title: Ornette Coleman

text: In the 1980s, albums such as "Virgin Beauty" and "Of Human Feelings" continued to use rock and funk rhythms, sometimes called free funk. Jerry Garcia played guitar on three tracks from Coleman's 1988 album "Virgin Beauty": "Three Wishes", "Singing in the Shower", and "Desert Players". Coleman joined the Grateful Dead on stage in 1993 during "Space" and stayed for "The Other One", "Stella Blue", Bobby Bland's "Turn on Your Lovelight", and the encore "Brokedown Palace". Another collaboration was with guitarist Pat Metheny, with whom Coleman recorded "Song X" (1985); though the album was released under Metheny's name, Coleman was essentially co-leader (contributing all the compositions).


title: Ornette Coleman

text: In 1990, the city of Reggio Emilia in Italy held a three-day "Portrait of the Artist" featuring a Coleman quartet with Cherry, Haden, and Higgins. The festival also presented performances of his chamber music and the symphonic "Skies of America". In 1991, Coleman played on the soundtrack for David Cronenberg's film "Naked Lunch"; the orchestra was conducted by Howard Shore. It is notable among other things for including a rare sighting of Coleman playing a jazz standard: Thelonious Monk's "Misterioso". Two 1972 (pre-electric) Coleman recordings, "Happy House" and "Foreigner in a Free Land", were used in Gus Van Sant's 2000 "Finding Forrester". Coleman released four records in 1995 and 1996, and for the first time in many years worked regularly with piano players (either Geri Allen or Joachim Kühn).


title: Ornette Coleman

text: In September 2006 he released a live album titled "Sound Grammar" with his son, Denardo Coleman, and two bassists, Greg Cohen, and Tony Falanga. This was his first album of new material in ten years and was recorded in Germany in 2005. It won the 2007 Pulitzer Prize for music, Coleman being only the second jazz musician to win the prize.


title: Ornette Coleman

text: Jazz pianist Joanne Brackeen stated in an interview with Marian McPartland that Coleman mentored her and gave her music lessons.


title: Ornette Coleman

text: Coleman married poet Jayne Cortez in 1954. The couple divorced in 1964. They had one son, Denardo, born in 1956.


title: Ornette Coleman

text: Coleman died of a cardiac arrest at the age of 85 in New York City on June 11, 2015. His funeral was a three-hour event with performances and speeches by several of his collaborators and contemporaries.


title: Ornette Coleman

text: McClintic Sphere, a fictional character in Thomas Pynchon's debut novel "V." (1963), is an innovative saxophonist modeled on Ornette Coleman.


title: Jacky Ickx

text: Jacques Bernard "Jacky" Ickx (; born 1 January 1945) is a Belgian former racing driver who won the 24 Hours of Le Mans six times (second-highest of all time) and achieved eight wins and 25 podium finishes in Formula One. He greatly contributed to several World Championships for Makes and World Sports Car championships: Ford (1968), Ferrari (1972), Porsche (1976–1977) and (1982–1985) by his 37 major World Sports Car wins. He also won the Can-Am Championship in 1979 and the 1983 Paris–Dakar Rally.


title: Jacky Ickx

text: Ickx twice finished as championship runner-up in Formula One, in the consecutive years of and . He won the majority of his races for Scuderia Ferrari, for which he was the team's leading driver for several seasons in the late 1960s and early 1970s.


title: Jacky Ickx

text: Born on 1 January 1945 in Brussels, Ickx was introduced to motorsports when he was taken by his father, motoring journalist Jacques Ickx, to races which he covered. Despite this family background, Ickx had limited interest in the sport until his father bought him a 50 cc Zündapp motorcycle.


title: Jacky Ickx

text: He began to compete in motorcycle trials and demonstrated impressive talent when he defeated future motocross world champion Roger De Coster in the Belgian 50 cc trials national championship. Soon afterwards, Ickx won 8 of 13 races at the first season and the European 50 cc trials title.


title: Jacky Ickx

text: He took another two titles before he moved to racing a Lotus Cortina in touring car racing, taking his national saloon car championship in 1965, as well as winning the Spa 24 Hours race in 1966 driving a BMW 2000TI. He also competed in sports car races where he had already significant experience from taking part in the 1000 km races at the Nürburgring.


title: Jacky Ickx

text: Ickx entered his first Grand Prix at the Nürburgring in 1966, driving a Matra MS5-Cosworth one-litre Formula Two (F2) car, entered by Ken Tyrrell. However, a first lap collision with John Taylor caused both cars to retire and Taylor later died as a result of burns received in the accident. In 1967, Ickx again drove at the Nurburgring, with an F2 Matra MS7-Cosworth 1.6-litre, also entered by Tyrrell. Despite the greater power of the Formula One cars, only two drivers qualified with a faster time than Ickx: Denny Hulme and Jim Clark. As Ickx was racing in the separate F2 class, he started the race behind all of the Formula One cars, but within four laps of the 28 km circuit he was up to fifth place, having overtaken 12 Formula One cars. He was forced to retire after 12 laps with a broken front suspension, but set the fastest lap of the F2 runners.


title: Jacky Ickx

text: At Monza in 1967, he made his Formula One debut in a Cooper T81B-Maserati, finishing sixth, despite suffering a puncture on the last lap. He also drove for Cooper in the United States Grand Prix at Watkins Glen but retired on lap 45 with overheating.


title: Jacky Ickx

text: In 1968 Ickx drove in Formula 1 for Ferrari. He retired from his first two races, but at his home race at Spa-Francorchamps he started from the front row and finished third. At the French Grand Prix at Rouen he took his first win, in heavy rain. Ickx also finished third at Brands Hatch and fourth at the Nürburgring after driving almost the entire race in heavy rain without his helmet visor. At Monza he finished the race in third position. In Canada he crashed and broke his left leg during practice, thus did not start and also missed the subsequent United States Grand Prix. He returned in time for the final race of the season in Mexico. Ickx scored 27 points in the 1968 Formula One season finishing in fourth place behind Graham Hill, Jackie Stewart and Hulme.


title: Jacky Ickx

text: In 1969, Ickx moved to Brabham, partly at the instigation of the John Wyer team for whom he'd had considerable success in sports cars. Wyer's main sponsor, Gulf Oil were keen to ensure that they retained his services rather than possibly lose him to Ferrari's sports car team. His first results at Brabham were poor, but after Jack Brabham broke his foot in a testing accident, Ickx's results improved: Alan Henry suggests that Ickx performed better with the whole team focussed on him. Ickx finished third in France, second in Great Britain and won in Canada and in Germany at the Nürburgring, where he also took pole position and fastest lap, in the last Formula One race there before 'The Ring' was made less bumpy and dangerous. In the 1969 Mexican Grand Prix Ickx finished second and ended the year as runner-up in the drivers' world championship, behind Stewart. He returned to the Ferrari team for the 1970 season, a move he had been considering since the Italian Grand Prix.


title: Jacky Ickx

text: As in 1969, Ickx had a disappointing start to the 1970 season. On the first lap of the Spanish Grand Prix he collided with the BRM of Jackie Oliver and his car caught fire. It took at least 20 seconds for him to leave the burning car and he was hospitalized with severe burns. After 17 days he was back in his car at the Monaco Grand Prix, where he ran fifth before retiring with a driveshaft failure. The car started to improve and at the German Grand Prix (held at Hockenheim as his favourite Nürburgring was boycotted for safety reasons) he fought with Jochen Rindt for the win, but finished a close second. At the Austrian Grand Prix it was Ickx that took the win. At Monza, Rindt died in an accident during qualifying. Ickx was the only driver with a chance to take the championship from Rindt who had already won five of nine races in that season, with four more to go. Monza saw a win by Ferrari teammate Clay Regazzoni while Ickx's car broke down. The Belgian took the win at Canada and if he could win at the remaining two events, he would overtake Rindt and win the championship. However, in the US Grand Prix at Watkins Glen he only finished fourth, with Rindt's replacement Emerson Fittipaldi scoring his first career win, and thus was mathematically eliminated from the championship chase. Despite winning the last race in Mexico, Ickx could not beat Rindt's points total. Ickx later stated in a 2011 article in the British magazine "Motor Sport", that he was glad he did not win the 1970 World Championship. He did not want to win against a man who could not defend his chances, referring to the deceased Rindt.


title: Jacky Ickx

text: In 1971, Ickx and Ferrari started as favourites, but the championship went to Jackie Stewart with the new Tyrrell. Ferrari traditionally started the season with its full attention on the sports car championship rather than Formula One, a fact that had already caused John Surtees to leave in the middle of the 1966 season. Ickx won at Zandvoort in the rain with Firestone wet tyres, while Stewart had no chance with his Goodyear rubber. After that, he had a lot of retirements, while Stewart took one win after the other, despite Ickx giving him a good challenge at the Nürburgring once again, where both drivers shared victories from 1968 to 1973. That long and very challenging track was the favourite of Ickx, while Stewart had called it the 'Green Hell' as well as being a driving force behind the driver boycott of 1970 that urged the Germans to rework the layout of the track, which had been built in 1927. Stewart said the only thing that had changed since then were the trees growing bigger. As requested, those near the track were cut and replaced with a small run-off area, and armco. So, the Scot and the Belgian not only fought on the track, but also off the track. Stewart was constantly fighting for more safety in Formula One, while Ickx thought by doing that the challenge was taken out of the sport.


title: Jacky Ickx

text: In 1972, Ickx stayed at Ferrari and finished second in Spain and Monaco. After that the Ferrari only got noticed for its retirements. Yet, once again it was the Nürburgring where Ickx was eager to show it was his track, giving his great rival Stewart no chance at all. As for Stewart one year later, and other champions such as Juan Manuel Fangio in 1957, it turned out that the last Formula One win for Ickx came at Nürburgring, where superior driving skill could beat superior machinery.


title: Jacky Ickx

text: In 1973, the Ferrari 312B3 was no longer competitive, and Ickx only managed one fourth place at the opening Grand Prix of the season. While being successful with their sports cars, which were driven to several wins by Ickx himself, the Formula One programme of the Italians was outclassed, and they even had to skip some races, notably at the Nürburgring. This was not acceptable to Ickx, who left the team halfway through the season (after the 1973 British Grand Prix, where he finished eighth). Instead, he competed in the German Grand Prix at the Nürburgring in a McLaren, and scored a sterling third place behind the all-conquering Tyrrells of Stewart and François Cevert. Ickx returned to Ferrari for the Italian Grand Prix at Monza again finishing eighth but drove for Williams in the 1973 United States Grand Prix at Watkins Glen finishing seventh.


