goal to make the score 3–0. The game would eventually end 6–0 thrashing.On 27 November 2018 Orynchak was recognized as the best player in November 2018 by PFL.
References
External links
Bohdan Orynchak at UAF and archived FFU page (in Ukrainian)
Bohdan Orynchak at Soccerway
Bohdan Orynchak at FootballFacts.ru (in Russian) | given name | {
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Abgaal (Somali: Abgaal, Arabic: أبغال) is a sub-clan of the Hawiye and the even larger Samaale clan. It is one of the major Somali clans and has produced many prominent historical Somali figures including 3 presidents, and the father of the Somali military.
Etymology
Italian scholar of Somali and Ethiopian studies Enrico Cerulli studies discusses the origin story of the name Abgaal in his book How a Hawiye tribe used to live.
The mother of Hirabä was Faduma Karanlä. The mother of Abgal was Faduma Sargellä, who was an Aguran. She was espoused by 'Isman Darandollä. By him she had a son, who was called by the name 'Ali 'Isman. Later one went to Sargellä Garën. A learned old man went to him. He said: 'O noble Sargellä, I saw in the books that the children of the boy born to your daughter Faduma will chase your children from the earth. I saw it in the books.' 'Did you see these things?’
'Yes, I saw them,’ he answered. 'So be it!’ the noble Sargellä replied; and into his heart came the thought: 'Rather than that your children, whom you have begotten, be killed, the son of your daughter might rather die!’ This came into his heart. After this he prepared two different amulets, one good and one bad. The bad one would kill the one who drank it. The good one would protect from any evil of this world. Then he went to his daughter. 'My Faduma, I am bringing you these two amulets: this one here – and it was the good one – you drink; and the other one – and it was the bad one – give to your son 'Ali 'Isman!’ The girl took the two amulets; but when it came to drinking them, she made a mistake! Faduma Sargellä drank the bad one and died immediately. 'Ali 'Ismän drank the good one and survived. Sargellä went back to the hut and saw his daughter dead. And the boy, when he heard his grandfather arrive, ran to the side of a saddle camel and hid behind it. 'Oh 'Ali, oh 'Ali! Come! I am your grandfather!’ Sargellä cried out, looking for the boy. 'You are not my grandfather ( abkäy ), my grandfather is the camels.' The camels ( gel ) in the language of one time were called gal. So afterwards he ('Ali 'Isman) had the name of Ab-gal ('Camel-grandfather').”
The tradition substantially recalls the ancient fights between the Abgal, nomadic pastoralists who from places farther north tried to open a way to the river, and the Aguran, who dominated the region of the Middle Webi. This historical content, of course, has been adapted in popular dress with the theme, so widespread in the folklore of quite different peoples, of the prediction of the unborn child destined to drive the reigning prince from the throne.
'In this tradition Abgal has, besides his Somali name, which is explained, also a Mussulman name, 'Ali 'Isman. It does not seem necessary to me to suppose that the name 'Ali replaced the Somali one of Abgal in the genealogies in order to make them more Islamized, as one might say. The custom of several names for one single person, among which names, for the Mussulmans, are found an Arab one and one (or more) in the local language, is common in East Africa, even now.
Overview
The Abgaal are part of the Mudulood and the even larger Hiraab clan. The Hiraab consists of the Mudulood, Habar Gidir, Sheekhaal and Duduble. Besides the Abgaal, Mudulood includes Wacdaan, Moobleen, Hiilibi and Udeejeen. The Imam of both the Mudulood and Hiraab traditionally hails from the Abgaal. Currently Imam Mohamed Yusuf is the Imam of the Mudulood and also carries the dual position as Imam of the Hiraab.
Distribution
The Abgaal primarily live in the capital city of Mogadishu, which they traditionally inhabit, as well as the Middle Shabelle region where they are the majority. The clan also lives in neighbouring Galmudug region, specifically the El Dher District where they make up the majority as well as the Harardhere District in Mudug. Abgaal also inhabit the Lower Shabelle region as well as the Middle Juba and Lower Juba regions. In addition to this the Abgaal can also be found in the Somali Region of Ethiopia as well as the North Eastern Province of Kenya.
Role and influence in Somalia
The Abgaal have historically played an important role in Somali affairs. They are the Somali sub-clan that has produced the most Somali Presidents. These three politicians are Ali Mahdi Muhammad, Sharif Sheikh Ahmed, and Hassan Sheikh Mohamoud. These officials constitute three of the four living former Presidents of Somalia. Additionally they are the first and only Somali sub-clan to have had consecutive presidencies in the terms of Sharif Sheikh Ahmed and Hassan Sheikh Mohamed. The father of the Somali military Daud Abdulle Hirsi was also Abgaal.
