title: Santiago de Compostela Cathedral

text: The 12th-century "Portico da Gloria", behind the western façade, is in the narthex of the west portal. It is a remain from the Romanesque period, a masterwork of Romanesque sculpture built between 1168 and 1188 by Master Mateo at the request of king Ferdinand II of León. The vigorous naturalism of the figures in this triple portal is an expression of an art form, varied in its details, workmanship and polychromy (of which faint traces of colour remain). The shafts, tympana and archivolts of the three doorways which open onto the nave and the two aisles are a mass of strong and vibrant sculpture representing the Last Judgment.


title: Santiago de Compostela Cathedral

text: The central tympanum gives an image of Christ in Majesty as Judge and Redeemer, showing His wounds in His feet and hands, accompanied by the tetramorph. He is surrounded on both sides by a retinue of angels carrying the symbols of the Passion. In the archivolt are represented the 24 Elders of the Apocalypse, who are playing musical instruments.


title: Santiago de Compostela Cathedral

text: The column statues represent the apostles with their attribute, along with prophets and Old Testament figures with their name on a book or parchment. These were all polychromed. The faint smile of the prophet Daniel as he looks at the angel of Reims is especially noteworthy.


title: Santiago de Compostela Cathedral

text: The middle pier represents Saint James, his face conveying an ecstatic serenity. The text scroll in his hand shows the words "Misit me Dominus" (the Lord sent me). Below him is the Tree of Jesse (the lineage leading to Christ), while above is a representation of the Trinity. It is customary for the pilgrims to touch the left foot of this statue, signifying that they have reached their destination. So many pilgrims have laid their hands on the pillar to rest, that a groove has been worn in the stone.


title: Santiago de Compostela Cathedral

text: The right tympanum is divided into three parts and is dedicated to the theme of salvation. In the centre are Christ and St Michael, flanked by Hell (represented by demons) and Heaven (represented by children). Purgatory is shown on the side. The left tympanum shows scenes from the Old Testament.


title: Santiago de Compostela Cathedral

text: Behind the portico stands the statue of Maestro Mateo, the master architect and sculptor put in charge of the cathedral building programme in the 12th century by Fernando II. It is said that whoever butts their head three times against the statue will be given a portion of Mateo's genius and perhaps enhanced memory. There was formerly a long line of visitors waiting to touch their head against the statue, but it is now blocked off because an indentation started to develop from the repeated contact.


title: Santiago de Compostela Cathedral

text: The barrel-vaulted nave and the groin-vaulted aisles consist of eleven bays, while the wide transept consists of six bays. Every clustered pier is flanked by semi-columns, three of which carry the cross vaults of the side aisles and the truss of the arched vaults, while the fourth reaches to the spring of the vault. Lit galleries run, at a remarkable height, above the side aisles around the church.


title: Santiago de Compostela Cathedral

text: The choir is covered by three bays and surrounded with an ambulatory and five radiating chapels. The vault of the apse is pierced by round windows, forming a clerestory. The choir displays a surprising exuberance in this Romanesque setting. An enormous baldachin, with a sumptuous decorated statue of Saint James from the 13th century, rises above the main altar. The pilgrims can kiss the saint's mantle via a narrow passage behind the altar.


title: Santiago de Compostela Cathedral

text: In the choir aisle the beautiful lattice work and the vault of the Mondragon chapel (1521) stand out. The radiating chapels constitute a museum of paintings, retables, reliquaries and sculptures, accumulated throughout the centuries. In the Chapel of the Reliquary () is a gold crucifix, dated 874, containing an alleged piece of the True Cross.


title: Santiago de Compostela Cathedral

text: The crypt, below the main altar, shows the substructure of the 9th-century church. This was the final destination of the pilgrims. The crypt houses the relics of Saint James and two of his disciples: Saint Theodorus and Saint Athanasius. The silver reliquary (by José Losada, 1886) was put in the crypt at the end of the 19th century, after authentication of the relics by Pope Leo XIII in 1884.


title: Santiago de Compostela Cathedral

text: Throughout the course of time, the burial place of the saint had been almost forgotten. Because of regular Dutch and English incursions, the relics had been transferred in 1589 from their place under the main altar to a safer place. They were rediscovered in January 1879.


title: Santiago de Compostela Cathedral

text: A dome above the crossing contains the pulley mechanism to swing the "Botafumeiro", which is a famous thurible found in this church. It was created by the goldsmith José Losada in 1851. The Santiago de Compostela Botafumeiro is the largest censer in the world, weighing and measuring in height. It is normally on exhibition in the library of the cathedral, but during certain important religious holidays it is attached to the pulley mechanism, filled with of charcoal and incense. In the Jubilee Years (whenever St James's Day falls on a Sunday) the Botafumeiro is also used in all the Pilgrims' Masses. Eight red-robed "tiraboleiros" pull the ropes and bring it into a swinging motion almost to the roof of the transept, reaching speeds of and dispensing thick clouds of incense.


title: Shirley Stelfox

text: Shirley Rosemary Stelfox (11 April 1941 – 7 December 2015) was an English actress, known for her portrayal of the character Edna Birch, a moralising busybody in the ITV soap opera "Emmerdale", and as Rose, the vampy sister of the snobby and overbearing Hyacinth Bucket in the first season of the comedy series "Keeping Up Appearances".


title: Shirley Stelfox

text: Stelfox was born at Dukinfield, Cheshire, on 11 April 1941. She suffered from bilateral amblyopia, which left her short-sighted. She studied at RADA, where her classmates included Edward Fox, John Thaw, and Sarah Miles. She was playing in pantomimes at the Old Chapel, Dukinfield, and in productions during the years of her study the town's Lakes Road Secondary School.


title: Shirley Stelfox

text: After the Royal Academy of Dramatic Art Stelfox started straight at the BBC in a play called "The Case Before You" in which she played a 15 year old arsonist - where the prompter did not respond to her long pauses. In December 1960, she appeared in her first episode of "Coronation Street". She would later play many different characters in the world-famous soap opera, including, in 1983, running a dating agency in which one of her customers was the entrance cue for Jack Duckworth. In 1983, Stelfox appeared in an episode of "Grange Hill" appearing as a Secretary at the school. She was the first actress to play Hyacinth Bucket's randy sister Rose in the first series of "Keeping Up Appearances", but was later replaced by Mary Millar. She appeared in several other well-known television series, including the successful "Wicked Women", "Making Out" with Margi Clarke, Mrs Parkin in "Heartbeat", - and Jean in "Common as Muck", "Juliet Bravo", "Coronation Street", "The Bill" and "Crossroads", and "Inspector Morse",


title: Shirley Stelfox

text: She played Jane Healy, Melanie Owen's mother, in an episode of "EastEnders". She appeared in the short-lived series "Albion Market".


title: Shirley Stelfox

text: Stelfox had a long life in different soap operas, briefly appearing in "Crossroads" (as a police officer), "Owen MD" and "Family Affairs". She had played in "Brookside" as Madge Richmond (1986–1987), where she depicted two-timed the widowed pensioner Ralph Hardwick (Ray Dunbobbin), and in 1999 she appeared in two episodes of "EastEnders" as Jane Healy. Among many others of one-off parts, she played as Alice Hobson in "Hobson’s Choice" (1967), Helen in "Civvies" (1992), Julie Clegg in "Three Seven Eleven" (1993–1994), Jean in "Common as Muck" (1994) and Mrs Nolan in "Lucy Sullivan Is Getting Married" (1999–2000).she was also in emmerdale as Edna birch


title: Shirley Stelfox

text: Stelfox played the mother of Julie Walters and Victoria Wood in the TV film "Pat and Margaret" (1994). But her best-known film role came as the "$2.00 Prostitute" in "Nineteen Eighty-Four", a film adaptation of the George Orwell novel, starring John Hurt and Richard Burton. Somewhat typecast as a prostitute she played another in Terry Jones's comedy "Personal Services" (1987) based on the life of Madame Cyn, the brothel owner who entertained celebrities and politicians.


title: Shirley Stelfox

text: On the West End stage, Stelfox played Sue Lawson in "Not Now", Darling (Strand theatre, 1968) and Phoebe in "Toad of Toad Hall" (Duke of York's theatre, 1970).


title: Shirley Stelfox

text: Stelfox portrayed a stand-up comedian in "Stand Up Sweetie Pie", directed by June Brown, the stalwart of EastEnders, who must have come across each other on set; it premièred in 1993 at the Nottingham Playhouse, rather than in the West End. She played a role of spidery Regan in King Lear at the Ludlow Festival in 1972 and at the Connaught Theatre, played Lady Macbeth in 1973, Titania in A Midsummer Night's Dream in 1978 and Yelena in Uncle Vanya in 1974.