title: Jacky Ickx

text: When Ickx signed with Team Lotus in 1974, a difficult period awaited. Lotus had problems replacing the successful but ageing Lotus 72 (which debuted in 1970) with the troublesome Lotus 76 and, during the opening races of the championship, Ickx only managed a solitary third place in Brazil. Ickx demonstrated that he was still the Rain Master when he won the non-championship Race of Champions at Brands Hatch after having passed Niki Lauda on the outside at Paddock Bend. After the Brazilian Grand Prix his season deteriorated, the Lotus-Ford retiring in five consecutive races until an eleventh-place finish at Zandvoort. However, in mid season Ickx recovered some form, rising through the field in the British Grand Prix to finish a strong third. Even better was his drive in the German Grand Prix. For most of the race Ickx dueled for fourth place with his teammate Ronnie Peterson who was using a Lotus 76, which had been grafted to the back end of a Lotus 72, Mike Hailwood in a McLaren M23 and Jochen Mass in a Surtees running on his home circuit on Firestone tyres well suited to the circuit. It was a classic duel on the daunting circuit, which still lacked armco around half the track in 1974. Two laps from the end Hailwood crashed badly ending his World Championship career. On the last two laps Ickx was getting close to third place Carlos Reutemann, but on the final lap, Ronnie Peterson slipstreamed past to claim 4th. In Austria, Ickx, this time in the Lotus 76, moved up the field but went off while attempting to take Depailler for second. In the last races of the year, tyre issues with Goodyears unsuitable for the Lotus 72 and 76 meant Lotus were not competitive.


title: Jacky Ickx

text: 1975 was even more disastrous for Lotus and Ickx left the team halfway through the season, even though he managed a second place in the chaotic Spanish Grand Prix which was overshadowed by accidents and stopped before half distance. Ickx was generally qualifying about 0.8 seconds slower than teammate Peterson. Ickx was stood down after the 1975 French GP with the promise that Chapman might re-employ him when a competitive new Lotus was ready to race. Ickx did not compete in Formula One for the remainder of 1975.


title: Jacky Ickx

text: It seemed that the end of Ickx's career was near. After Fittipaldi left McLaren, Ickx was thought likely to get the drive, but tobacco company promoter John Hogan preferred James Hunt. In 1976 Ickx began the season with Wolf–Williams Racing (then entering as "Frank Williams Racing Cars"), but after three races signed with the new team of Walter Wolf Racing, which had substantial financial backing from Wolf. The Wolf team were also running the Wolf–Williams FW05 which was essentially a rebadged Hesketh 308C from 1975 and was uncompetitive. However, at the Race of Champions, Ickx was challenging Hunt and Alan Jones for the lead, when Ickx's visor ripped off. In the world championship races he failed to qualify on four occasions, (a first in his career) achieving a degree of respectability only with a 7th in Spain and a good drive to 10th out of 19 finishers in the French GP in a car which, in the estimate of James Hunt and Chris Amon, was worse than useless. Nevertheless, for a large payment from Wolf, Amon agreed to swap drives with Ickx and Ickx raced the rest of the season in the fast and fragile Lotus styled Ensign N176, in which design Amon had suffered horrific breakages at Zolder and in the Swedish GP. For most of the Dutch GP, Ickx moved through the field, running the third fastest lap and on most laps was the fastest car in the race. With a newer Cosworth engine, Ickx probably would have won, but the under-maintained engine expired ten laps from the end. In the Italian race, Ickx drove at competitive pace in a Grand Prix for the last time, when he finished tenth, only 30 seconds behind winner Ronnie Peterson, hard on the tail of Carlos Reutemann in a works Ferrari 312T2 in ninth. After a bad crash at the United States Grand Prix at Watkins Glen which he was lucky to have survived with only ankle injuries, Ickx only competed sporadically. In 1977 Ickx competed in only one Grand Prix at Monaco for Ensign finishing tenth. In 1978 he entered four Grands Prix, again for Ensign but only achieved a twelfth place at Zolder. In the Swedish Grand Prix at Anderstorp Ickx failed to qualify.


title: Jacky Ickx

text: In 1979, he ended his career as a Grand Prix driver at Ligier, standing in for the injured Patrick Depailler, gaining a fifth and sixth, but finding the ground effect cars dangerous and disconcerting, ill-suited to his precise style. Outside of Formula One, Ickx continued to win races in various sports car series, which he had decided to concentrate on exclusively.


title: Jacky Ickx

text: In 1966, Ickx teamed up with Hubert Hahne in a BMW 2000TI to win the Spa 24 Hours endurance race in his native Belgium. In 1967, Ickx won the 1000km of Spa with Dick Thompson in the Gulf-liveried JW Automotive Mirage M1. In 1968, Ickx won the Brands Hatch six-hour endurance race partnered with Brian Redman in a John Wyer entered Ford GT40 Mk1. Ickx would go on to win the Brands race on a further three occasions, in 1972 for Ferrari alongside Mario Andretti and 1977 and 1982 driving Porsches with Jochen Mass and Derek Bell respectively.


title: Jacky Ickx

text: Ickx won the 1969 24 Hours of Le Mans, his first victory in that race. This race also saw the first appearance of the Porsche 917 at Le Mans, which was regarded by far as the favourite. The Ford GT40 that Ickx drove with Jackie Oliver appeared at that time to be an obsolete car, outperformed by the new Porsche 917 but also by the older Porsche 908 and the new generation of 3-litre prototypes from Ferrari, Matra and Alfa Romeo.


title: Jacky Ickx

text: As Ickx was opposed to the traditional Le Mans start which he considered to be dangerous, he slowly walked across the track to his machine, instead of running. He locked the safety belt carefully and thus was the last to start the race, chasing the field. On lap one, private driver John Woolfe, who had not taken time to belt himself in, had a fatal accident in his new and powerful 917.


title: Jacky Ickx

text: During the race the Porsche 917 cars proved unreliable, and none finished. The last four hours of the race turned into a duel between the Porsche 908 of Hans Herrmann/Gérard Larrousse and the Ford GT-40 of Ickx/Oliver. In the last hour, Ickx and Herrmann continually leapfrogged each other, the Porsche being faster on the straights owing to having less aerodynamic drag, while being passed again under braking as the brake pads were worn and the team reckoned there was not enough time left to change them. Ickx won the race by the smallest of competitive margins ever, with less than between the two cars, despite having lost a bigger distance intentionally at the start. He also won his case for safety: from 1970, all drivers could start the race sitting in their cars with the belts tightened properly.


title: Jacky Ickx

text: In later years, Ickx won a record six times at the 24h race at Le Mans, becoming known as "Monsieur Le Mans". Three of the wins were with Derek Bell: this would become one of the most legendary partnerships. In 2005, Tom Kristensen surpassed Ickx's record and when Kristensen announced his proposed retirement at the end of the 2014 season had nine victories.


title: Jacky Ickx

text: From 1976 on, he was a factory driver for Porsche and their new turbocharged race cars, the 935 and especially the 936 sports car, which he drove to wins in Le Mans three times. These drives, as well as the losing effort in 1978, often in the rain and at night, were some of the finest ever. Ickx considers the 1977 24 Hours of Le Mans race to be his favourite win of all time. Retiring earlier on in another Porsche 936, which he shared with Henri Pescarolo, the team transferred him to the car of Jürgen Barth and Hurley Haywood which was in 42nd place. Ickx made up for lost laps to lead the race by early morning, but suffered a mechanical problem which forced the car to pit. The mechanics resolved the issue by switching off one cylinder, and Ickx went on to win the race. The win in 1982 came with the new and superior Porsche 956 model, though, which carried him to two titles as world champion of endurance racing, in 1982 and 1983.


title: Jacky Ickx

text: In 1983, Ickx was the team leader at Porsche, but a new teammate was faster than he was: young German Stefan Bellof set new lap records at the Nürburgring in the last ever sports car race held on the original configuration of Ickx's favourite track. As it turned out, Ickx and Bellof would become involved in controversial events later on.


title: Jacky Ickx

text: In 1984, Ickx acted as Formula One race director in Monaco. He stopped the race before half distance due to heavy rain, just as leader Alain Prost was being caught by a young Ayrton Senna and Bellof. Prost thus won the race but was awarded only half the points for a win (4.5); the Frenchman subsequently lost the 1984 World Championship to McLaren team-mate Niki Lauda by half a point.


title: Jacky Ickx

text: In 1985, Ickx was involved with Bellof again, but with fatal consequences. Bellof raced a privateer Porsche while waiting to join the Ferrari in 1986, which had promised him a seat after his performance in Monaco, similar to what they had done for Lauda after he outclassed Ickx there in 1973. At Spa, Ickx's home track, the young German in the private Porsche 956 of Walter Brun tried to pass the experienced Belgian in the factory Porsche 962 for first place after being behind Ickx for three laps. At Eau Rouge corner, Bellof attempted to pass from the left, but Ickx turned left from the right side at the entry of the Eau Rouge and they collided and crashed, Bellof dying an hour later after he crashed the barrier in the "Raidillon" part of the track head-on, while Ickx was shaken but unharmed. He retired from professional circuit racing at the end of the season.


title: Jacky Ickx

text: Ickx also co-drove to victory with Allan Moffat at the 1977 Hardie-Ferodo 1000 in Australia, becoming the last debutant to win the race until 2011, when Nick Percat matched this feat partnering two-time winner Garth Tander. The victory at the Bathurst 1000 was in a Ford XC Falcon Group C Touring Car manufactured in Australia with limited modifications for racing. After only days practice in a car he had never driven before he was doing lap times the same or quicker than drivers who drove nothing else and who were familiar with the circuit.


title: Jacky Ickx

text: In 1979, in the newly-reborn Can-Am series for rebodied covered wheel Formula 5000 cars, Ickx won against strong opposition from Keke Rosberg, Elliot Forbes-Robinson and Bobby Rahal. Formula One fledgling Rosberg drove his Can Am car with ferocity, but often went off the road trying to match the pace of Ickx, who won the series decisively at the season finale at Riverside. The previous weekend, on the dangerous and undulating Laguna Seca circuit near Monterey, Ickx elected to race conservatively rather than going after leaders Forbes-Robinson and Rosberg, but film of the race indicates the brutal nature of this late generation of Can Am racing. Ickx did not return to defend his title the following season.


title: Jacky Ickx

text: One of his other Le Mans victories in a non-driving capacity was when he consulted for the Oreca team who were running a Mazda 787B for Mazdaspeed in 1991. Ickx was also selected to participate in the 1978 and 1984 editions of the International Race of Champions.


title: Jacky Ickx

text: Although he had never driven a stock car before, Ickx was entered to race in the 1969 Daytona 500, in a car owned by Junior Johnson. A few days before the race, Ickx crashed the car during practice, and although he was not injured, the car was damaged beyond repair. The team's only backup car was needed by eventual race winner LeeRoy Yarbrough, so Ickx did not have the opportunity to race.