The capital Mogadishu is also considered to be their land. The current Governor/Mayor of Banadir, Yusuf Hussein Jimaale is Abgaal and the position always been held by the Abgaal clan. Most other various Banaadir positions are held by them as well.
Moreover, the clan has prominent members within the Somali business and media communities. For instance Abdirahman Yabarow, the editor-in-chief of VOA Somali hails from this clan.
Poetry
The Abgaal have their own form of Somali poetry. The guurow and shirib are unique poetical genres that are performed by the Abgaal and sometimes neighboring clans. Their poetry has distinctive dialect characteristics. For instance "iyo" with a long 'o' is a feature within their poetry. The most popular of Abgaal poetry is the shirib. The shirib are short songs that usually accompany dancing. They are sung during various gatherings such as family meetings, clan meetings, and celebrations.
Clan tree
Ali Jimale Ahmed outlines the Hawiye clan genealogical tree in The Invention of Somalia:
Samaale
Irir
Hawiye
Gorgate
Hiraab
Mudulood
Abgaal
Harti
Agoonyar
Warsangeli
Owbakar
Ciise Harti
Wabudhan
Da'oud
Kabaale
Galmaax
Celi Cumar
Reer Mataan
Mohamed Muse
Xuseen Yonis
Waceysle
Abdirahman Saleebaan
Absuge Qombor
Ali Gaaf
Macalin Dhiblaawe
Dhagaweyne Cumar
Haruun Waceysle
Prominent Abgaal members
Politics
Sharif Sheikh Ahmed, Former President of Somalia
Hassan Sheikh Mohamud, Current President of Somalia
Omar Finnish, former Mayor of Mogadishu and Governor of Banaadir
Nur Hassan Husein, Former Prime Minister of the Transitional Federal Government
Ali Ghedi, Former Prime Minister of the Transitional Federal Government
Ali Mahdi Muhammad, President of Somalia from 1991– 1997
Hussein Kulmiye Afrah, vice-president of Somalia under the Siad Barre Regime
Abdirahman Omar Osman, was the Governor of Banaadir and Mayor of Mogadishu.
Ahmed Maxamed Xasan, Lieutenant Colonel in the Somali Airforce who defused the MiG-17 jet fighter bombs
Salaad Gabeyre Kediye, Major General in the Somali Military, and chairman of the Somali Revolution
Ismail Jim'ale Osoble, Somali lawyer and Minister of Information in the government of Aden Abdulle Osman
General Daud Abdulle Hirsi, First Commander-In-Chief of the Somali National Army Forces
Salad Ali Jelle, Deputy Minister of Defense of the Transitional Federal Government
Adde Gabow (Mohamed Ali Hassan), Politician, Governor and Mayor of Mogadishu
Mohamed Ameriko, Somali Ambassador to Kenya
Abdulahi Afrah, Minister of Commerce
Ali Dhere, Cleric and the Head of the first Islamic Court in northern Mogadishu
Others
Hussein Sheikh Ahmed Kaddare, Orthographer and the Inventor of the Kaddariya Script
Farah Weheliye Addow (Sindiko), Former Vice President of the Confederation of African Football
Abdi Mohamed Ulusso, PhD Holder, Intellectual and 2004 Somali Presidential Candidate
Hilowle Omar, Chairman of the (Somali Reconciliation and Reconstruction Council) (SRRC)
Ayub Daud, Professional Footballerdate=7
Omar Mohamed, Professional Footballer
Abdirahman Yabarow, Editor-in-Chief of the VOA Somali Service
== References == | subclass of | {
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Biei Fuji (美瑛富士, Biei Fuji) is a mountain located in the Tokachi Volcanic Group, Hokkaidō, Japan.
References
Geographical Survey Institute
Paul Hunt, Hiking in Japan: An Adventurer's Guide to the Mountain Trails, Tokyo, Kodansha International Ltd., 1988. ISBN 0-87011-893-5 and ISBN 4-7700-1393-0 C0075
See also
Tokachi Volcanic Group
Central Ishikari Mountains
Daisetsuzan National Park | country | {
"answer_start": [
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"Japan"
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Biei Fuji (美瑛富士, Biei Fuji) is a mountain located in the Tokachi Volcanic Group, Hokkaidō, Japan.
References
Geographical Survey Institute
Paul Hunt, Hiking in Japan: An Adventurer's Guide to the Mountain Trails, Tokyo, Kodansha International Ltd., 1988. ISBN 0-87011-893-5 and ISBN 4-7700-1393-0 C0075
See also
Tokachi Volcanic Group
Central Ishikari Mountains
Daisetsuzan National Park | instance of | {
"answer_start": [
33
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"text": [
"mountain"
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Biei Fuji (美瑛富士, Biei Fuji) is a mountain located in the Tokachi Volcanic Group, Hokkaidō, Japan.