title: Shirley Stelfox

text: Stelfox was married to Keith Edmundson for three years. She had a daughter, Helena, from this marriage. She later married actor Don Henderson in 1979 and they were together until his death from throat cancer in 1997. They lived in Stratford-upon-Avon, where she helped bring up Henderson's two children from his first marriage. She moved to rural Nottinghamshire after Henderson's death.


title: Rodeo (Travis Scott album)

text: Rodeo is the debut studio album by American rapper and record producer Travis Scott. It was released on September 4, 2015, through Grand Hustle Records and distributed by Epic Records. The album features guest appearances from Quavo, Future, 2 Chainz, Juicy J, Kacy Hill, The Weeknd, Swae Lee, Chief Keef, Kanye West, Justin Bieber, Young Thug, Toro y Moi and Schoolboy Q, while the production was provided by Scott himself, alongside several high-profile record producers such as WondaGurl, Allen Ritter, Mike Dean, Metro Boomin, Frank Dukes, and Sonny Digital, among others.


title: Rodeo (Travis Scott album)

text: "Rodeo" was supported by two singles: "3500" and "Antidote". The latter became his highest-charting single in the US "Billboard" Hot 100 at the time, peaking at number 16. The album received generally favorable reviews from critics and debuted at number three on the US "Billboard" 200. In May 2017, the album was certified platinum by the Recording Industry Association of America (RIAA).


title: Rodeo (Travis Scott album)

text: Travis Scott announced the release date for "Rodeo" through social media on July 17, 2015. In the "CR Fashion Book", Scott stated his life was like a rodeo and he feels like he is trying to stay on a bucking animal:


title: Rodeo (Travis Scott album)

text: On January 26, 2015, to support the album, Scott announced he would embark on The Rodeo Tour with Young Thug and Metro Boomin. On January 27, the following day, Scott released two new songs; "High Fashion" featuring Future, and "Nothing But Net" featuring Young Thug and PartyNextDoor. However, neither of them ended up being on the final version of the album. On June 12, 2015, a track titled "Drunk" featuring Young Thug, leaked online.


title: Rodeo (Travis Scott album)

text: On June 8, 2015, Scott released the album's lead single, "3500", which features guest appearances from American rappers Future and 2 Chainz. It peaked at number 82 on the US "Billboard" Hot 100.


title: Rodeo (Travis Scott album)

text: On July 29, 2015, Scott released the album's second single, "Antidote". The song peaked at number 16 on the "Billboard" Hot 100.


title: Rodeo (Travis Scott album)

text: "Rodeo" was met with generally favorable reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 64, based on 15 reviews. Aggregator AnyDecentMusic? gave it 5.5 out of 10, based on their assessment of the critical consensus.


title: Rodeo (Travis Scott album)

text: Roger Krastz of "XXL" stated, "Overall, "Rodeo" has plenty of bangers and noteworthy collaborations that help bring out a fantastic trap sound that could bleed into the mainstream of hip-hop in no time". Jason Bisnoff of "HipHopDX" stated, ""Rodeo"s back end after "Antidote" begin to mesh together and gets repetitive... Nonetheless, the originality of Scott's sound within this new movement provides for a strong rookie effort leaving the listener excited for a career that is just getting started". Trazier Tharpe of "Complex" stated, "Travis Scott made an enjoyable album for his fans peppered with undeniable bangers for his detractors". David Jeffries of AllMusic stated, "With "Rodeo", Travis Scott becomes a designer drug". Steve "Flash" Juon of "RapReviews" stated, "Somewhere beneath all the hype and production he does shine through". Martin Caballero of "The Boston Globe" stated, "His versatility, combined with a high-profile guest list, conspires against him; among 14 tracks, Scott conjures just a handful of moments that hint at untapped reserves of talent".


title: Rodeo (Travis Scott album)

text: Matthew Cooper of "Clash" stated, "Yes, the production is razor sharp, the beats are skewed and often very loud which makes them feel important, but in reality, it's all a façade; an image". Kevin Ritchie of "Now" stated, "Scott goes for spacey sounds, stoner vibes and vocal filters, but despite the eclecticism, he's too elusive and bland for "Rodeo" to amount to a stylistic--let alone a subversive--statement". Sheldon Pearce from "Pitchfork" stated, "He is most effective when he harshly distorts his vocals to create texture, and in the company of others he can serve as a welcome change of pace". David Turner from "Rolling Stone" stated, "Left on his own, Scott can grow tiresome. "I Can Tell" sounds monochromatic without another voice to push this astute curator. Some rock stars are better leading bands than going solo". Matthew Ramirez of "Spin" stated, "This is a cold, calculated record lacking in personality, though it certainly tries to deliver something that Scott is incapable of".


title: Rodeo (Travis Scott album)

text: "Rodeo" debuted at number three on the US "Billboard" 200, moving 85,000 album-equivalent units, of which 70,000 are pure album sales. As of November 2015, "Rodeo" has sold 110,000 copies in the United States. In May 2017, the album was certified platinum by the Recording Industry Association of America (RIAA) for combined sales and album-equivalent units of over one million units.


title: Apache License

text: The Apache License is a permissive free software license written by the Apache Software Foundation (ASF). It allows users to use the software for any purpose, to distribute it, to modify it, and to distribute modified versions of the software under the terms of the license, without concern for royalties. The ASF and its projects release their software products under the Apache License. The license is also used by many non-ASF projects.


title: Apache License

text: Beginning in 1995, the Apache Group (later the Apache Software Foundation) released successive versions of the Apache HTTP Server. Its initial license was essentially the same as the original 4-clause BSD license, with only the names of the organizations changed, and with an additional clause forbidding derivative works from bearing the Apache name.


title: Apache License

text: In July 1999, the Berkeley Software Distribution accepted the argument put to it by the Free Software Foundation and retired their "advertising clause" (clause 3) to form the new 3-clause BSD license. In 2000, Apache did likewise and created the Apache License 1.1, in which derived products are no longer required to include attribution in their advertising materials, only in their documentation. Individual packages licensed under the 1.1 version may have used different wording due to varying requirements for attribution or mark identification, but the binding terms were the same.


title: Apache License

text: In January 2004, ASF decided to depart from the BSD model and produced the Apache License 2.0. The stated goals of the license included making it easier for non-ASF projects to use, improving compatibility with GPL-based software, allowing the license to be included by reference instead of listed in every file, clarifying the license on contributions, and requiring a patent license on contributions that necessarily infringe a contributor's own patents. This license requires preservation of the copyright notice and disclaimer.


title: Apache License

text: The Apache License is permissive; unlike copyleft licenses, it does not require a derivative work of the software, or modifications to the original, to be distributed using the same license. It still requires application of the same license to all unmodified parts. In every licensed file, original copyright, patent, trademark, and attribution notices must be preserved (excluding notices that do not pertain to any part of the derivative works). In every licensed file changed, a notification must be added stating that changes have been made to that file.


title: Apache License

text: If a codice_1 text file is included as part of the distribution of the original work, then derivative works must include a readable copy of these notices within a codice_1 text file distributed as part of the derivative works, within the source form or documentation, or within a display generated by the derivative works (wherever such third-party notices normally appear).


title: Apache License

text: The contents of the codice_1 file do not modify the license, as they are for informational purposes only, and adding more attribution notices as addenda to the codice_1 text is permissible, provided that these notices cannot be understood as modifying the license. Modifications may have appropriate copyright notices, and may provide different license terms for the modifications.


title: Apache License

text: Unless explicitly stated otherwise, any contributions submitted by a licensee to a licensor will be under the terms of the license without any terms and conditions, but this does not preclude any separate agreements with the licensor regarding these contributions.


title: Apache License

text: The Apache License 2.0 attempts to forestall potential patent litigation in Section 3. The user is granted a patent license from each contributor to "make, have made, use, offer to sell, sell, import, and otherwise transfer the Work." Through an in terrorem clause, if the user sues anyone alleging that the software or a contribution within it constitutes patent infringement, any such patent licenses for that work are terminated.


title: Apache License

text: The Apache Software Foundation and the Free Software Foundation agree that the Apache License 2.0 is a free software license, compatible with the GNU General Public License (GPL) version 3, meaning that code under GPLv3 and Apache License 2.0 can be combined, as long as the resulting software is licensed under the GPLv3.


title: Apache License

text: The Free Software Foundation considers all versions of the Apache License to be incompatible with the previous GPL versions 1 and 2. Furthermore, it considers Apache License versions before 2.0 incompatible with GPLv3. Because of version 2.0's patent license requirements, the Free Software Foundation recommends it over other non-copyleft licenses. If the Apache License with the LLVM exception is used, then it is compatible with GPLv2.


title: Apache License

text: In October 2012, 8,708 projects located at SourceForge.net were available under the terms of the Apache License. In a blog post from May 2008, Google mentioned that over 25% of the nearly 100,000 projects then hosted on Google Code were using the Apache License, including the Android operating system.