title: Jacky Ickx

text: After he retired from his professional racing career, he continued to compete in the Paris-Dakar Rally, even competing with daughter Vanina in recent years. He won the event in 1983 driving a Mercedes-Benz G-Class. Nowadays, he appears in historic events as a driver, such as the Goodwood Festival of Speed and the Monterey Historics, usually on behalf of Porsche and Ferrari. He still acts as the Clerk of the Course for the Monaco Grand Prix and is still a resident of Brussels.


title: Jacky Ickx

text: Jacky Ickx is married to singer Khadja Nin. The couple were guests at the wedding of Prince Albert of Monaco and Charlene Wittstock in July 2011. Ickx became a resident of Monaco in the early 1980s.


title: Jacky Ickx

text: Ickx's father Jacques Ickx (1910–1978) and older brother Pascal Ickx (born 1937) were racing drivers. His daughter, Vanina Ickx (from his first marriage with Catherine Ickx) followed in her father's footsteps to become a racing driver as well.


title: Wardrobe malfunction

text: A wardrobe malfunction is a clothing failure that accidentally or intentionally exposes a person's intimate parts. It is different from deliberate incidents of indecent exposure or public flashing. Justin Timberlake first used the term when apologizing for the Super Bowl XXXVIII halftime show controversy during the 2004 Grammy Awards. The phrase "wardrobe malfunction" was in turn used by the media to refer to the incident and entered pop culture. There was a long history of such incidents before the term was coined and it has since become common.


title: Wardrobe malfunction

text: The American Dialect Society defines "wardrobe malfunction" as "an unanticipated exposure of bodily parts". Global Language Monitor, which tracks usage of words on the internet and in newspapers worldwide, identified the term as the top Hollywood contribution to English (HollyWordie) in 2004, surpassing words like "girlie men", "Yo!" and "frass". The term was also one of the new entrants into the "Chambers Dictionary" in 2008, along with words like "electrosmog", "carbon footprint", "credit crunch" and "social networking". The dictionary defines it as "the temporary failure of an item of clothing to do its job in covering a part of the body that it would be advisable to keep covered."


title: Wardrobe malfunction

text: The term was first used on February 1, 2004 by singers Justin Timberlake and Janet Jackson in a statement attempting to explain the Super Bowl XXXVIII halftime show controversy, during which Jackson's right breast was exposed. Timberlake apologized for the incident, stating he was "sorry that anyone was offended by the wardrobe malfunction during the halftime performance of the Super Bowl..." The term "wardrobe malfunction" appeared in numerous stories in major US consumer and business publications, newspapers, and major TV and radio broadcasts. Journalist Eric Alterman described the incident as "the most famous 'wardrobe malfunction' since Lady Godiva."


title: Wardrobe malfunction

text: The American Dialect Society had a number of related terms for word of the year nominations in 2004, including "Janet moment" ("unplanned bodily exposure at a public function"), "boobgate" ("scandal over Janet Jackson's exposed breast"), "nipplegate" (like boobgate, "but used earlier in squawk over Jackson's possible nipple ring"), and "wardrobe malfunction" ("overexposure in a mammary way"). The term has been translated into other languages to describe similar incidents, including "garderobedefect" (Dutch), "incident de garde-robe" (French), "disfunzione del guardaroba" or "incidente del guardaroba" (Italian), and "mal funcionamiento de vestuario" (Spanish).


title: Wardrobe malfunction

text: In April 1957, Italian actress Sophia Loren was being welcomed to Hollywood by Paramount Pictures at a dinner party at Romanoff's restaurant in Beverly Hills. American actress Jayne Mansfield arrived last and went directly to Loren's table. Mansfield had previously engineered several stunts exposing her breasts. On this evening, she was seated between Loren and her dinner companion Clifton Webb. Braless and wearing a deeply plunging neckline, Mansfield at one point stood and purposefully leaned over the table, further exposing her breasts and her left nipple. Photographer Delmar Watson pictured Loren staring at Mansfield's breasts, and Joe Shere also recorded the incident. Shere's picture received international attention, and was published world-wide.


title: Wardrobe malfunction

text: On February 1, 2004, the halftime show of Super Bowl XXXVIII was broadcast live from Houston, Texas on the CBS television network in the United States. During the show, Justin Timberlake deliberately removed a portion of Janet Jackson's costume, exposing for about half a second her breast adorned with a nipple shield. This was the first recorded usage of the term "wardrobe malfunction". The incident, sometimes referred to as Nipplegate, was news world-wide. MTV's Chief Executive said that Jackson had planned the stunt and Timberlake was informed of it just moments before he took the stage. The stunt was broadcast live to a total audience of 143.6 million viewers.


title: Wardrobe malfunction

text: At the 2016 NFL Draft Combine, American football player Chris Jones ripped his compression shorts in the crotch during the 40-yard dash, and his genitals were seen live on television.


title: Stanley Kramer

text: Stanley Earl Kramer (September 29, 1913February 19, 2001) was an American film director and producer, responsible for making many of Hollywood's most famous "message films" (he would call his movies "heavy dramas") and a liberal movie icon. As an independent producer and director, he brought attention to topical social issues that most studios avoided. Among the subjects covered in his films were racism (in "The Defiant Ones" and "Guess Who's Coming to Dinner"), nuclear war (in "On the Beach"), greed (in "It's a Mad, Mad, Mad, Mad World"), creationism vs. evolution (in "Inherit the Wind") and the causes and effects of fascism (in "Judgment at Nuremberg"). His other films included "High Noon" (1952, as producer), "The Caine Mutiny" (1954, as producer), and "Ship of Fools" (1965).


title: Stanley Kramer

text: Director Steven Spielberg described him as an "incredibly talented visionary", and "one of our great filmmakers, not just for the art and passion he put on screen, but for the impact he has made on the conscience of the world." Kramer was recognized for his fierce independence as a producer-director, with author Victor Navasky writing that "among the independents . . . none seemed more vocal, more liberal, more pugnacious than young Stanley Kramer." His friend Kevin Spacey, during his acceptance speech at the 2015 Golden Globes, honored Kramer's work, calling him "one of the great filmmakers of all time."


title: Stanley Kramer

text: Despite uneven critical reception, both then and now, Kramer's body of work has received many awards, including 16 Academy Awards and 80 nominations, and he was nominated nine times as either producer or director. In 1961, he received the Irving G. Thalberg Memorial Award. In 1963, he was a member of the jury at the 3rd Moscow International Film Festival. In 1998, he was awarded the first NAACP Vanguard Award in recognition of "the strong social themes that ran through his body of work". In 2002, the Stanley Kramer Award was created, to be awarded to recipients whose work "dramatically illustrates provocative social issues".


title: Stanley Kramer

text: Kramer was born in Hell's Kitchen, Manhattan, New York City. His parents were Jewish, and having separated when he was very young, he remembered little about his father. His mother worked at a New York office of Paramount Pictures, during which time his grandparents took care of him at home. His uncle, Earl Kramer, worked in distribution at Universal Pictures.


title: Stanley Kramer

text: Kramer attended DeWitt Clinton High School in the Bronx, where he graduated at age fifteen. He then enrolled in New York University where he became a member of the Pi Lambda Phi fraternity and wrote a weekly column for the "Medley" newspaper. He graduated in 1933 at the age of nineteen with a degree in business administration. After developing a "zest for writing" with a newspaper, biographer Donald Spoto wrote, Kramer was offered a paid internship in the writing department of 20th Century Fox and moved to Hollywood. Until receiving that writing job, he had planned to enroll in law school.


title: Stanley Kramer

text: Over the following years, during the period of the Great Depression, Kramer took odd jobs in the film industry: He worked as a set furniture mover and film cutter at MGM, as writer and researcher for Columbia Pictures and Republic Pictures, and associate producer with Loew-Lewin productions. Those years as an apprentice writer and editor helped him acquire an "exceptional aptitude" in editing and develop the ability to understand the overall structure of the films he worked on. They enabled him to later compose and edit "in camera," as he shot scenes.


title: Stanley Kramer

text: He was drafted into the Army in 1943, during World War II, where he helped make training films with the Signal Corps in New York, along with other Hollywood filmmakers including Frank Capra and Anatole Litvak. He left the army with the rank of first lieutenant.


title: Stanley Kramer

text: After the war, Kramer soon discovered that there were no available jobs in Hollywood in 1947, so he created an independent production company, Screen Plays Inc. He partnered with writer Herbie Baker, publicist George Glass and producer Carl Foreman, an army friend from the film unit. Foreman justified the production company by noting that the big studios had become "dinosaurs," which, being shocked by the onrush of television, "jettisoned virtually everything to survive." But they failed to develop cadres of younger creative talent in their wake.


title: Stanley Kramer

text: Kramer's new company was able to take advantage of unused production facilities by renting time, allowing him to create independent films for a fraction of the cost the larger studios had required, and he did so without studio control. Kramer also saw this as an opportunity to produce films dealing with subjects the studios previously avoided, especially those about controversial topics.


title: Stanley Kramer

text: However, Kramer soon learned that financing such independent films was a major obstacle, as he was forced to approach banks or else take on private investors. He did both when necessary. But with studios no longer involved, rival independent companies were created which all competed for those limited funds. According to Byman, "there were no fewer than ninety-six" other companies in competition during that period, and included some of Hollywood's biggest names: Frank Capra, John Ford, William Wyler, Howard Hawks, Leo McCarey, and George Stevens. Kramer explained how he tried to differentiate his new company from the others, explaining he was less interested in the money than having the ability to make a statement through his films:


title: Stanley Kramer

text: The first movie produced under his production company was the comedy, "So This Is New York" (1948), directed by Richard Fleischer, and based on Ring Lardner's "The Big Town." It failed at the box office. It was followed with "Champion" (1949), another Lardner story, this one about an ambitious and unscrupulous boxer. Scripted by Foreman, it was tailored to fit the talents of Kirk Douglas, a former amateur wrestler who was now an actor. Filmed in only twenty-three days with a relatively small budget, it became an immense box-office success. It won an Academy Award for Best Editing, with four other nominations, including Douglas for best actor and Foreman as screenwriter.


title: Stanley Kramer

text: Kramer next produced "Home of the Brave" (also 1949), again directed by Mark Robson, which became an even bigger success than "Champion". The story was adapted from a play by Arthur Laurents, originally about anti-Semitism in the army, but revised and made into a film about the persecution of a black soldier. Byman notes that it was the "first sound film about antiblack racism." The subject matter was so sensitive at the time, that Kramer shot the film in "total secrecy" to avoid protests by various organizations. Critics generally liked the film, which, notes Nora Sayre, "had a flavoring of courage."


title: Stanley Kramer

text: His renamed Stanley Kramer Company produced "The Men" (1950), which featured Marlon Brando's screen debut, in a drama about paraplegic war veterans. It was the first time Kramer and Foreman worked with director Fred Zinnemann, who had already been directing for twenty years and had won an Oscar. The film was another success for Kramer, who took on a unique subject dealing with a world few knew about. Critic Bosley Crowther noted that its "striking and authentic documentary quality has been imported to the whole film in every detail, attitude and word."