References
Geographical Survey Institute
Paul Hunt, Hiking in Japan: An Adventurer's Guide to the Mountain Trails, Tokyo, Kodansha International Ltd., 1988. ISBN 0-87011-893-5 and ISBN 4-7700-1393-0 C0075
See also
Tokachi Volcanic Group
Central Ishikari Mountains
Daisetsuzan National Park | Commons category | {
"answer_start": [
0
],
"text": [
"Biei Fuji"
]
} |
Biei Fuji (美瑛富士, Biei Fuji) is a mountain located in the Tokachi Volcanic Group, Hokkaidō, Japan.
References
Geographical Survey Institute
Paul Hunt, Hiking in Japan: An Adventurer's Guide to the Mountain Trails, Tokyo, Kodansha International Ltd., 1988. ISBN 0-87011-893-5 and ISBN 4-7700-1393-0 C0075
See also
Tokachi Volcanic Group
Central Ishikari Mountains
Daisetsuzan National Park | located in protected area | {
"answer_start": [
364
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"Daisetsuzan National Park"
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Biei Fuji (美瑛富士, Biei Fuji) is a mountain located in the Tokachi Volcanic Group, Hokkaidō, Japan.
References
Geographical Survey Institute
Paul Hunt, Hiking in Japan: An Adventurer's Guide to the Mountain Trails, Tokyo, Kodansha International Ltd., 1988. ISBN 0-87011-893-5 and ISBN 4-7700-1393-0 C0075
See also
Tokachi Volcanic Group
Central Ishikari Mountains
Daisetsuzan National Park | mountain range | {
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An identity disturbance is a deficiency or inability to maintain one or more major components of identity. These components include a sense of continuity over time; emotional commitment to representations of self, role relationships, core values and self-standards; development of a meaningful world view; and recognition of one's place in the world.It appears to be linked to emotional dysregulation, which has been shown to be a significant predictor of identity disturbance in psychiatric patients even when controlling for borderline personality disorder diagnosis, depression, and anxiety. Although some researchers posit that it is the lack of consistent goals, values, world views, and relationships that lead to a sense of emptiness, it is not entirely clear whether the link between emotional dysregulation and identity disturbance is because a disturbed identity creates a negative affect that is hard to regulate, because emotional dysregulation disturbs identity, because a third variable causes both (confounding), or some combination of the above.
Correlation with BPD
There are many theories about why borderline personality disorder often includes identity disturbances. One is that patients with BPD inhibit emotions, which causes numbness and emptiness. Another theory is that patients with BPD identify fully with the affective state of each moment, leaping from one moment to the next without the continuity of a narrative identity. Meeting criteria for major depressive disorder predicts identity disturbance in BPD patients, and identity disturbance is also correlated with a heightened risk for substance use disorders and high anxiety in adolescents. The syndrome of identity disturbance is encountered in all personality disorder types.
Neural substrate
To understand the development of self-identity, researchers investigating the neural basis of self have examined the neural systems involved in distinguishing one's own thoughts and actions from the thoughts and actions of others.One critical system implicated in this line of research involves the cortical midline structures (CMS), which include the orbital and medial prefrontal cortex, the anterior cingulate cortex, dorsomedial prefrontal cortex, and the posterior cingulate cortex including the adjacent precuneus (see insert). Greater activation in these structures has been found when people made trait judgements about themselves as opposed to others, as well as during a resting state (see Default mode network) or self-referential activity compared to when involved in a non-self-referential task. In addition to this correlational evidence linking these regions to our self-identity, one study using transcranial magnetic stimulation to transiently disturb neural activity in the medial parietal region of cortex found that this disruption led to a decreased ability to retrieve previous judgements of oneself compared to the retrieval of previous judgements of others.
Based on evidence from neuroimaging studies in clinical populations, it seems that both high activity in CMS regions during resting state and self-referential activities, accompanied by deactivation of this region during non-self-referential tasks, are critical for forming a stable and unified identity. More pronounced identity disturbance seems to be facilitated by poorer deactivation of CMS during task-related activities. Activity has also been shown to be lower in the dorsal portion of the precuneus for people believed to have identity disturbance compared to controls during the evaluation of self-attributes.Moreover, researchers comparing resting-state fMRI scans of people with BPD and health controls have found reduced functional connectivity in the retrosplenial cortex and the superior frontal gyrus.Mindfulness training, a core skill in dialectical behavior therapy used in the treatment of BPD, has been linked with alterations in default mode network activity.