title: Apache License

text: , according to Black Duck Software and GitHub, the Apache license is the third most popular license in the FOSS domain after MIT License and GPLv2.


title: Apache License

text: The OpenBSD project does not consider the Apache License 2.0 to be an acceptable free license because of its patent provisions. The OpenBSD policy believes that when the license forces one to give up a legal right that one otherwise has, that license is no longer free. Moreover, the project objects to involving contract law with copyright law, stating "...Copyright law is somewhat standardized by international agreements, contract law differs wildly among jurisdictions. So what the license means in different jurisdictions may vary and is hard to predict."


title: Lexington Steele

text: Clifton Todd Britt (born November 28, 1969), better known by his stage name Lexington Steele, is an American pornographic actor, director, producer, and former stockbroker. He is the owner of the adult production companies Mercenary Motion Pictures and Black Viking Pictures Inc.


title: Lexington Steele

text: In 2003, Steele became the first actor to receive the AVN Award for Male Performer of the Year three times. He has been inducted into the AVN and XRCO Halls of Fame. Steele has also made several mainstream appearances, including the film "" (2009) and episodes of "Weeds" and "Nip/Tuck".


title: Lexington Steele

text: Steele was born and raised in Morristown, New Jersey. After graduating from Morristown High School, he attended Morehouse College in Atlanta, Georgia. After two years, he transferred to Syracuse University in New York. In 1993, Steele graduated from Syracuse's College of Arts and Sciences with Bachelor of Arts degrees in History and African American studies.


title: Lexington Steele

text: Steele started out in finance as a stockbroker trainee at a brokerage firm. After earning his Series 7 trading license, he transitioned to working for Oppenheimer Financial at the World Trade Center. Steele believes he would've been a victim of the September 11 attacks had he continued working as a stockbroker.


title: Lexington Steele

text: In a 2015 interview in "AVN" magazine, Steele commented about his transition into the adult industry, "Once I was licensed, it opened the door to a whole new recreational side of the industry. The guy who trained me invited me to a party in a hotel suite, and it ended up being a sex party like the ones in [the film] "Wolf of Wall Street". It wasn't long before a bigger director from Los Angeles gave me a job and suggested I attend the annual porn industry convention in Las Vegas" and with regard to his decision to switch careers and industries and in consideration for how lucrative securities trading can be, Steele stated, "I tell them it's not like I was already a master of the universe. I was working 12 to 14 hours six days a week. I made six figures, but my quality of life wasn't commensurate".


title: Lexington Steele

text: Steele has said that his stage name came about back during the days when he worked as a stockbroker when he took the subway to visit a client (at that time, he had already decided to move in the adult film industry and use the last name Steele), who was located in Midtown Manhattan and, Steele said, "I got off the subway at Madison [Avenue], [...] on the corner of Madison and Lexington Avenues" ["sic"], where he was struck by the sound of Lexington as a first name. In April 2001, he started appearing in adult movies in New York City. Steele moved to Los Angeles and joined the industry full-time in August 2001, initially shooting mainly for companies such as West Coast Productions and director Spunky, before appearing on videotapes produced by Anabolic and Diabolic. At the beginning of 2008, he joined Red Light District Video for a brief period. He appeared in about 1,300 videos in his pornographic career. He is known for his highly productive ejaculation capability and is popular on set.


title: Lexington Steele

text: Steele directs and performs exclusively for his own production company, Mercenary Motion Pictures (Headquarters in Encino, California), which he founded in 2008 and serves as chairman and CEO since 2009, with the company reporting annual net profits of $2.6 million in 2011. In 2013, he joined the Evil Angel roster of directors.


title: Lexington Steele

text: Steele has worked as a model on the side and acted in minor TV roles. He appeared in two episodes of Showtime's "Weeds" in 2007 (3x07 "He taught me how to drive by" and 3x08 "The two Mrs. Scottsons") playing himself at a movie shoot filming a scene with Jessica Jaymes and Kirsten Price. He appeared in the 2009 feature film "" and also appeared in an episode of the FX series "Nip/Tuck" (5x05 "Chaz Darling") as a male escort at a party.


title: Lexington Steele

text: Steele dated for several years and was at one point engaged to adult film actress and director Vanessa Blue. The two appeared together on "Playboy TV" and in several movies. Blue announced that she would be leaving Steele's production company Mercenary Pictures on June 20, 2006. In 2008, Steele and Blue filed federal lawsuits against each other over the ownership of numerous videos that were released under Mercenary. The suit was ultimately settled in March 2009 after the two met with an alternative dispute resolution jurist.


title: Lexington Steele

text: In October 2016, Steele and French Canadian actress Savana Styles launched Mercenary Enterprises, a division of Mercenary Pictures focusing on fetish-themed productions. In a 2017 interview with "AVN", Steele revealed he had been to married to Styles for a year.


title: Lexington Steele

text: In 2019, Steele underwent hip replacement surgery. During recovery, he experienced complications that required another operation. In November 2019, a crowdfunding campaign through GoFundMe was launched to help pay Steele's medical expenses.


title: Lexington Steele

text: During his time studying African-American studies, Steele developed an awareness of American politics and African-American rights. In 2008, he expressed his support for Barack Obama's presidential campaign.


title: Jack McVitie

text: Jack McVitie (19 April 1932 – 29 October 1967), best known as Jack the Hat, was an English criminal from London during the 1950s and 1960s. He is posthumously famous for triggering the imprisonment and downfall of the Kray twins. He had acted as an enforcer and hitman with links to The Firm, and was murdered by Reggie Kray in 1967.


title: Jack McVitie

text: McVitie's first criminal conviction was in October 1946 when he was taken to Buntingford Juvenile Court for stealing a watch and cigarettes.


title: Jack McVitie

text: McVitie married Marie Marney in Surrey in 1950. He fathered one son who was named Tony McVitie. The nickname "Jack the Hat" is said to be because of a trilby hat that he wore to cover up his hair loss. A known drug trafficker by the 1960s, he had been an associate of the Kray twins for some time and, although never a permanent member of "The Firm", was regularly employed to commit various crimes on their behalf.


title: Jack McVitie

text: In 1967, Ronnie Kray paid McVitie £500 in advance to kill ex-friend and business partner Leslie Payne, promising he would give another £500 when the job was finished, amid fears that Payne was about to inform the police of his criminal activities. McVitie and a friend, Billy Exley, set off to shoot Payne, but were unsuccessful. Exley, the driver, suffered from heart trouble and McVitie was now heavily dependent on drugs.


title: Jack McVitie

text: Arriving at Payne's home, McVitie hammered loudly on the front door, which luckily for Payne was opened by his wife. "He's not in," she said. "That's all right," said McVitie and he and Exley left. Instead of repaying the money McVitie kept it. This incident led, in part, to McVitie's death.


title: Jack McVitie

text: On 29 October 1967, McVitie was invited to a party in Evering Road in Stoke Newington, London, with several of his underworld associates and their families. The Krays had secretly arrived at the party first and had spent an hour clearing away guests. Reggie Kray's initial plan to shoot McVitie upon entry failed. His gun jammed and, instead, he stabbed McVitie repeatedly in the face, chest and stomach as part of a brief but violent struggle. The twins quickly fled the scene and McVitie's body was deposited, wrapped in an eiderdown and left outside St Mary's Church, Rotherhithe by Tony and Chris Lambrianou, Keith Askem and Ronnie Bender, who were minor members of the Firm.


title: Jack McVitie

text: When the Krays discovered the whereabouts of the corpse, they ordered it to be immediately moved, probably because of the close proximity of friend and associate Freddie Foreman. The body was never recovered, although in an interview in 2000 (which featured Reg Kray giving a frank account of the activity of the Firm 12 days before his death) Foreman admitted to throwing McVitie's body from a boat into the sea at Newhaven, Sussex.


title: Jack McVitie

text: Following McVitie's murder, the Krays and several other members of their gang were finally arrested by the Scotland Yard police officers who had been watching their exploits for years. At the Old Bailey on 4 March 1969, both were found guilty of murder and sentenced to life imprisonment with a recommendation that they should each serve a minimum of 30 years. Ronnie's murder conviction was for the murder of rival gangster, George Cornell, whom he shot dead in March 1966.


title: Jack McVitie

text: The jury took 6 hours and 55 minutes to reach their unanimous verdict. Never before at the Old Bailey had such a long and expensive trial taken place. The Krays' elder brother Charlie, together with Freddie Foreman (who helped move the body) and Cornelius Whitehead, were all found guilty of being accessories to McVitie's murder.