title: Stanley Kramer

text: Also released in 1950 was Kramer's production of "Cyrano de Bergerac", the first English language film version of Edmond Rostand's 1897 French play. It made a star of José Ferrer, who won his only Oscar for Best Actor.


title: Stanley Kramer

text: In 1951, Columbia Pictures president Harry Cohn offered Kramer's company an opportunity to form a production unit working with his studio. Kramer was given free rein over what films he chose to make, along with a budget of nearly a million dollars each. Kramer agreed to a five-year contract during which time he would produce twenty films. However, Kramer would later state that the agreement was "one of the most dangerous and foolhardy moves of my entire career." He agreed to the commitment because of his "deep-seated desire to direct," he states, along with the security of ready studio financing.


title: Stanley Kramer

text: He finished his last independent production, "High Noon" (1952), a Western drama directed by Fred Zinnemann. The movie was well received, winning four Oscars, as well as three other nominations. Unfortunately, "High Noon"s production and release intersected with McCarthyism. Writer, producer and partner Carl Foreman was called before the House Un-American Activities Committee while he was writing the film. Foreman had been a member of the Communist Party ten years earlier, but declined to "name names" and was branded an "un-cooperative witness" by HUAC, and then blacklisted by the Hollywood companies, after which he sold his interest in the company.Kramer, a long time friend and business partner of Carl Foreman removed Foreman's name from the credits as co-producer.


title: Stanley Kramer

text: Kramer continued producing movies at Columbia, including "Death of a Salesman" (1951), "The Sniper" (1952), "The Member of the Wedding" (1952), "The Juggler" (1953), "The Wild One" (1953) and "The 5,000 Fingers of Dr. T" (1953). With a larger budget, his films took on a "glossier" more polished look, yet his next ten films all lost money, although some were nonetheless highly praised.


title: Stanley Kramer

text: In 1953, Cohn and Kramer agreed to terminate the five-year, 20-film contract Kramer had signed. However, his last Columbia film, "The Caine Mutiny" (1954), regained all of the losses Columbia had incurred as a result of his earlier projects. "The Caine Mutiny", was an adaptation of the book written by Herman Wouk and was directed by Edward Dmytryk.


title: Stanley Kramer

text: After "The Caine Mutiny", Kramer left Columbia and resumed his independent productions, this time in the role of the director. Over the next two decades, Kramer reestablished his reputation within the film industry by directing a continual series of often successful films dealing with social and controversial issues, such as racism, nuclear war, greed and the causes and effects of fascism. Critic Charles Champlin would later describe Kramer as "a guy who fought some hard battles. He took on social issues when it was not popular to do so in Hollywood."


title: Stanley Kramer

text: Among some of those controversial films were "Not as a Stranger" (1955), "The Pride and the Passion" (1957), "The Defiant Ones" (1958), "On the Beach" (1959), "Inherit the Wind" (1960), "Judgment at Nuremberg" (1961), and "Guess Who's Coming to Dinner" (1967).


title: Stanley Kramer

text: Besides dramas, he also directed "It's a Mad, Mad, Mad, Mad World" (1963) with an all-star cast of comedians.


title: Stanley Kramer

text: His first film as director was "Not as a Stranger" (1955), the story of medical students and their career, some of whom lose their idealism and succumb to blind ambition, adultery, and immoral behavior. The film was a "smash hit," although reviews were mixed. Pauline Kael claimed it "lacked rhythm and development."


title: Stanley Kramer

text: "The Pride and the Passion" (1957) is an adaptation from "The Gun", a novel by C. S. Forester. It portrays in detail how a dedicated group of Spanish guerrillas dragged a gigantic cannon across half the country in an effort to defeat Napoleon's advancing army. It stars Frank Sinatra, Cary Grant and Sophia Loren.


title: Stanley Kramer

text: The following year, Kramer directed "The Defiant Ones" (1958), the story of two escaped convicts in the Deep South, one black, played by Sidney Poitier, and one white, Tony Curtis. To add to the intensity of the drama, both men are shackled together with chains, forcing them, despite their wishes, into a sense of brotherhood, suffering


title: Stanley Kramer

text: "New York Times" film critic Bosley Crowther lauded the production and the acting in the film, calling it "a remarkably apt and dramatic visualization of a social idea—the idea of men of different races brought together to face misfortune in a bond of brotherhood — is achieved by producer Stanley Kramer in his new film." It was nominated for eight Academy Awards, winning two.


title: Stanley Kramer

text: Five years after the film was released, producer George Stevens Jr. helped organize a showing of this, along with other Kramer films, at the Moscow Film Festival, which Kramer and co-star Sidney Poitier attended. Stevens writes that the showings of his films, especially "The Defiant Ones", were a "great success in Moscow." He remembers that "filmmakers applauded his films, often chanting "Kraaaamer, Kraaaaamer, Kraaaaamer"," at their conclusion. Kramer spoke to the audience after each film, "making a fine impression for his country." Stevens credits "The Defiant Ones" for having the most impact, however:


title: Stanley Kramer

text: With his next film, "On the Beach" (1959), Kramer tried to tackle the sensitive subject of nuclear war. The film takes place after World War III has annihilated most of the Northern hemisphere, with radioactive dust on a trajectory towards Australia. Kramer gave the film an "effective and eerie" documentary look at depopulated cities. It starred Gregory Peck, Ava Gardner, Fred Astaire and Anthony Perkins.


title: Stanley Kramer

text: Reviews were mostly positive, not just from critics but from scientists. Linus Pauling, winner of two Nobel Prizes (Chemistry and Peace), commented:


title: Stanley Kramer

text: "Inherit the Wind" (1960) became Kramer's next challenging film, this one taking on the highly charged subjects of creationism and evolution, and how they are taught in school. The film, an adaptation of the play of the same name, written by Jerome Lawrence and Robert Edwin Lee, was a fictionalized account of the 1925 Scopes Trial, which concerned a violation of Tennessee's Butler Act. This law had made it unlawful to teach human evolution in any state-funded school in Tennessee. It starred Spencer Tracy, portraying the real Clarence Darrow, defending the teacher, and Fredric March as his rival attorney, William Jennings Bryan, who insisted that creationism was the only valid subject that should be taught to children. It was nominated for four Academy Awards.


title: Stanley Kramer

text: For Tracy, who was nominated as Best Actor, the film would become the first of four films he did for Kramer. "Everybody tells me how good I am," he said, "but only Stanley gives me work." The film received "extravagant reviews," yet failed at the box office due to its poor distribution and advertising. In addition, fundamentalist groups labeled the film "anti-God" and called Kramer "anti-Christ." Kramer, however, explains that these groups failed to understand the real theme of the film and the actual court trial it portrayed:


title: Stanley Kramer

text: Kramer also notes that the film was the third part of a "trilogy of what have been called by some 'controversial pictures,'" of which the first two were "The Defiant Ones" and "On the Beach". "I have attempted, and I hope succeeded in, making pictures that command attention," said Kramer.


title: Stanley Kramer

text: Like his previous film, "Judgment at Nuremberg" (1961) was a fictionalized account of a real trial, this one about the Nuremberg Trials held after the defeat of the Nazis in World War II. It also starred Spencer Tracy as the leading judge, along with numerous other stars. Richard Widmark played the American military prosecutor and Maximilian Schell the defense attorney. The film was nominated for eleven Academy Awards and won two, for Schell as Best Actor and Abby Mann for Best Screenplay. Reviews were extremely positive. Critic Hollis Alpert wrote in his review:


title: Stanley Kramer

text: However, despite mostly rave reviews in the U.S. and many countries in Europe, biographer Spoto notes that during its various premieres overseas, "it shocked many, angered some, disgusted others. But it bored no one. . . " Kramer described its world premiere, in Berlin, as "the most frightening evening in my life." It was attended by hundreds of dignitaries from throughout Germany.


title: Stanley Kramer

text: William Shatner, who had a supporting role, recalls that prior to filming, Kramer and screenwriter Abby Mann required that everyone involved in the production, actors and crew alike, watch some films taken by American soldiers at the liberation of the concentration camps. "They wanted us to understand what this film was about":


title: Stanley Kramer

text: After the seriousness of his previous films, Kramer "felt compelled to answer" for the "lack of lightness" in his earlier films, writes Spoto. As a result, he directed "It's a Mad, Mad, Mad, Mad World" (1963), a film with a "gifted, wacky crew of comedians." Kramer describes it as a "comedy about greed." According to one writer, he directed it "to prove he could also handle comedy" and hired many of the leading comedic actors of the previous decades, from silent star Buster Keaton to emerging talent Jonathan Winters. Winters would later write that "Kramer was a man who took chances—as they say, he worked without a net."


title: Stanley Kramer

text: It played to mixed reviews with some criticizing its excessive comedy with too many comedians thereby losing its focus. Nonetheless, it was Kramer's biggest box office hit, and the public enjoyed its "socially disruptive and goofy" story and acting. Film critic Dwight Macdonald writes that its "small army of actors—105 speaking roles—inflict mayhem on each other with cars, planes, explosives and other devices . . . is simply too much for the human eye and ear to respond to, let alone the funny bone," calling it "hard-core slapstick." It was nominated for six Academy Awards, winning for Best Sound Editing.


title: Stanley Kramer

text: "Ship of Fools" (1965) has been described as a "floating "Grand Hotel"," an earlier film which also had an all-star cast. Its multi-strand narrative deals with the failing personal relationships among the passengers on board a passenger liner returning to Germany in 1933, during the rise of Nazism. Spoto describes its theme as one of "conscious social and psychological significance." It won two Academy Awards and was nominated for six others.


title: Stanley Kramer

text: Some writers describe the film as a "microcosm" displaying a "weakness of the world that permitted the rise of Hitler." Kramer does not disagree, and wrote, "Even though we never mention him [Hitler] in the picture, his ascendancy is an ever-present factor. Most of the passengers on the ship are Germans, returning to their fatherland at a time when millions of other Germans are looking for ways to escape." In a scene noted by Spoto, a Nazi passenger is "barking inanities" about how Germans should purify their race, to which a German-Jewish passenger responds, "There are nearly a million Jews in Germany. What are they going to do — kill us all?"


title: Stanley Kramer

text: For his fourth film about the sensitive subject of anti-racism, he both directed and produced "Guess Who's Coming to Dinner" (1967), a groundbreaking story about interracial marriage. It starred Spencer Tracy, Sidney Poitier, and Katharine Hepburn, winning two Academy Awards with eight nominations. It has been listed in the top 100 films over the last 100 years by the American Film Institute. However, despite its popularity with the public and its box-office success, many critics gave it negative reviews.