== References == | subclass of | {
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The Slime People is a 1963 horror film directed by Robert Hutton, who also starred in the film. The film was featured on the first season of the television show Mystery Science Theater 3000, as well as the 1986 syndicated series The Canned Film Festival.The film was infamous for its extensive use of fog machines, with the fog becoming so thick towards the end that it is virtually impossible to see any of the actors.
Plot
The film concerns a race of subterranean reptile-men (dubbed "slime people", due to their slime-covered skin) who create a wall of "solidified fog" around Los Angeles using a strange organic-looking machine and proceed to invade the city after they are driven out of their subterranean homes by underground atomic tests. A pilot (portrayed by Hutton) lands in Los Angeles after some flight difficulties and finds the city almost deserted. He later encounters other survivors, including a Marine separated from his unit, and a scientist and his two daughters, and the group try their best to halt the further invasion of the slime people who are attempting to use the fog to not only isolate the city but also to lower the surface temperature enough to let them function at all hours of the day. Eventually, near the end of the film, the survivors find that while the slime people are otherwise immune to conventional weapons due to their body's ability to quickly seal wounds, the creatures can be killed with their own spear weapons as they are hollow and prevent the wounds they inflict from closing properly. They also realize the reason the plane from the beginning of the film was able to land was due to the chemical making the fog reacting with the salt from the ocean water thus preventing the section near the sea from solidifying. With these facts in mind, the survivors then attempt to escape the city using several buckets of a saltwater solution to try and make a hole through the fog wall, however, when this fails due to them not having enough of the solution the group instead opts to destroy the machine generating the fog. With the machine destroyed, the fog quickly disperses allowing the military to enter the city and causing the slime people to die off from the rapid rise in temperature.
Cast
Robert Hutton as Tom Gregory
Les Tremayne as Norman Tolliver
Robert Burton as Prof. Galbraith
Susan Hart as Lisa Galbraith
William Boyce as Cal Johnson
Judee Morton as Bonnie Galbraith
John Close as Vince Williams
Production
Filmed at the KTTV television studio, the film ran out of money after nine days of shooting; the cast completed the film without pay. Additional sequences were shot at San Fernando airport (closed 1985) in San Fernando, California, in Mandeville Canyon (showing damage after a wildfire) and in Agoura Hills, California. Joseph F. Robertson recalled that the filmmakers originally intended to feature dwarves as giant voles, who would serve as the advance guard of the invasion, but the sequence was so bad it was cut from the released film. Robertson stated that the film was shot for around $80,000 and featured eight costumes worn by stuntmen, each costume costing $600. In an interview with Hutton, he said that neither he nor the stuntmen were paid for their work in the film, and that the slime people costumes cost over half of the film's budget. Richard Arlen was the original choice to play Prof. Galbraith, but Robert Burton took the role. Burton died of cancer shortly after filming. The Slime People was the only film directed by Hutton, who later wrote the script for the 1975 horror/drama film Persecution.
Release
Home media
The film was first released on VHS by Video Gems in 1981, and later by Rhino Home Video on February 20, 1996.It was released on DVD in 2001, first by Tapeworm on January 16, 2001 as a double feature with Creature (1985), and then by Rhino on August 14. It was later released on DVD by VCI Video as a part of its two-disk Creepy Creature Double Feature collection alongside The Crawling Hand (1963).
Reception
Author and film critic Leonard Maltin awarded the film a BOMB, his lowest rating, stating that the film "talks itself to death".
On his website Fantastic Movie Musings and Ramblings, Dave Sindelar criticized the film's inconsistent tone, repetitive soundtrack, and lack of visibility due to the overabundance of fog.TV Guide gave the film a negative review, awarding it 1 out of 4 stars.Allmovie also panned The Slime People, calling it "cheap" and "inept", and further stated that the film only worked in short spurts. Graeme Clark from The Spinning Image awarded the film 4/10 stars, writing, "One thing you can say about The Slime People is that the money is all there up on the screen. It's just a pity there wasn't very much of it, because the cash evidently went on making the costumes for the titular monsters and the rest went on post-production mist effects." Reviewing VCI Video's release of the film, Glenn Erickson from DVD Talk called it "a prime example of a no-budget monster show hoping to find a place on a drive-in double bill".The Terror Trap awarded the film 3/4 stars, writing, "Quick and quirky, it’s among the last in the great double-bill creature feature era".
Notes
External links
The Slime People at IMDb
The Slime People at AllMovie
The Slime People at the TCM Movie Database
The Slime People at Rotten Tomatoes | instance of | {
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