title: Jack McVitie

text: Prison seemed to do much to encourage the myth and legend surrounding the Krays. Both wrote best-selling books about their lives and, in 1990, a full-length biographical film entitled "The Krays" was released (featuring real-life brothers Martin and Gary Kemp as the Kray twins). Jack McVitie was portrayed by actor Tom Bell in this film before also featuring in the 2004 film "Charlie", this time depicted by Marius Swift. In the 2015 film about the Krays, "Legend", he is played by Sam Spruell.


title: 2022 FIBA Asia Cup

text: The 2022 FIBA Asia Cup was the 30th edition of the FIBA Asia Cup, the continental basketball championship in Asia. The tournament was organised by FIBA Asia.


title: 2022 FIBA Asia Cup

text: Originally intended to be the 2021 edition, the tournament was initially scheduled to take place between 3 and 15 August 2021, but it was postponed due to 17 to 29 August 2021 to avoid scheduling conflict with the 2020 Summer Olympics which was postponed by a year due to the COVID-19 pandemic. It was later postponed again to 12 to 24 July 2022.


title: 2022 FIBA Asia Cup

text: Indonesia was the host for second time after staging the 1993 edition. Australia defended their title with a win over Lebanon, while New Zealand grabbed their first medal after winning bronze with a win against Jordan.


title: 2022 FIBA Asia Cup

text: On 7 October 2020, Indonesian Youth and Sports Minister Zainudin Amali confirmed that FIBA had entrusted Indonesia to host the upcoming Asia Cup in 2021. However, an official announcement by FIBA was yet to be made at that time. On 18 December, FIBA confirmed that the country would host the tournament.


title: 2022 FIBA Asia Cup

text: However, due to a surge of COVID-19 cases in Indonesia amid the pandemic as of July 2021, FIBA considered postponing the competition to 2022. Jordan had offered to host the tournament as an alternative.


title: 2022 FIBA Asia Cup

text: 16 qualified teams played in the main round. They were divided into four groups of four teams. Every group winner gained direct access to the quarterfinal, while the runners-up played a playoff game.


title: 2022 FIBA Asia Cup

text: The qualification started on 23 February 2018. Teams that did not manage to advance to the 2019 FIBA Basketball World Cup qualification and the teams that did not participate in it played in the first round of the pre-qualifiers. Pre-qualifiers were held in the western and eastern regions to determine the eight teams who will join the 16 teams that participated in the 2017 FIBA Asia Cup. Below is the list of qualified teams to the 2022 FIBA Asia Cup. Indonesia qualified by virtue of being confirmed as host on 18 December 2020, although they have entered the qualification process prior to the confirmation of their hosting.


title: 2022 FIBA Asia Cup

text: The draw was scheduled to take place on 8 December 2021, but was postponed due to COVID-19 pandemic-related travel restrictions by Indonesia. The draw took place on 18 February 2022.


title: 2022 FIBA Asia Cup

text: Each team has a roster of twelve players. A team may opt to allocate a roster spot to a naturalized player.


title: Royal charter

text: A royal charter is a formal grant issued by a monarch under royal prerogative as letters patent. Historically, they have been used to promulgate public laws, the most famous example being the English Magna Carta (great charter) of 1215, but since the 14th century have only been used in place of private acts to grant a right or power to an individual or a body corporate. They were, and are still, used to establish significant organisations such as boroughs (with municipal charters), universities and learned societies.


title: Royal charter

text: Charters should be distinguished from royal warrants of appointment, grants of arms and other forms of letters patent, such as those granting an organisation the right to use the word "royal" in their name or granting city status, which do not have legislative effect. The British monarchy has issued over 1,000 royal charters. Of these about 750 remain in existence.


title: Royal charter

text: The earliest charter recorded on the UK government's list was granted to the University of Cambridge by Henry III of England in 1231, although older charters are known to have existed including to the Worshipful Company of Weavers in England in 1150 and to the town of Tain in Scotland in 1066. Charters continue to be issued by the British Crown, a recent example being that awarded to The Chartered Institute of Ergonomics and Human Factors, in 2014.


title: Royal charter

text: Charters have been used in Europe since medieval times to grant rights and privileges to towns, boroughs and cities. During the 14th and 15th century the concept of incorporation of a municipality by royal charter evolved. Royal charters were used in England to make the most formal grants of various rights, titles, etc. until the reign of Henry VIII, with letters patent being used for less solemn grants. After the eighth year of Henry VIII, all grants under the Great Seal were issued as letters patent.


title: Royal charter

text: Among the past and present groups formed by royal charter are the Company of Merchants of the Staple of England (13th century), the British East India Company (1600), the Hudson's Bay Company, the Chartered Bank of India, Australia and China (since merged into Standard Chartered), the Peninsular and Oriental Steam Navigation Company (P&O), the British South Africa Company, and some of the former British colonies on the North American mainland, City livery companies, the Bank of England and the British Broadcasting Corporation (BBC).


title: Royal charter

text: Between the 14th and 19th centuries, royal charters were used to create chartered companies – for-profit ventures with shareholders, used for exploration, trade and colonisation. Early charters to such companies often granted trade monopolies, but this power was restricted to Parliament from the end of the 17th century. Until the 19th century, royal charters were the only means other than an act of parliament by which a company could be incorporated; in the UK, the Joint Stock Companies Act 1844 opened up a route to incorporation by registration, since when incorporation by royal charter has been, according to the Privy Council, "a special token of Royal favour or ... a mark of distinction".


title: Royal charter

text: The use of royal charters to incorporate organisations gave rise to the concept of the "corporation by prescription". This enabled corporations that had existed from time immemorial to be recognised as incorporated via the legal fiction of a "lost charter". Examples of corporations by prescription include Oxford and Cambridge universities.


title: Royal charter

text: According to the "Catholic Encyclopedia", of the 81 universities established in pre-Reformation Europe, 13 were established "ex consuetudine" without any form of charter, 33 by Papal bull alone, 20 by both Papal bull and imperial or royal charter, and 15 by imperial or royal charter alone. Universities established solely by royal (as distinct from imperial) charter did not have the same international recognition – their degrees were only valid within that kingdom.


title: Royal charter

text: The first university to be founded by charter was the University of Naples in 1224, founded by an imperial charter of Frederick II. The first university founded by royal charter was the University of Coimbra in 1290, by King Denis of Portugal, which received papal confirmation the same year. Other early universities founded by royal charter include the University of Perpignan (1349; papal confirmation 1379) and the University of Huesca (1354; no confirmation), both by Peter IV of Aragon; the Jagiellonian University (1364; papal confirmation the same year) by Casimir III of Poland; the University of Vienna (1365; Papal confirmation the same year) by Rudolf IV, Duke of Austria; the University of Caen (1432; Papal confirmation 1437) by Henry VI of England; the University of Girona (1446; no confirmation) and the University of Barcelona (1450; papal confirmation the same year), both by Alfonso V of Aragon; the University of Valence (1452; papal confirmation 1459) by the Dauphin Louis (later Louis XI of France); and the University of Palma (1483; no confirmation) by Ferdinand II of Aragon.


title: Royal charter

text: Both Oxford and Cambridge received royal charters during the 13th century. However, these charters were not concerned with academic matters or their status as universities but rather about the exclusive right of the universities to teach, the powers of the chancellors' courts to rule on disputes involving students, and fixing rents and interest rates.


title: Royal charter

text: The University of Cambridge was confirmed by a papal bull in 1317 or 1318, but despite repeated attempts, the University of Oxford never received such confirmation. The three pre-Reformation Scottish universities were all established by papal bulls: St Andrews in 1413; Glasgow in 1451; and King's College, Aberdeen (which later became the University of Aberdeen) in 1494.


title: Royal charter

text: Following the Reformation, establishment of universities and colleges by royal charter became the norm. The University of Edinburgh was founded under the authority of a royal charter granted to the Edinburgh town council in 1582 by James VI as the "town's college". Trinity College Dublin was established by a royal charter of Elizabeth I (as Queen of Ireland) in 1593. Both of these charters were given in Latin.


title: Royal charter

text: The Edinburgh charter gave permission for the town council "to build and to repair sufficient houses and places for the reception, habitation and teaching of professors of the schools of grammar, the humanities and languages, philosophy, theology, medicine and law, or whichever liberal arts which we declare detract in no way from the aforesaid mortification" and granted them the right to appoint and remove professors. But, as concluded by Edinburgh's principal, Sir Alexander Grant, in his tercentenary history of the university, "Obviously this is no charter founding a university". Instead, he proposed, citing multiple pieces of evidence, that the surviving charter was original granted alongside a second charter founding the college, which was subsequently lost (possibly deliberately). This would also explain the source of Edinburgh's degree awarding powers, which were used from the foundation of the college.


title: Royal charter

text: The royal charter of Trinity College Dublin, while being straightforward in incorporating the college, also named it as "mother of a University", and rather than granting the college degree-awarding powers stated that "the students on this College … shall have liberty and power to obtain degrees of Bachelor, Master, and Doctor, at a suitable time, in all arts and faculties". Thus the University of Dublin was also brought into existence by this charter, as the body that awards the degrees earned by students at Trinity College.