title: Stanley Kramer

text: For Kramer and others involved in the production, it "was one of the most important events of their lives," writes Spoto. Partly because it was the first film that touched the subject since the 1920s silent era. "No one would touch this most explosive of social issues" until Kramer took on the challenge. Co-star Sidney Poitier called the film "revolutionary," and stated why:


title: Stanley Kramer

text: The film was also important as it was the last film role for Spencer Tracy, who was aware while making the film that he was dying and did in fact die a few weeks after its completion. It was his fourth film directed by Kramer and his ninth with Hepburn, who was so shaken by Tracy's death, that she refused to watch the film after it was completed. Kramer called Tracy "the greatest actor I ever worked with."


title: Stanley Kramer

text: As a result of this film's commercial success, Kramer helped spur on Hollywood to reform its film marketing practices when it was observed that the film was doing excellent business everywhere in the US, including the Southern states where it was assumed that films with African American lead actors would never be accepted. As a result, the prominent presence of Black actors in films would never again be considered a factor in Hollywood film marketing and distribution. However, Kramer, bothered by the film's negative reviews and wanting respect as an important film artist like François Truffaut and Jean-Luc Godard, undertook a nine-college speaking tour to screen the film and discuss racial integration. The effort proved a dispiriting embarrassment for him with college students largely dismissing his film and preferring to discuss less conventional fare like "Bonnie and Clyde" directed by Arthur Penn.


title: Stanley Kramer

text: The film was Kramer's last major success, and his subsequent films were not profitable, although many had mixed reviews. Among those films were "The Secret of Santa Vittoria" (1968), "R. P. M." (1970), "Bless the Beasts and Children" (1971), "Oklahoma Crude" (1973), "The Domino Principle" (1977), and "The Runner Stumbles" (1979). "Oklahoma Crude" was entered into the 8th Moscow International Film Festival where Kramer won the Golden Prize for Direction. At the time of his retirement, he was attempting to bring a script entitled "Three Solitary Drinkers" to the screen, a film about a trio of alcoholics that he hoped would be played by Sidney Poitier, Jack Lemmon, and Walter Matthau.


title: Stanley Kramer

text: In the 1980s, Kramer retired to Bellevue, Washington and wrote a column on movies for "The Seattle Times" from 1980 to 1996. During this time, he hosted his own weekly movie show on then-independent television station KCPQ.


title: Stanley Kramer

text: In 1986, he signed an agreement with Columbia Pictures to produce or direct two films, "Chernobyl" and "Beirut", but the deal fell through when David Puttnam left Columbia. Three years later, he agreed to make "ERN" starring Robert Guillaume but the project stalled. In 1991, he signed a deal with Trimark to direct and produce "Bubble Man", a project he had been working on since 1972, but it was not made.


title: Stanley Kramer

text: He died on February 19, 2001, in Woodland Hills, Los Angeles, aged 87, after contracting pneumonia. He was married three times and divorced twice. He was survived by his third wife, actress Karen Sharpe, and four children: Casey and Larry (with Anne Pearce), and Katharine and Jennifer (with Karen Sharpe).


title: Stanley Kramer

text: Kramer has been called "a genuine original" as a filmmaker. He made movies that he believed in, and "straddled the fence between art and commerce for more than 30 years." Most of his films were noted for engaging the audience with political and social issues of the time. When asked why he gravitated to those kinds of themes, he stated, "emotionally I am drawn to these subjects," and thought that independent productions like his might help "return vitality to the motion picture industry. . . . If our industry is to flourish, we must break away from formula thinking."


title: Stanley Kramer

text: Film author Bill Nichols states that "Kramer's films continue a long-standing Hollywood tradition of marrying topical issues to dramatic form, a tradition in which we find many of Hollywood's more openly progressive films." Among his themes, Kramer was one of the few filmmakers to delve into subjects relating to civil rights, and according to his wife, Karen Kramer, "put his reputation and finances on the line to present subject matter that meant something." He gave up his salary to make sure that "Guess Who's Coming to Dinner" would be completed. He has not though been universally admired. Film critic David Thomson has written that Kramer's "films are middlebrow and overemphatic; at worst, they are among the most tedious and dispiriting productions the American cinema has to offer. Commercialism, of the most crass and confusing kind ... devitalised all [of] his projects."


title: Stanley Kramer

text: Critics have often labeled Kramer's films as "message movies." Some, like Pauline Kael, were often critical of his subject matter for being "melodramas," and "irritatingly self-righteous," although she credits his films for their "redeeming social importance . . . [with] situations and settings nevertheless excitingly modern, relevant." Kramer, however, saw himself as "a storyteller with a point of view":


title: Stanley Kramer

text: In the 1960s Kramer blamed the growing "youth culture" with having changed the "artistic landscape" as he remembered it from his own youth. "No longer," he said, "were writers or filmmakers interested in creating the Great American Novel or the great American film, or indeed with exploring what it meant to be American."


title: Stanley Kramer

text: In extreme cases, Kramer was accused of being "anti-American" due to the themes of his films, many concerning social problems or pathologies. But Kramer notes that it was his ability to produce those films in a democracy which distinguishes them:


title: Stanley Kramer

text: Kramer produced and directed 23 different actors in Oscar-nominated performances, with José Ferrer, Gary Cooper, Maximilian Schell and Katharine Hepburn winning for their performances. Kramer's was among the first stars to be completed on the Hollywood Walk of Fame on March 28, 1960, out of the original 1,550 stars created and installed as a unit in 1960.


title: Stanley Kramer

text: One of his daughters, Kat Kramer, is co-producer of socially-relevant documentaries, as part of her series, "Films That Change The World".


title: Stanley Kramer

text: The Producers Guild of America established the Stanley Kramer Award in 2002 to honor a production or individuals whose contribution illuminates and raises public awareness of important social issues.


title: François Rabelais

text: François Rabelais ( , , ; born between 1483 and 1494; died 1553) was a French Renaissance writer, physician, Renaissance humanist, monk and Greek scholar. He is primarily known as a writer of satire, of the grotesque, and of bawdy jokes and songs.


title: François Rabelais

text: Ecclesiastical yet anticlerical, Christian yet considered by some as a free thinker, a doctor yet having the image of a "bon vivant", the multiple facets of his personality sometimes seem contradictory. Caught up in the religious and political turmoil of the Reformation, Rabelais showed himself to be both sensitive and critical towards the great questions of his time. Subsequently, the views of his life and work have evolved according to the times and currents of thought.


title: François Rabelais

text: An admirer of Erasmus, through parody and satire Rabelais fought for tolerance, peace, an evangelical faith, and a return to the knowledge of ancient Greco-Romans to dispel the "Gothic darkness" that characterized the Middle Ages. He took up the theses of Plato to counter what he regarded as the excessively Aristotelianism of medieval scholasticism. He attacked the abuses of princes and men of the Church, and opposed to them on the one hand evangelical humanist thought, and on the other hand popular culture, bawdy, "joking", marked by the taste for wine and games. Rabelais thus manifested a humble and open Christian faith, far from any ecclesiastical weight. While shared with emergent Protestantism a critical view of scholasticism and monasticism, his views led John Calvin to attack him in 1550.


title: François Rabelais

text: Because of his literary power and historical importance, Western literary critics consider him one of the great writers of world literature and among the creators of modern European writing. His best known work is "Gargantua and Pantagruel", tales with their giant characters, heroic-comic parody, epics and novels of chivalry, but which also prefigure the realist, satirical and philosophical novel, and are considered to be one of the first forms of the modern novel.


title: François Rabelais

text: His literary legacy is such that the word "Rabelaisian" has been coined as a descriptive inspired by his work and life. Merriam-Webster defines the word as describing someone or something that is "marked by gross robust humor, extravagance of caricature, or bold naturalism".


title: François Rabelais

text: No reliable documentation of the place or date of the birth of François Rabelais has survived. While some scholars put the date as early as 1483, he was probably born in November 1494 near Chinon in the province of Touraine, where his father worked as a lawyer. The estate of "La Devinière" in Seuilly in the modern-day Indre-et-Loire, allegedly the writer's birthplace, houses a Rabelais museum.


title: François Rabelais

text: Rabelais became a novice of the Franciscan order, and later a friar at Fontenay-le-Comte in Poitou, where he studied Greek and Latin as well as science, philology, and law, already becoming known and respected by the humanists of his era, including Guillaume Budé (1467–1540). Harassed due to the directions of his studies and frustrated with the Franciscan order's ban on the study of Greek (because of Erasmus' commentary on the Greek version of the "Gospel of Saint Luke"), Rabelais petitioned Pope Clement VII (in office 1523–1534) and gained permission to leave the Franciscans and to enter the Benedictine order at Maillezais in Poitou, where he was more warmly received.


title: François Rabelais

text: Later he left the monastery to study medicine at the University of Poitiers and at the University of Montpellier. In 1532 he moved to Lyon, one of the intellectual centres of the Renaissance, and in 1534 began working as a doctor at the hospital Hôtel-Dieu de Lyon, for which he earned 40 "livres" a year. During his time in Lyon, he edited Latin works for the printer Sebastian Gryphius, and wrote a famous admiring letter to Erasmus to accompany the transmission of a Greek manuscript from the printer. Gryphius published Rabelais' translations & annotations of Hippocrates, Galen and Giovanni Manardo. As a physician, he used his spare time to write and publish humorous pamphlets critical of established authority and preoccupied with the educational and monastic mores of the time.


title: François Rabelais

text: In 1532, under the pseudonym Alcofribas Nasier (an anagram of François Rabelais), he published his first book, "Pantagruel King of the Dipsodes", the first of his "Gargantua" series. The idea of basing an allegory on the lives of giants came to Rabelais from the folklore legend of "les Grandes chroniques du grand et énorme géant Gargantua", which were sold as popular literature at the time in the form of inexpensive pamphlets by colporteurs and at the fairs of Lyon. Pantagruelisme is an "eat, drink and be merry" philosophy, which led his books into disfavor with the church but simultaneously brought them popular success and the admiration of later critics for their focus on the body. This first book, critical of the existing monastic and educational system, contains the first known occurrence in French of the words "encyclopédie", "caballe", "progrès" and "utopie" among others. Despite the book's popularity, both it and the subsequent prequel book (1534) about the life and exploits of Pantagruel's father Gargantua were condemned by the Sorbonne in 1543 and the Roman Catholic Church in 1545. Rabelais taught medicine at Montpellier in 1534 and again in 1539. In 1537, Rabelais gave an anatomy lesson at Lyon's Hôtel-Dieu using the corpse of a hanged man; Etienne Dolet, with whom Rabelais was close at this time, wrote of these anatomy lessons in his "Carmina".


title: François Rabelais

text: Rabelais traveled frequently to Rome with his friend and patient Cardinal Jean du Bellay, and lived for a short time in Turin (1540–?) as part of the household of du Bellay's brother, Guillaume. Rabelais also spent some time lying low, under periodic threat of being condemned of heresy depending upon the health of his various protectors. Only the protection of du Bellay saved Rabelais after the condemnation of his novel by the Sorbonne. In June 1543 Rabelais became a Master of Requests.