title: Royal charter

text: Following this, no surviving universities were created in the British Isles until the 19th century. The 1820s saw two colleges receive royal charters: St David's College, Lampeter in 1828 and King's College London in 1829. Neither of these were granted degree-awarding powers or university status. The 1830s saw an attempt by University College London to gain a charter as a university and the creation by Act of Parliament of Durham University, but without incorporating it or granting any specific powers. These led to debate about the powers of royal charters and what was implicit to a university.


title: Royal charter

text: The essence of the debate was firstly whether the power to award degrees was incidental to the creation of a university or needed to be explicitly granted and secondly whether a royal charter could, if the power to award degrees was incidental, limit that power – UCL wishing to be granted a royal charter as "London University" but excluding the power to award degrees in theology due to the secular nature of the institute. Sir Charles Wetherell, arguing against the grant of a royal charter to UCL before the Privy Council in 1835, argued for degree-awarding powers being an essential part of a university that could not be limited by charter. Sir William Hamilton, wrote a response to Wetherell in the Edinburgh Review, drawing in Durham University and arguing that the power of universities, including the power to award specific degrees, had always been explicitly granted historically, thus creating a university did not implicitly grant degree-awarding powers. Other historians, however, disagree with Hamilton on the point of whether implicit grants of privileges were made, particularly with regard to the "ius ubique docendi" – the important privilege of granting universally-recognised degrees that was the defining mark of the "studium generale". Hastings Rashdall states that "the special privilege of the "jus ubique docendi" … was usually, but not quite invariably, conferred in express terms by the original foundation-bulls; and was apparently understood to be involved in the mere act of erection even in the rare cases where it is not expressly conceded". Similarly, Patrick Zutshi, Keeper of Manuscripts and University Archives in Cambridge University Library, writes that "Cambridge never received from the papacy an explicit grant of the "ius ubique docendi", but it is generally considered that the right is implied in the terms of John XXII’s letter of 1318 concerning Cambridge’s status as a studium generale."


title: Royal charter

text: UCL was incorporated by royal charter in 1836, but without university status or degree-awarding powers, which went instead to the University of London, created by royal charter with the explicit power to grant degrees in Arts, Law and Medicine. Durham University was incorporated by royal charter in 1837 (explicitly not founding the university, which it describes as having been "established under our Royal sanction, and the authority of our Parliament") but although this confirmed that it had "all the property, rights, and privileges which ... are incident to a University established by our Royal Charter" it contained no explicit grant of degree-awarding powers. This was considered sufficient for it to award "degrees in all the faculties", but all future university royal charters explicitly stated that they were creating a university and explicitly granted degree-awarding power. Both London (1878) and Durham (1895) later received supplemental charters allowing the granting of degrees to women, which was considered to require explicit authorisation. After going through four charters and a number of supplemental charters, London was reconstituted by Act of Parliament in 1898.


title: Royal charter

text: The Queen's Colleges in Ireland, at Belfast, Cork, and Galway, were established by royal charter in 1845, as colleges without degree awarding powers. The Queens University of Ireland received its royal charter in 1850, stating "We do will, order, constitute, ordain and found an University ... and the same shall possess and exercise the full powers of granting all such Degrees as are granted by other Universities or Colleges in the faculties of Arts, Medicine and Law". This served as the degree awarding body for the Queen's Colleges until it was replaced by the Royal University of Ireland.


title: Royal charter

text: The royal charter of the Victoria University in 1880 started explicitly that "There shall be and is hereby constituted and founded a University" and granted an explicit power of awarding degrees (except in medicine, added by supplemental charter in 1883).


title: Royal charter

text: From then until 1992, all universities in the United Kingdom were created by royal charter except for Newcastle University, which was separated from Durham via an Act of Parliament. Following the independence of the Republic of Ireland, new universities there have been created by Acts of the Oireachtas (Irish Parliament). Since 1992, most new universities in the UK have been created by Orders of Council as secondary legislation under the Further and Higher Education Act 1992, although granting degree-awarding powers and university status to colleges incorporated by royal charter is done via an amendment to their charter.


title: Royal charter

text: Several of the colonial colleges that predate the American Revolution are described as having been established by royal charter. Except for The College of William & Mary, which received its charter from King William III and Queen Mary II in 1693 following a mission to London by college representatives, these were either provincial charters granted by local governors (acting in the name of the king) or charters granted by legislative acts from local assemblies.


title: Royal charter

text: The first charters to be issued by a colonial governor on the consent of their council (rather than by an act of legislation) were those granted to Princeton University (as the College of New Jersey) in 1746 (from acting governor John Hamilton) and 1748 (from Governor Jonathan Belcher). There was concern as to whether a royal charter given by a governor in the King's name was valid without royal approval. An attempt to resolve this in London in 1754 ended inconclusively when Henry Pelham, the prime minister, died. However, Princeton's charter was never challenged in court prior to its ratification by the state legislature in 1780, following the US Declaration of Independence.


title: Royal charter

text: Columbia University received its royal charter (as King's College) in 1754 from Lieutenant Governor James DeLancey of New York, who bypassed the assembly rather than risking it rejecting the charter. Rutgers University received its (as Queen's College) in 1766 (and a second charter in 1770) from Governor William Franklin of New Jersey, and Dartmouth College received its in 1769 from Governor John Wentworth of New Hampshire. The case of "Dartmouth College v. Woodward", heard before the Supreme Court of the United States in 1818, centred on the status of the college's royal charter. The court found in 1819 that the charter was a contract under the Contract Clause of the US Constitution, meaning that it could not be impaired by state legislation, and that it had not been dissolved by the revolution.


title: Royal charter

text: The charter for the College of William and Mary specified it to be a "place of universal study, or perpetual college, for divinity, philosophy, languages and other good arts and sciences", but made no mention of the right to award degrees. However, the Latin text of the charter uses "studium generale" – the technical term used in the middle ages for a university –where the English text has "place of universal study"; it has been argued that this granted William and Mary the rights and status of a university.


title: Royal charter

text: The Princeton charter, however, specified that the college could "give and grant any such degree and degrees ... as are usually granted in either of our universities or any other college in our realm of Great Britain". Columbia's charter used very similar language a few years later, as did Dartmouth's charter. The charter of Rutger uses quite different words, specifying that it may "confer all such honorary degrees as usually are granted and conferred in any of our colleges in any of our colonies in America".


title: Royal charter

text: Of the other colleges founded prior to the American Revolution, Harvard College was established in 1636 by Act of the Great and General Court of the Massachusetts Bay Colony and incorporated in 1650 by a charter from the same body, Yale University was established in 1701 by Act of the General Assembly of Connecticut, the University of Pennsylvania received a charter from the proprietors of the colony in 1753, Brown University was established in 1764 (as the College of Rhode Island) by an Act of the Governor and General Assembly of Rhode Island, and Hampden-Sydney College was established privately in 1775 but not incorporated until 1783.


title: Royal charter

text: Eight Canadian universities and colleges were founded or reconstituted under royal charter in the 19th century, prior to confederation in 1867. Most Canadian universities originally established by royal charter were subsequently reincorporated by acts of legislature.


title: Royal charter

text: The University of King's College was founded in 1789 and received a royal charter in 1802 naming it, like Trinity College Dublin, "the Mother of an University" and granting it the power to award degrees. The charter remains in force.


title: Royal charter

text: McGill University was established under the name of McGill College in 1821 by a provincial royal charter issued by Lord Dalhousie as Governor General of British North America, which stated that the "College shall be deemed and taken to be an University" and should have the power to grant degrees. It was reconstituted by a Royal Charter issued in 1852 by Queen Victoria, which remains in force.


title: Royal charter

text: The University of New Brunswick was founded in 1785 as the Academy of Liberal Arts and Sciences and received a provincial charter as the College of New Brunswick in 1800. In the 1820s it began giving university-level instruction and received a Royal Charter under the name "King's College" as a "College, with the style and privileges of an University" in 1827. The college was reconstituted as the University of New Brunswick by an act of legislature in 1859.


title: Royal charter

text: The University of Toronto was founded by royal charter in 1827 under the name of King's College as a "College, with the style and privileges of an University", but did not open until 1843. The charter was subsequently revoked and the institution replaced by the University of Toronto in 1849 under provincial legislation. Victoria University, a college of the University of Toronto, opened in 1832 under the name of the Upper Canada Academy giving "pre-university" classes and received a royal charter in 1836. In 1841 a provincial act replaced the charter, reconstituted the academy as Victoria College, and granted it degree-awarding powers. Another college of Toronto, Trinity College, was incorporated by an act of legislature in 1851 and received a royal charter in 1852 stating that it "shall be a University and shall have and enjoy all such and the like privileges as are enjoyed by our Universities of our United Kingdom of Great Britain and Ireland".


title: Royal charter

text: Queen's University was established by royal charter in 1841. This remains in force as the university's primary constitutional document and was last amended, through the Canadian federal parliament, in 2011.


title: Royal charter

text: Laval University was founded by royal charter in 1852, which granted it degree awarding powers and started that it would "have, possess and enjoy all such and the like privileges as are enjoyed by our Universities of our United Kingdom of Great Britain and Ireland". This was replaced by a new charter from the National Assembly of Quebec in 1971.


title: Royal charter

text: Bishop's University was founded, as Bishop's College, by an Act of Canadian Parliament in 1843 and received a royal charter in 1853 granting it the power to award degrees and stating that "said College shall be deemed and taken to be a University, and shall have and enjoy all such and the like privileges as are enjoyed by our Universities of our United Kingdom of Great Britain and Ireland".


title: Royal charter

text: The University of Ottawa was established in 1848 as the College of Bytown. It received a royal charter under the name College of Ottawa raising it to university status in 1866.


title: Royal charter

text: The older Australian universities of Sydney (1850) and Melbourne (1853) were founded by acts of the legislatures of the colonies. This gave rise to doubts about whether their degrees would be recognised outside of those colonies, leading to them seeking royal charters from London, which would grant legitimacy across the British Empire.


title: Royal charter

text: The University of Sydney obtained a royal charter in 1858. This stated that (emphasis in the original):


title: Royal charter

text: The University of Melbourne's charter, issued the following year, similarly granted its degrees equivalence with those from British universities.


title: Royal charter

text: The act that established the University of Adelaide in 1874 included women undergraduates, causing a delay in the granting of its charter as the authorities in London did not wish to allow this. A further petition for the power to award degrees to women was rejected in 1878 – the same year that London was granted that authority. A charter was finally granted – admitting women to degrees – in 1881.


title: Royal charter

text: The last of Australia's 19th century universities, the University of Tasmania, was established in 1890 and obtained a royal charter in 1915.


title: Royal charter

text: Guilds and livery companies are among the earliest organisations recorded as receiving royal charters. The Privy Council list has the Saddlers Company in 1272 as the earliest, followed by the Merchant Taylors Company in 1326 and the Skinners Company in 1327. The earliest charter to the Saddlers Company gave them authority over the saddlers trade; it was not until 1395 that they received a charter of incorporation. The Merchant Taylors were similarly incorporated by a subsequent charter in 1408.


title: Royal charter

text: Royal charters gave the first regulation of medicine in Great Britain and Ireland. The Barbers Company of London in 1462, received the earliest recorded charters concerning medicine or surgery, charging them with the superintendence, scrutiny, correction and governance of surgery. A further charter in 1540 to the London Guild – renamed the Company of Barber-Surgeons – specified separate classes of surgeons, barber-surgeons, and barbers. The London Company of Surgeons separated from the barbers in 1745, eventually leading to the establishment of the Royal College of Surgeons by royal charter in 1800. The Royal College of Physicians of London was established by royal charter in 1518 and charged with regulating the practice of medicine in the City of London and within seven miles of the city.


title: Royal charter

text: The Barbers Guild (the "Gild of St Mary Magdalen") in Dublin is said to have received a charter in 1446, although this was not recorded in the rolls of chancery and was lost in the 18th century. A later charter united the barbers with the (previously unincorporated) surgeons in 1577. The Royal College of Physicians of Ireland was established by royal charter in 1667 and the Royal College of Surgeons in Ireland, which evolved from the Barbers' Guild in Dublin, in 1784.


title: Royal charter

text: The Royal Society was established in 1660 as Britain's first learned society and received its first royal charter in 1662. It was reincorporated by a second royal charter in 1663, which was then amended by a third royal charter in 1669. These were all in Latin, but a supplemental charter in 2012 gave an English translation to take precedence over the Latin text. The Royal Society of Edinburgh was established by royal charter in 1783 and the Royal Irish Academy was established in 1785 and received its royal charter in 1786.


title: Royal charter

text: New professional bodies were formed in Britain in the early 19th century representing new professions that arose after the industrial revolution and the rise of "laissez-faire" capitalism. These new bodies sought recognition by gaining royal charters, laying out their constitutions and defining the profession in question, often based on occupational activity or particular expertise. To their various corporate objectives, these bodies added the concept of working in the public interest that was not found in earlier professional bodies. This established a pattern for British professional bodies, and the 'public interest' has become a key test for a body seeking a royal charter.


title: Royal charter

text: Royal charters have been used in Australia to incorporate non-profit organisations. However, since at least 2004 this has not been a recommended mechanism.


title: Royal charter

text: The royal decree is the equivalent in Belgium of a royal charter. In the period before 1958, 32 higher education institutes had been created by royal charter. These were typically engineering or technical institutions rather than universities.


title: Royal charter

text: However, several non-technical higher education institutions have been founded, or refounded, under royal decree, such as the "Fonds de la Recherche Scientifique" (National Fund for Scientific Research) in 1928 and the "Koninklijke Vlaamse Academie van België voor Wetenschappen en Kunsten" in 1938.


title: Royal charter

text: Since , competency over education was transferred to the federated entities of Belgium. Royal decrees can therefore no longer grant higher education institution status or university status.


title: Royal charter

text: In Canada, there are a number of organisations that have received royal charters. However, the term is often applied incorrectly to organisations, such as the Royal Astronomical Society of Canada, that have been granted the use of a royal title rather than a royal charter.


title: Royal charter

text: Companies, corporations, and societies in Canada founded under or augmented by a royal charter include:


title: Royal charter

text: Cities under royal charter are not subject to municipal Acts of Parliament applied generally to other municipalities, and instead are governed by legislation applicable to each city individually. The royal charter codifies the laws applied to the particular city, and lays out the powers and responsibilities not given to other municipalities in the province concerned.


title: Royal charter

text: A number of Irish institutions were established by or received royal charters prior to Irish independence. These are no longer under the jurisdiction of the British Privy Council and their charters can thus only be altered by a Charter or Act of the Oireachtas (Irish Parliament).


title: Royal charter

text: The University of South Africa received a Royal Charter in 1877. The Royal Society of South Africa received a Royal Charter in 1908.


title: Royal charter

text: Royal charters continue to be used in the United Kingdom to incorporate charities and professional bodies, to raise districts to borough status, and to grant university status and degree awarding powers to colleges previously incorporated by royal charter.


title: Royal charter

text: Most new grants of royal charters are reserved for eminent professional bodies, learned societies or charities "which can demonstrate pre-eminence, stability and permanence in their particular field". The body in question has to demonstrate not just pre-eminence and financial stability but also that bringing it under public regulation in this manner is in the public interest. In 2016, the decision to grant a royal charter to the (British) Association for Project Management (APM) was challenged in the court by the (American) Project Management Institute (PMI), who feared it would give a competitive advantage to APM and claimed the criteria had not been correctly applied; the courts ruled that while the possibility of suffering a competitive disadvantage did give PMI standing to challenge the decision, the Privy Council was permitted to take the public interest (in having a chartered body promoting the profession of project management) into account as outweighing any failure to meet the criteria in full. A list of UK chartered professional associations is at .


title: Royal charter

text: Individual chartered designations, such as chartered accountant or chartered engineer, are granted by some chartered professional bodies to individual members that meet certain criteria. The Privy Council's policy is that all chartered designations should be broadly similar, and most require Master's level qualifications (or similar experience).


title: Royal charter

text: In January 2007, the UK Trade Marks Registry refused to grant protection to the American Chartered Financial Analyst trademark, as the word "chartered" in the UK is associated with royal charters, thus its use would be misleading. "Charter" and "chartered" continue to be "sensitive words" in company names, requiring evidence of a royal charter or (for "chartered") permission from a professional body operating under royal charter. The use of "chartered" in a collective trade mark similarly requires the association applying for the mark to have a royal charter as otherwise "the mark would mislead the public into believing that the association and its members have chartered status".


title: Royal charter

text: Unlike other royal charters, a charter to raise a district to borough status is issued using statutory powers under the Local Government Act 1972 rather than by the royal prerogative.


title: Royal charter

text: The company registration number of a corporation with a royal charter is prefixed by "RC" for companies registered in England and Wales, "SR" for companies registered in Scotland, and "NR" for companies registered in Northern Ireland. However, many chartered corporations from outside England have an RC prefix from when this was used universally.


title: Royal charter

text: The BBC operates under a royal charter which lasts for a period of ten years, after which it is renewed.