title: François Rabelais

text: Between 1545 and 1547 François Rabelais lived in Metz, then a free imperial city and a republic, to escape the condemnation by the University of Paris. In 1547, he became curate of Saint-Christophe-du-Jambet in Maine and of Meudon near Paris.


title: François Rabelais

text: With support from members of the prominent du Bellay family, Rabelais had received approval from King Francis I to continue to publish his collection. However, after the king's death in 1547, the academic élite frowned upon Rabelais, and the French Parlement suspended the sale of his fourth book, published in 1552.


title: François Rabelais

text: "Gargantua and Pantagruel" relates the adventures of Gargantua and his son Pantagruel. The tales are adventurous and erudite, festive and gross, ecumenical, and rarely—if ever—solemn for long. The first book, chronologically, was "Pantagruel: King of the Dipsodes" and the Gargantua mentioned in the Prologue refers not to Rabelais' own work but to storybooks that were being sold at the Lyon fairs in the early 1530s. In the first chapter of the earliest book, Pantagruel's lineage is listed back 60 generations to a giant named Chalbroth. The narrator dismisses the skeptics of the time—who would have thought a giant far too large for Noah's Ark—stating that Hurtaly (the giant reigning during the flood and a great fan of soup) simply rode the Ark like a kid on a rocking horse, or like a fat Swiss guy on a cannon.


title: François Rabelais

text: In the Prologue to "Gargantua" the narrator addresses the: "Most illustrious drinkers, and "you" the most precious pox-riddenfor to "you" and "you" alone are my writings dedicated ..." before turning to Plato's "Banquet". An unprecedented syphilis epidemic had raged through Europe for over 30 years when the book was published, even the king of France was reputed to have been infected. Etion was the first giant in Pantagruel's list of ancestors to suffer from the disease.


title: François Rabelais

text: Although most chapters are humorous, wildly fantastic and frequently absurd, a few relatively serious passages have become famous for expressing humanistic ideals of the time. In particular, the chapters on Gargantua's boyhood and Gargantua's paternal letter to Pantagruel present a quite detailed vision of education.


title: François Rabelais

text: In the second novel, "Gargantua", M. Alcofribas narrates the Abbey of Thélème, built by the giant Gargantua. It differs markedly from the monastic norm, as the abbey is open to both monks and nuns and has a swimming pool, maid service, and no clocks in sight. Only the good-looking are permitted to enter. The inscription on the gate to the abbey first sets out who is unwelcome: hypocrites, bigots, the pox-ridden, Goths, Magoths, straw-chewing law clerks, usurious grinches, old or officious judges, and burners of heretics. When the members are defined positively, the text becomes more inviting:


title: François Rabelais

text: All their life was regulated not by laws, statutes, or rules, but according to their free will and pleasure. They rose from bed when they pleased, and drank, ate, worked, and slept when the fancy seized them. Nobody woke them; nobody compelled them either to eat or to drink, or to do anything else whatever. So it was that Gargantua had established it. In their rules there was only one clause:


title: François Rabelais

text: because people who are free, well-born, well-bred, and easy in honest company have a natural spur and instinct which drives them to virtuous deeds and deflects them from vice; and this they called honour. When these same men are depressed and enslaved by vile constraint and subjection, they use this noble quality which once impelled them freely towards virtue, to throw off and break this yoke of slavery. For we always strive after things forbidden and covet what is denied us.


title: François Rabelais

text: Published in 1546 under his own name with the "privilège" granted by Francis I for the first edition and by Henri II for the 1552 edition, "The Third Book" was condemned by the Sorbonne, like the previous tomes. In it, Rabelais revisited discussions he had had while working as a secretary to Geoffroy d'Estissac earlier in Poitiers, where "la querelle des femmes" had been a lively subject of debate. More recent exchanges with Marguerite de Navarre—possibly about the question of clandestine marriage and the Book of Tobit whose canonical status was being debated at the Council of Trent—led Rabelais to dedicate the book to her before she wrote the "Heptameron". In the dedication, it has been suggested he was encouraging her to turn from spiritual poetry to more embodied stories.


title: François Rabelais

text: In contrast to the two preceding chronicles, the dialogue between the characters is much more developed than the plot elements in the third book. In particular, the central question of the book, which Panurge and Pantagruel consider from multiple points of view, is an abstract one: whether Panurge should marry or not. Torn between the desire for a woman and the fear of being cuckolded, Panurge engages in divinatory methods, like dream interpretation and bibliomancy. He consults authorities vested with revealed knowledge, like the sibyl of Panzoust or the mute Nazdecabre, profane acquaintances, like the theologian Hippothadée or the philosopher Trouillogan, and even the jester Triboulet. It is likely that several of the characters refer to real people: Abel Lefranc argues that Hippothadée was Jacques Lefèvre d'Étaples, Rondibilis was the doctor Guillaume Rondelet, the esoteric Her Trippa corresponds to Cornelius Agrippa. One of the comic features of the story is the contradictory interpretations Pantagruel and Panurge get embroiled in, the first of which being the paradoxical encomium of debts in chapter III. "The Third Book", deeply indebted to "In Praise of Folly", contains the first-known attestation of the word "paradoxe" in French.


title: François Rabelais

text: The more reflective tone shows the characters' evolution from the earlier tomes. Here Panurge is not as crafty as Pantagruel and is stubborn in his will to turn every sign to his advantage, refusing to listen to advice he had himself sought out. For example, when Her Trippa reads dark omens in his future marriage, Panurge accuses him of the same blind self-love ("philautie") from which he seems to suffer. His erudition is more often put to work for pedantry than let to settle into wisdom. By contrast, Pantagruel's speech has gained in weightiness by the third book, the exuberance of the young giant having faded.


title: François Rabelais

text: At the end of the "Third Book", the protagonists decide to set sail in search of a discussion with the Oracle of the Divine Bottle. The last chapters are focused on the praise of the Pantagruelion (hemp)—a plant used in the 16th century for both the hangman's rope and medicinal purposes—being copiously loaded onto the ships. As a naturalist inspired by Pliny the Elder and Charles Estienne, the narrator intercedes in the story, first describing the plant in great detail, then waxing lyrical on its various qualities.


title: François Rabelais

text: A first draft edition of "The Fourth Book" appeared in 1548 containing eleven chapters and many typos. The slipshod nature of this first edition made the circumstances of its publication mysterious, especially for a controversial author. While the prologue denounces slanderers, the story that follows did not raise any polemical issues. Already it contained some of the best-known episodes, including the storm at sea and Panurge's sheep. It was framed as an erratic odyssey, inspired both by the Argonauts and the news of Jacques Cartier's voyage to Canada.


title: François Rabelais

text: The French Renaissance was a time of linguistic contact and debate. The first book of French, rather than Latin, grammar was published in 1530, followed nine years later by the language's first dictionary. Spelling was far less codified back then. Rabelais, as an educated reader of the day, preferred etymological spelling, preserved clues to the lineage of words, to more phonetic spellings which wash those traces away.


title: François Rabelais

text: Rabelais' use of Latin, Greek, regional and dialectal terms, creative calquing, gloss, neologism and mis-translation was the fruit of the printing press having been invented less than a hundred years earlier. A doctor by trade, Rabelais was a prolific reader, who wrote a great deal about bodies and all they excrete or ingest. His fictional works are filled with multilingual, often sexual, puns, absurd creatures, bawdy songs and lists. Words and metaphors from Rabelais abound in modern French and some words have found their way into English, through Thomas Urquhart's unfinished 1693 translation, completed and considerably augmented by Peter Anthony Motteux by 1708.


title: François Rabelais

text: Most scholars today agree that Rabelais wrote from a perspective of Christian humanism. This has not always been the case. Abel Lefranc, in his 1922 introduction to "Pantagruel", depicted Rabelais as a militant anti-Christian atheist. On the contrary, M. A. Screech, like Lucien Febvre before him, describes Rabelais as an Erasmian. While formally a Roman Catholic, Rabelais was an adherent of Renaissance humanism, which meant that he favoured classical Antiquity over the "barbarous" Middle Ages and believed in the need of reform to bring science and arts to their classical flourishing and theology and the Church to their original Evangelical form as expressed in the Gospels. In particular, he was critical of monasticism. Rabelais criticised what he considered to be inauthentic Christian positions by both Catholics and Protestants, and was attacked and portrayed as a threat to religion or even an atheist by both. For example, "at the request of Catholic theologians, all four Pantagrueline chronicles were censured by either the Sorbonne, Parliament, or both". On the opposite end of the spectrum, John Calvin saw Rabelais as a representative of the numerous moderate evangelical humanists who, while "critical of contemporary Catholic institutions, doctrines, and conduct", did not go far enough; in addition, Calvin considered Rabelais' apparent mocking tone to be especially dangerous, since it could be easily misinterpreted as a rejection of the sacred truths themselves.


title: François Rabelais

text: Timothy Hampton writes that "to a degree unequaled by the case of any other writer from the European Renaissance, the reception of Rabelais's work has involved dispute, critical disagreement, and ... scholarly wrangling ..." In particular, as pointed out by Bruno Braunrot, the traditional view of Rabelais as a humanist has been challenged by early post-structuralist analyses denying a single consistent ideological message of his text, and to some extent earlier by Marxist critiques such as Mikhail Bakhtin with his emphasis on the subversive folk roots of Rabelais' humour in medieval "carnival" culture. At present, however, "whatever controversy still surrounds Rabelais studies can be found above all in the application of feminist theories to Rabelais criticism", as he is alternately considered a misogynist or a feminist based on different episodes in his works.


title: François Rabelais

text: ... a revolutionary who attacked all the past, Scholasticism, the monks; his religion is scarcely more than that of a spiritually minded pagan. Less bold in political matters, he cared little for liberty; his ideal was a tyrant who loves peace. [...] His vocabulary is rich and picturesque, but licentious and filthy. In short, as La Bruyère says: "His book is a riddle which may be considered inexplicable. Where it is bad, it is beyond the worst; it has the charm of the rabble; where it is good it is excellent and exquisite; it may be the daintiest of dishes." As a whole it exercises a baneful influence.


title: François Rabelais

text: Alfred Jarry performed, from memory, hymns of Rabelais at Symbolist Rachilde's Tuesday salons. Jarry worked for years on an unfinished libretto for an opera by Claude Terrasse based on Pantagruel.


title: François Rabelais

text: Anatole France lectured on him in Argentina. John Cowper Powys, D. B. Wyndham-Lewis, and Lucien Febvre (one of the founders of the French historical school "Annales"), all wrote books about him.