title: Royal charter

text: Royal charters have not been issued in the US since independence. Those that existed prior to that have the same force as other charters of incorporation issued by state or colonial legislatures. Following "Dartmouth College v. Woodward", they are "in the nature of a contract between the state, the corporation representing the founder, and the objects of the charity". Case law indicates that they cannot be changed by legislative action in a way that impairs the original intent of the founder, even if the corporation consents.


title: Taran Noah Smith

text: Taran Noah Smith (born April 8, 1984) is an American former actor widely known for his role as Mark Taylor on the sitcom "Home Improvement".


title: Taran Noah Smith

text: At 18, he gained control of his $1.5 million trust fund, which he accused his parents of squandering by purchasing themselves a mansion. His mother, Candy Bennici, stated in 2015, "Of course we didn't touch his money... It was in a trust fund. We couldn't have touched it if we wanted to. They were trying to get it when he was 17, and we were trying to protect it. Luckily the Marin courts were very good about it and didn't give it to them". He later said, "I'd gotten out of the teenage phase and realized my parents weren't doing anything wrong but were trying to protect me."


title: Taran Noah Smith

text: In 2001, Smith was quoted as saying, "I started "Home Improvement" when I was seven, and the show ended when I was 16. I never had the chance to decide what I wanted to do with my life. When I was 16, I knew that I didn't want to act anymore." At the age of 17, Smith married Heidi van Pelt on April 27, 2001. The marriage sparked much controversy due to the couple's age difference, as van Pelt was 16 years older. The couple filed for divorce on February 2, 2007.


title: Taran Noah Smith

text: In 2005, Smith and his then-wife formed a California-based non-dairy cheese manufacturer and restaurant, Playfood, specializing in vegan and organic foods. In 2014, he volunteered doing disaster relief with Communitere in the Philippines.


title: Taran Noah Smith

text: Smith is also the Technical Manager for the Community Submersibles Project, where he teaches people how to pilot submarines.


title: Stanley Donen

text: Stanley Donen ( ; April 13, 1924 – February 21, 2019) was an American film director and choreographer whose most celebrated works are "On the Town," (1949) and "Singin' in the Rain" (1952), both of which he co-directed with Gene Kelly. His other films include "Royal Wedding" (1951), "Seven Brides for Seven Brothers" (1954), "It's Always Fair Weather" (1955), "Funny Face" (1957), "Indiscreet" (1958), and "Charade" (1963).


title: Stanley Donen

text: Donen began his career in the chorus line on Broadway for director George Abbott, where he befriended Kelly. From 1943, he worked in Hollywood as a choreographer before collaborating with Kelly. After "On the Town", Donen worked as a contract director for MGM under producer Arthur Freed producing critically well-received box-office hits. Donen and Kelly co-directed the musical "Singin' in the Rain", released in April 1952, which has appeared on lists of the best films ever made. Donen's relationship with Kelly deteriorated during their final collaboration "It's Always Fair Weather" (1955). He then broke his contract with MGM to become an independent producer in 1957. He continued making films throughout the 1950s, 1960s, and 1970s that were often financial successes that gained positive attention. His film output became less frequent in the early 1980s, and he briefly returned to the stage as a director in the 1990s and again in 2002.


title: Stanley Donen

text: Donen is credited with having made the transition of Hollywood musical films from realistic backstage dramas to a more integrated art form in which the songs were a natural continuation of the story. Before Donen and Kelly made their films, musicals – such as the extravagant and stylized work of Busby Berkeley – were often set in a Broadway stage environment where the musical numbers were part of a stage show. Donen and Kelly's films created a more cinematic form and included dances that could only be achieved in the film medium. Donen stated that what he was doing was a "direct continuation from the Astaire – Rogers musicals ... which in turn came from René Clair and from Lubitsch ... What "we" did was not geared towards realism but towards the unreal."


title: Stanley Donen

text: Donen is highly respected by film historians, but his career is often compared to Kelly's, and there is debate over who deserves more credit for their collaborations. Their relationship was complicated, both professionally and personally, but Donen's films as a solo director are generally better regarded by critics than Kelly's. French film critic Jean-Pierre Coursodon has said that Donen's contribution to the evolution of the Hollywood musical "outshines anybody else's, including Vincente Minnelli's". David Quinlan called him "the King of the Hollywood musicals". In 1998, Martin Scorsese presented one with the Honorary Academy Award at the 70th Academy Awards. Other honorary awards include the Career Golden Lion from the Venice Film Festival in 2004. Donen married five times and had three children. Film director and comedian Elaine May was his partner from 1999 until his death in 2019. He was the last surviving notable director of Hollywood's Golden Age.


title: Stanley Donen

text: Stanley Donen was born on April 13, 1924, in Columbia, South Carolina, to Mordecai Moses Donen, a dress-shop manager, and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Born to Jewish parents, Donen became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by anti-semitic classmates at school. To help cope with his isolation, Donen spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical "Flying Down to Rio". Donen said that he "must have seen the picture thirty or forty times. I was transported into some sort of fantasy world where everything seemed to be happy, comfortable, easy and supported. A sense of well-being filled me." He shot and screened home movies with an 8 mm camera and projector that his father bought for him.


title: Stanley Donen

text: Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater. His family often traveled to New York City during summer vacations where he saw Broadway musicals and furthered his dance lessons. One of his early instructors in New York was Ned Wayburn, who taught eleven-year-old Astaire in 1910. After graduating from high school at the age of sixteen, Donen attended the University of South Carolina for one summer semester, studying psychology. Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940. After two auditions he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's "Pal Joey", directed by the legendary George Abbott. The titular Pal Joey was played by the young up-and-comer Gene Kelly, who became a Broadway star in the role.


title: Stanley Donen

text: Abbott cast Donen in the chorus of his next Broadway show "Best Foot Forward". He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer. Eventually Donen was fired from "Best Foot Forward", but in 1942 was the stage manager and assistant choreographer for Abbott's next show "Beat the Band". In 1946, Donen briefly returned to Broadway to help choreograph dance numbers for "Call Me Mister".


title: Stanley Donen

text: In 1943 Arthur Freed, the successful producer of musical films at Metro Goldwyn Mayer, bought the film rights to "Best Foot Forward" and made a film version starring Lucille Ball and William Gaxton. Donen moved to Hollywood to audition for the film and signed a one-year contract with MGM. Donen appeared as a chorus dancer and was made assistant choreographer by Charles Walters. At MGM Donen renewed his friendship with Kelly, who was now a supporting actor in musicals. When Kelly was loaned to Columbia Pictures for a film, he was offered the chance to choreograph his own dance numbers and asked Donen to assist. Kelly stated: "Stanley needed a job. I needed someone to count for the cameraman, someone who knew the steps and could explain what I was going to do so the shot was set up correctly." Donen accepted and choreographed three dance sequences with Kelly in "Cover Girl" (1944). Donen came up with the idea for the "Alter Ego" dance sequence where Kelly's reflection jumps out of a shop window and dances with him. Director Charles Vidor insisted that the idea would never work, so Donen and Kelly directed the scene themselves and Donen spent over a year editing it. The film made Kelly a movie star and is considered by many film critics to be an important and innovative musical. Donen signed a one-year contract with Columbia and choreographed several films there, but returned to MGM the following year when Kelly wanted assistance on his next film.


title: Stanley Donen

text: In 1944 Donen and Kelly choreographed the musical "Anchors Aweigh", released in 1945 and starring Kelly and Frank Sinatra. The film is best known for its groundbreaking scene in which Kelly dances with Jerry the Mouse from the "Tom and Jerry" cartoons. This would be the first time in feature-film history that hand-drawn animation would be blended with live-action footage. The animation was supervised by William Hanna and Joseph Barbera and is credited to the MGM animation producer Fred Quimby, but the idea for the scene was Donen's. Donen and Kelly originally wanted to use either Mickey Mouse or Donald Duck for the sequence and met with Walt Disney to discuss the project; Disney was working on a similar idea in "The Three Caballeros" (1944) and was unwilling to license one of his characters to MGM. The duo spent two months shooting Kelly dancing and Donen spent a year perfecting the scene frame by frame. According to Barbera "the net result at the preview of "Anchors Away" that I went to, blew the audience away."


title: Stanley Donen

text: While Kelly completed his service in the U.S. Naval Air Service as a photographer from 1944 to 1946, Donen did uncredited worked as a choreographer on musical films. Of this period Donen said, "I practiced my craft, working with music, track and photography. I often directed the sequences. I always tried to have an original idea about how to do musical sequences." Donen stated that he was excused from military service as 4-F due to his high blood pressure. When Kelly returned to civilian life, he and Donen directed and choreographed Kelly's dance scenes in "Living in a Big Way" (1947). They then began work on an original story about two baseball players in the early 20th century who spend their off-season as vaudevillian song and dance men. This film would eventually become "Take Me Out to the Ball Game" (1949). Kelly and Donen hoped to co-direct the film, but Freed hired Busby Berkeley instead, and they only directed Kelly's dance numbers. The film starred Kelly, Frank Sinatra and Jules Munshin.