title: François Rabelais

text: Mikhail Bakhtin, a Russian philosopher and critic, derived his concepts of the carnivalesque and grotesque body from the world of Rabelais. He points to the historical loss of communal spirit after the Medieval period and speaks of carnival laughter as an "expression of social consciousness".


title: François Rabelais

text: Aldous Huxley admired Rabelais' work. Writing in 1929, he praised Rabelais, stating "Rabelais loved the bowels which Swift so malignantly hated. His was the true amor fati : he accepted reality in its entirety, accepted with gratitude and delight this amazingly improbable world."


title: François Rabelais

text: George Orwell was not an admirer of Rabelais. Writing in 1940, he called him "an exceptionally perverse, morbid writer, a case for psychoanalysis".


title: François Rabelais

text: Milan Kundera, in a 2007 article in "The New Yorker", commented on a list of the most notable works of French literature, noting with surprise and indignation that Rabelais was placed behind Charles de Gaulle's war memoirs, and was denied the "aura of a founding figure! Yet in the eyes of nearly every great novelist of our time he is, along with Cervantes, the founder of an entire art, the art of the novel".


title: François Rabelais

text: Rabelais is treated as a pivotal figure in Kenzaburō Ōe's 1994 acceptance speech for the Nobel Prize in Literature.


title: François Rabelais

text: In the satirical musical "The Music Man" by Meredith Willson, the names “Chaucer! Rabelais! Balzac!” are presented by local gossips as evidence that the town librarian “advocates dirty books.”


title: Buddy Holly (song)

text: "Buddy Holly" is a song by American rock band Weezer. The song was written by Rivers Cuomo and released as the second single from the band's debut album, "Weezer ("The Blue Album")" on September 7, 1994, which would have been Buddy Holly's 58th birthday. The lyrics reference the song's 1950s namesake and actress Mary Tyler Moore. It reached number two and number 34 on the US Modern Rock Tracks chart and the US Mainstream Rock Tracks chart, respectively. The song also reached number six in Canada, number 12 in the United Kingdom, number 13 in Iceland and number 14 in Sweden.


title: Buddy Holly (song)

text: "Rolling Stone" ranked "Buddy Holly" number 499 in its list of "The 500 Greatest Songs of All Time" (2010), dropping it 2 spots down from number 497 (2004). But the song moved up 15 spots to number 484 in the 2021 update. The digital version of the single for "Buddy Holly" was certified gold by the RIAA in 2006. VH1 ranked it as one of the "100 Greatest Songs of the 90s" at number 59 in December 2007.


title: Buddy Holly (song)

text: Songwriter Rivers Cuomo wrote "Buddy Holly" after his friends made fun of his Asian girlfriend. He originally planned to exclude it from the album; he felt it was "cheesy" and perhaps did not represent the sound he was pursuing for Weezer. Producer Ric Ocasek persuaded him to include it. In the book "River's Edge", Ocasek is quoted saying: "I remember at one point he was hesitant to do 'Buddy Holly' and I was like, 'Rivers, we can talk about it. Do it anyway, and if you don't like it when it's done, we won't use it. But I think you should try. You did write it and it is a great song.'" Bassist Matt Sharp recalled: "Ric said we'd be stupid to leave it off the album. We'd come into the studio in the morning and find little pieces of paper with doodles on them: WE WANT BUDDY HOLLY."


title: Buddy Holly (song)

text: An early demo of "Buddy Holly" recorded by Cuomo in 1993 has a different feel, as the song is played at a much slower tempo than the version that appears on the album. This version appeared on "". The liner notes for "Alone" explain that the chorus, in its most primitive form, originally was sung as: "Oo-wee-oo you look just like Ginger Rogers / Oh, oh, I move just like Fred Astaire". The rest of the chorus stayed the same as the "Blue Album" version.


title: Buddy Holly (song)

text: Steve Baltin from "Cash Box" commented, "You’ve gotta love a song that makes reference to Mary Tyler Moore. Slightly poppier in its guitar sound than their first single, (...), this Ric Ocasek-produced song could help expand their already-growing fan base. Besides that, it mentions Mary, the woman who could turn the world on with her smile. Therefore, it has to be a hit." Pan-European magazine "Music & Media" wrote, "Made loud to play loud and sing along, it's the ideal power pop to cruise round this summer. That silly twin synth/guitar, betrays producer Ocasek, the one-time driver of New York's Cars." A reviewer from "Music Week" gave the song four out of five, adding, "A short and sweet taster from the album which may not have the same quirky appeal of Undone (The Sweater Song), but has an attractive hook and a video to arouse interest."


title: Buddy Holly (song)

text: According to Matt Sharp, Spike Jonze came up with three ideas for the music video for "Buddy Holly". Sharp stated that two of the ideas "weren't great". When Jonze pitched the idea that came to be the song's video, Sharp told Jonze "I don't think you'll be able to pull it off", but the band agreed to do it. The video was filmed at Charlie Chaplin Studios in Hollywood over a single day and portrays Weezer performing at Arnold's Drive-In from the 1970s television show "Happy Days," combining footage of the band with clips from the show. "Happy Days" cast member Al Molinaro made a cameo; he introduces the band by saying, "Kenosha, Wisconsin's own Weezer"; in fact it's Molinaro himself who was from Kenosha, while Weezer is from Los Angeles.


title: Buddy Holly (song)

text: In the climax, the video's stylist Casey Storm body doubled, and this allowed Fonzie to dance to the band's performance. The video also features brief cameos by some members of the band as dancers at Arnold's. Anson Williams, who played Potsie on "Happy Days", objected to footage of him appearing in the video, but relented after receiving a letter from David Geffen, founder of Geffen Records. According to drummer Pat Wilson, the video was achieved without computer graphics, only "clever" camerawork and editing. Sharp stated that the video was "pretty fucking wacky".


title: Buddy Holly (song)

text: The video was met with great popularity, and heavy rotation on MTV. At the 1995 MTV Video Music Awards, it won Best Alternative Video, Breakthrough Video, Best Direction and Best Editing, and was nominated for Video of the Year.


title: Buddy Holly (song)

text: The "Buddy Holly" video was included on the Windows 95 CD-ROM, resulting in a skyrocket in popularity and earning Weezer a place in the history of MTV Music Video Awards. Geffen did not tell Weezer they had negotiated with Microsoft to include the video; the band members, none of whom owned computers, were oblivious to the implications. According to Wilson, "I was furious because at the time I was like, 'How are they allowed to do this without permission?' Turns out it was one of the greatest things that could have happened to us. Can you imagine that happening today? It's like, there's one video on YouTube, and it's your video."


title: Buddy Holly (song)

text: The video also appears in the music exhibit in the Museum of Modern Art. The music video was featured in Season 5, Episode 30 of MTV's "Beavis and Butthead" entitled "Here Comes the Bride's Butt" on June 9, 1995.


title: Buddy Holly (song)

text: In 2015, the song was featured as an impromptu "a cappella" family sing along in an advert for the Honda Pilot. The song was featured on the show "Parks and Recreation" during the Season 6 episode "Prom".


title: Buddy Holly (song)

text: In 2016, the song was covered by Canadian nerd rock trio Double Experience with an accompanying video


title: Buddy Holly (song)

text: In 2017, the song was chosen by Finn Wolfhard on the show "Lip Sync Battle" during the "Stranger Things" episode.


title: Buddy Holly (song)

text: In 2022, the song went viral on TikTok, with several memes popping from the song, most famously the riff that's played before the final chorus. Videos of this meme has racked up several million views.


title: Mehrangarh

text: Mehrangarh Fort covers an area of 1,200 acres (486 hectares) in Jodhpur, Rajasthan, India. The complex is located on a hilltop around 122 metres above the surrounding plain, and was constructed by Rajput ruler Rao Jodha, though most of the existing structure is from the 17th century. Inside its boundaries there are several palaces known for their intricate carvings and expansive courtyards, as well as a museum housing various relics. A winding road leads to and from the city below. The imprints of the impact of cannonballs fired by attacking armies of Jaipur can still be seen on the second gate. At the north-east of the fort is the "chhatri" of Kirat Singh Soda, a soldier who fell on the spot defending Mehrangarh.


title: Mehrangarh

text: There are seven gates, which include Jai Pol (meaning 'victory gate'), built by Maharaja Man Singh to commemorate his victories over the Jaipur and Bikaner armies in 1806. The Fattehpol (also meaning 'victory gate'), commemorates victory of Maharaja Ajit Singh over the Mughals.


title: Mehrangarh

text: Some of the notable festivals taking place here include the World Sacred Spirit Festival and Rajasthan International Folk Festival.


title: Mehrangarh

text: Rao Jodha, the chief of the Rathore clan, is credited with the origin of Jodhpur in India. He founded Jodhpur in 1459 as the capital of Marwar (Mandore was the previous capital). He was one of Ranmal's 24 sons and became the fifteenth Rathore ruler. One year after his accession to the throne, Jodha decided to move his capital to the safer location of Jodhpur, as the one thousand years old Mandore fort was no longer considered to provide sufficient security.


title: Mehrangarh

text: With the trusted aid of Rao Nara (son of Rao Samra), the Mewar forces were subdued at Mandore. With that, Rao Jodha gave Rao Nara the title of Diwan. With the help of Rao Nara, the foundation of the fort was decided on 12 May 1459 by Jodha on a rocky hill to the south of Mandore. This hill was known as Bhakurcheeria, the mountain of birds.


title: Mehrangarh

text: According to legend to build the fort he had to displace the hill's sole human occupant, a hermit called Cheeria Nathji, the lord of birds. Cheeria Nathji was a man with the local population as his followers and hence influential in the region. When requested to move he refused categorically. This happened many times. Rao Jodha then took extreme measures and sought help from another more powerful saint, Karni Mata of Deshnoke. At the request of the king, she came and asked Cheeria Nathji to quit immediately. Seeing a superior power he left at once but cursed Rao Jodha with words "Jodha! May your citadel ever suffer a scarcity of water!". Rao Jodha managed to appease the hermit by building a house and a temple in the fort. Karni Mata laid down the foundation stone of the Mehrangarh Fort. Today only the forts of Bikaner and Jodhpur remain in the hands of Rathores, both had their foundation stones laid by Shri Karni Mata. All other Rajput forts of Rajasthan were abandoned for some or the other reasons by the respective clans. Only the Rathores of Jodhpur and Bikaner have their forts with them till date. This fact is considered a miracle by the local population and is attributed to Shri Karni Mata. Rao Jodha also granted villages of Mathania and Chopasni to the two Charan warlords who were sent by him to request maa Mehaai to come to Jodhpur.


title: Mehrangarh

text: To ensure that the new site proved propitious; he buried a man of the Meghwal caste called "Raja Ram Meghwal", who offered his services voluntarily, alive in the foundations as this was considered auspicious those days. "Raja Ram Meghwal" was promised that in return his family would be looked after by the Rathores. His family was granted land and to this day his descendants still live in Raj Bag, near Soor Sagar.


title: Mehrangarh

text: Mehrangarh (etymology: 'Mihir' (Sanskrit) -sun or Sun-deity; 'garh' (Sanskrit)-fort; i.e.'Sun-fort'); according to Rajasthani language pronunciation conventions, 'Mihirgarh' has changed to 'Mehrangarh'; the Sun-deity has been the chief deity of the Rathore dynasty. Though the fortress was originally started in 1459 by Rao Jodha, founder of Jodhpur, most of the fort which stands today dates from the period of Maharaja Jaswant Singh (1638–78). The fort is located at the centre of the city spreading over on top of a high hill. Its walls, which are up to high and wide, protect some of the most beautiful and historic palaces in Rajasthan.


title: Mehrangarh

text: Khandwaliya community one of the old traditional community had the knowledge of breaking the big stones made this fort with others.


title: Mehrangarh

text: Within the fort are several brilliantly crafted and decorated palaces. These include, Moti Mahal (Pearl Palace), Phool Mahal (Flower Palace), Sheesha Mahal (Mirror Palace), Sileh Khana and Daulat Khana. The museum houses a collection of palanquins, howdahs, royal cradles, miniatures, musical instruments, costumes, and furniture. The ramparts of the fort house preserved old cannon (including the famous Kilkila), and provided a breath-taking view of the city.


title: Mehrangarh

text: Howdahs were a kind of two-compartment wooden seat (mostly covered with gold and silver embossed sheets), which were fastened onto the elephant's back. The front compartment, with more leg space and a raised protective metal sheet, was meant for kings or royalty, and the rear smaller one for a reliable bodyguard disguised as a fly-whisk attendant.


title: Mehrangarh

text: Palanquins were a popular means of travel and circumambulation for the ladies of the nobility up to the second quarter of the 20th century. They were also used by male nobility and royals on special occasions.


title: Mehrangarh

text: This gallery displays one of the most important and best-preserved collections of fine and applied arts of the Mughal period of Indian history, during which the Rathore rulers of Jodhpur maintained close links with the Mughal emperors. It also has the remains of Emperor Akbar.


title: Mehrangarh

text: This gallery displays a rare collection of armour from every period in Jodhpur. On display are sword hilts in jade, silver, rhino horn, ivory, shields studded with rubies, emeralds and pearls and guns with gold and silver work on the barrels. The gallery also has on display the personal swords of many emperors, among them outstanding historical piece like the Khaanda of Rao Jodha, weighing over 3 kg, the sword of Akbar and the sword of Timur.


title: Mehrangarh

text: The Turban Gallery in the Mehrangarh Museum seeks to preserve, document and display the many different types of turbans once prevalent in Rajasthan; every community, region, and festival having had its own headgear.


title: Mehrangarh

text: The Jodhpur Group - Malani Igneous Suite Contact on which the Mehrangarh Fort has been built has been declared a National Geological Monument by the Geological Survey of India to encourage Geo Tourism in the country. This unique geological feature is part of the Malani Igenus Suite seen in the Thar desert region, spread over an area of 43,500 km. This unique geological feature represents the last phase of igneous activity of Precambrian age in the Indian Subcontinent.


title: Mehrangarh

text: The chamunda Mataji was Rao Jodha's favourite goddess, he brought her idol from the old capital of Mandore in 1460 and installed her in Mehrangarh (Maa chamunda was the "kul devi" of the Pratihara rulers of Mandore). She remains the Maharaja's and the Royal Family's Isht Devi or adopted goddess and is worshipped by most of Jodhpur's citizens as well. Crowds throng Mehrangarh during the Dussehra celebrations.


title: Mehrangarh

text: Rao Jodha Desert Rock Park, spreads over 72 hectares, adjoining Mehrangarh Fort. The park contains ecologically restored desert and arid land vegetation. The park was created in 2006 to try and restore the natural ecology of a large, rocky area adjoining and below the fort and opened to the public in February 2011. The area in and around the park contains distinctive volcanic rock formations such as rhyolite, with welded tuff, and breccia, sandstone formations. The park includes a Visitors Centre with Interpretation Gallery, a native plant nursery, small shop and cafe.


title: Mehrangarh

text: A human stampede occurred on 30 September 2008, at the Chamunda Devi temple inside of the Mehrangarh Fort, in which 249 people were killed and more than 400 injured.


title: Mehrangarh

text: The fort has musicians performing folk music at the entrance and houses museum, restaurants, exhibitions, and craft bazaars. The fort was one of the filming locations for Disney's 1994 live-action film "The Jungle Book", as well as the 2012 film "The Dark Knight Rises". Principal photography for the latter commenced on 6 May 2011. The Emraan Hashmi starrer Awarapan was also shot here.


title: Mehrangarh

text: In 2015, the fort was used to record a collaborative album by musicians including Israeli composer Shye Ben Tzur, English composer and Radiohead guitarist Jonny Greenwood, and Radiohead producer Nigel Godrich. The recording was the subject of a documentary, "Junun," by the American director Paul Thomas Anderson.


title: Mehrangarh

text: In March 2018, the film crew for the Bollywood film Thugs of Hindostan used the fort as one of its shooting locations; actor Amitabh Bachchan left a reflective post about his experience there on his official blog.


title: Lim Young-woong

text: Lim Young-woong (; born June 16, 1991) is a South Korean trot, ballad and pop singer, entertainer and YouTuber. He signed with Mulgogi Music in 2016 and debuted as a singer with his first single "Hate You". Four years later, he rose to stardom after competing on the reality television show "Mr. Trot", where he won the first place out of 17,000 applicants. In 2021, Lim achieved his first number-one song on the Gaon Digital Chart with the single "My Starry Love".


title: Lim Young-woong

text: Since his debut in 2016, Lim has released one studio album and one collaborative medley album, scoring four Gaon Digital Chart number-ones. He is also the first trot artist ever to receive the Gold Play Button for achieving one million subscribers on his official YouTube channel.


title: Lim Young-woong

text: Lim initially dreamed of being a ballad singer, but later discovered his talent as a trot singer after winning an Excellence Prize at a singing contest. At the contest held in his native city of Pocheon, he performed 's song "What's Wrong with My Age?" (), considering the age groups of audiences.


title: Lim Young-woong

text: In 2016, Lim then appeared on KBS1's singing competition show "Korea Sings", winning an Excellence Prize there after performing 's song "If You Smile, You'll Get Younger, If You Get Angry, You'll Only Get Older" (). This experience made him dream of his career as a trot singer in earnest. He also appeared as a contestant in the first season of SBS' music reality show "Fantastic Duo" that year. Shortly after, he signed with his current label Mulgogi Music.


title: Lim Young-woong

text: On August 8, 2016, the singer made his debut through the release of digital single "Hate You" (). He then released another single entitled "What's So Important?" () on January 2, 2017. However, these two singles did not do well commercially.


title: Lim Young-woong

text: Lim slowly gained popularity through his appearance in KBS1's morning show "", where he became the final winner of its televised audition "Challenge! Dream Stage". On March 28, 2018, he released his third single "Elevator" (). The song was re-arranged and released under the title "Not by Stairs, but by Elevator" () almost five months later. On December 21 that year, Lim released a collaborative medley album with fellow trot singer , titled "Newness of Trot" (). The album's popularity at expressway rest areas made him called the "Expressway Idol Star".


title: Lim Young-woong

text: Lim entered TV Chosun's music competition show "Mr. Trot", which aired from January 2 to March 14, 2020. During the final episode of the show, he was eventually crowned the winner out of 17,000 applicants. He said, "I'm so thankful for my mother and grandmother. The live finals were held on the anniversary of my father's passing. I'll think he gave us a gift because he felt sorry for leaving my mother alone. I really thank my father as well." After the show ended, he additionally signed a one-and-a-half-year management contract with New Era Project. He also joined the main cast of "Romantic Call Centre" and "", the follow-up variety shows of "Mr. Trot".


title: Lim Young-woong

text: On April 3, 2020, Lim released a single titled "Trust in Me". Written by lyricist Kim Eana and composer , the track was produced as a special song for Lim as the "Mr. Trot" winner. "Trust in Me" attained commercial success, becoming Lim's first top-20 single in his native country. The song debuted at number 20 on South Korea's Gaon Digital Chart, later peaking at number 11. At the end of the year, it earned him a Melon Music Award for Best Trot and a Genie Music Award for Best Trot Track.


title: Lim Young-woong

text: In August 2020, the , one of the major weekly news magazines in South Korea, announced the results of "2020, Who Makes Korea Move" survey. Lim was ranked 5th (5.8%, tied with singer Lee Hyori) for leading the Mr. Trot craze and occupying the advertising world. Later that year, the magazine named him one of the "100 Leaders for the Next Generation".


title: Lim Young-woong

text: In addition to his singing career, Lim made his cameo appearance on TV Chosun's historical fantasy series "". On October 1, 2020, he made his debut as an emcee, co-hosting the first annual Trot Awards with television presenter Kim Sung-joo and actress Jo Bo-ah. He also made his big screen debut through "Mr. Trot: The Movie", a musical documentary film starring the top six finalists of "Mr. Trot". The film was a commercial success, selling more than 150,000 tickets after release.


title: Lim Young-woong

text: On November 4, 2020, Lim collaborated with SsangYong Motor on the promotional single "Hero". Unlike his previous singles, the song's musical style approximates pop music. He premiered the track at an online showcase hosted by the company. Despite not being heavily promoted after release, "Hero" gave Lim his first top-10 single on the Gaon Digital Chart, debuting and peaking at number seven.


title: Lim Young-woong

text: On December 16, 2020, Lim was announced as a winner of the 2021 Korea Image Awards, being awarded as a member of Trot Men, the top six finalists of "Mr. Trot". They were given the Stepping Stone Award for "their work on revitalizing the lives of people exhausted from COVID-19 and spreading out trot music all over the world".


title: Lim Young-woong

text: As a result of his rising popularity in 2020, Lim became the most searched figure on web portal Naver that year. At the end of the same year, according to the annual survey conducted by Gallup Korea for Singer of the Year, he was named one of the five most favorite singers by both people aged 13–39 ( 4) and people aged 40 and over (no. 1). Furthermore, he was the second most-streamed artist domestically on YouTube that year, only behind boy band BTS.


title: Lim Young-woong

text: Lim released the single "My Starry Love" on March 9, 2021, one year after winning "Mr. Trot". The song was penned by , one of South Korea's best-known trot singer-songwriters. Five days prior to its release, he premiered the song at the finals of the second season of "Miss Trot". "My Starry Love" debuted atop the Gaon Digital Chart, making it the first number-one single of his career. The song also earned Lim the first music program award ever since his debut, winning first place on MBC's "Show! Music Core". This feat made him the first trot artist to receive a music show win in 14 years since on KBS2's "Music Bank" in 2007.