title: Stanley Donen

text: After the success of "Take Me Out to the Ball Game", Freed gave Donen and Kelly the chance to direct "On the Town", which was released in 1949. The film was an adaptation of the Betty Comden and Adolph Green Broadway musical about sailors on leave in New York City and was the first musical to feature location-filming. Donen and Kelly wanted to shoot the entire film in New York, but Freed would only allow them to spend one week away from the studio.


title: Stanley Donen

text: That week produced the film's opening number "New York, New York". Away from both studio interference and sound stage constrictions, Donen and cinematographer Harold Rosson shot a scene on the streets of New York City that pioneered many cinematic techniques that would be adopted by the French New Wave a decade later. These techniques included spatial jump cuts, 360-degree pans, hidden cameras, abrupt changes of screen direction and non-professional actors. Donen's biographer Joseph A. Casper stated that the scene avoids being gratuitous or amateurish, while still "developing plot, describing the setting while conveying its galvanizing atmosphere and manic mood, introducing and delineating character." Casper also said: "Today the film is regarded as a turning point: the first bona fide musical that moved dance, as well as the musical genre, out of the theater and captured it "with" and "for" film rather than "on" film; the first to make the city an important character; and the first to abandon the chorus."


title: Stanley Donen

text: "On the Town" starred Kelly, Frank Sinatra and Jules Munshin as three sailors on a 24-hour shore leave in New York whose romantic pursuits lead them to Ann Miller, Betty Garrett and Vera-Ellen. The film was a success both financially and critically and won the Academy Award for Best Music, Scoring of a Musical Picture while screenwriters Comden and Green won the Writers Guild of America Award for Best Written American Musical. Like Orson Welles, Donen made his directorial debut at 25. Donen stated that Kelly was "responsible for most of the dance movements. I was behind the camera in the dramatic and musical sequences." Kelly believed that he and Donen "were a good team. I thought we complemented each other very well" he said.


title: Stanley Donen

text: After the success of "On the Town", Donen signed a seven-year contract with MGM as a director. His next two films were for Freed, but were made without Kelly's participation. After being replaced as director on "Pagan Love Song" over personal differences with star Esther Williams, Donen was given the chance to direct his boyhood idol Fred Astaire.


title: Stanley Donen

text: "Royal Wedding" (1951) starred Astaire and Jane Powell as a brother-sister American dancing team performing in England during the royal wedding of Elizabeth and Philip in 1947. Judy Garland was originally cast in the lead role, but was fired for absenteeism due to illness and was ultimately replaced by Powell. In the film, Powell's love affair with a wealthy Englishman (Peter Lawford) threatens to ruin the brother-sister act, while Astaire finds his own romance with another dancer (Sarah Churchill). The film is loosely based on Astaire's real-life career with his sister and early dancing partner, Adele Astaire, who retired after marrying an English lord in 1932 and includes one of Astaire's best remembered dance sequences, the "You're All the World to Me" number where he appears to defy gravity by dancing first on the walls and then on the ceiling. The shot was achieved by building the set inside a steel-reinforced rotating cylindrical chamber, with the camera attached to the cylinder. Both Astaire and the film's lyricist Alan Jay Lerner claimed that they thought of the idea. The film included music by Lerner and Burton Lane and was released in March 1951.


title: Stanley Donen

text: Next, Donen made "Love Is Better Than Ever", which was not released until March 1952. The film stars Larry Parks as a streetwise show business agent who is compelled to marry an innocent young dance teacher (Elizabeth Taylor). Donen and Kelly appear in cameo roles. The reason for the film's delayed release (by over a year) was Parks's appearance before the House Un-American Activities Committee and his eventual admission of his former membership in the Communist Party, and for naming others participants. The film was unsuccessful at the box-office.


title: Stanley Donen

text: Donen teamed again with Kelly -- who was at the height of his fame after the release of "An American in Paris" (1951). He then re-teamed with Kelly to make "Singin' in the Rain" (1952), which would become one of the most highly praised films of all time. The film was produced by Freed, written by Comden and Green, photographed by Harold Rosson and starred Kelly, Debbie Reynolds, Donald O'Connor, Jean Hagen, Millard Mitchell and Cyd Charisse.


title: Stanley Donen

text: Donen, along with Kelly, were brought in by Freed (who also hired Comden and Green to write a script) to make a musical using old songs that he and composer Nacio Herb Brown wrote in the late 1920s and early 1930s. Comden and Green decided to write a story inspired by the time period in which the songs were written, and satirized Hollywood's transition from silent films to "talkies" in the late 1920s. Comden, Green and Donen interviewed everyone at MGM who was in Hollywood during that period, poking fun at both the first movie musicals and the technical difficulties with early sound films. This included characters loosely based on Freed and Berkeley and a scene that references silent film star John Gilbert. Donen and Kelly also made use of MGM's large collection of sets, props, costumes and outdated equipment from the 1920s.


title: Stanley Donen

text: In the film, Don Lockwood (Kelly) and Lina Lamont (Hagen) are two silent film stars in Hollywood whose careers are threatened by the invention of "talkies". With help from his best friend Cosmo Brown (O'Connor) and love interest Kathy Selden (Reynolds), Lockwood saves his career by turning his latest film into a musical. Filming was harmonious, but Donen thought Kelly's "Broadway Melody" ballet sequence was too long. The "Singin' in the Rain" musical number took several months to choreograph, and Donen and Kelly found it necessary to dig holes in the cement to create puddles in the street.


title: Stanley Donen

text: The film was a hit when it was released in April 1952, earning over $7.6 million. Kelly's "An American in Paris" had been a surprise Best Picture winner at the Oscars in March, and MGM decided to re-release it. "Singin' in the Rain" got pulled from many theaters to showcase the earlier film, preventing it from making further profits. "Singin' in the Rain" was nominated for two Academy Awards: Best Supporting Actress for Hagen and Best Original Score. Donald O'Connor won the Golden Globe Award for Best Actor in a Musical or Comedy and Comden and Green once again won the Writers Guild of America Award for Best Written American Musical. Initially the film received only moderate reviews from critics such as Bosley Crowther and did not begin to receive widespread acclaim until the late 1960s. One of its earliest supporters was critic Pauline Kael, who said that it "is perhaps the most enjoyable of all movie musicals – just about the best Hollywood musical of all time." It was re-released in 1975 to critical and popular success.


title: Stanley Donen

text: Now established as a successful film director, Donen continued his solo career at MGM with "Fearless Fagan" (1952). Based on a true story, the film stars Carleton Carpenter as a GI who brings his tame lion with him when he joins the army. Donen's musical "Give a Girl a Break" (1953) stars Debbie Reynolds, Marge Champion and Helen Wood as three aspiring dancers competing for the lead in a new Broadway musical. Bob Fosse, Gower Champion and Kurt Kasznar also appear, with music by Burton Lane and Ira Gershwin. The "Give a Girl a Break" dance between Reynolds and Fosse was choreographed backwards and then played in reverse to create the illusion that the two are surrounded by hundreds of balloons that instantly appear at the touch of their fingers. Shooting the film became a bitter experience for Donen due to a major on-set fight over the film's choreography between Fosse and Gower Champion. The film was not well reviewed upon release, but its reputation has grown over time.


title: Stanley Donen

text: Donen solidified his solo career and scored another hit with the musical "Seven Brides for Seven Brothers" (1954). Based on a short story by Stephen Vincent Benét, the film's music is by Saul Chaplin and Gene de Paul, with lyrics by Johnny Mercer and choreography by Michael Kidd. Jane Powell plays Milly, an 1850s frontierswoman who marries Adam (Howard Keel) only hours after meeting him. When she returns with Adam to his log cabin in the Oregon backwoods, Milly discovers that her husband's six brothers are uncivilized and oafish. She makes it her mission to domesticate them and, upon Milly's sarcastic suggestion, the brothers kidnap six women from a neighboring town to marry them. The film was shot in the new CinemaScope format and is remembered for its dance sequences, particularly the "barn raising scene" in which architecture and construction become acrobatic ballet steps. "Seven Brides for Seven Brothers" was one of the highest-grossing films of 1954 and appeared on many critics' 10 Best Films lists. It was nominated for five Academy Awards, including Best Picture and Best Music (Scoring of a Musical Picture), which it won. Its success was a surprise to MGM, which invested more money in two other musicals: "Rose Marie" and "Brigadoon", starring Kelly. "Seven Brides for Seven Brothers" was more profitable than either of the other films, as well as "On the Town" and "Singin' in the Rain", and its success was a major turning point for Donen's career. The film was later criticized by novelist Francine Prose, who described it as anti-woman, calling it "one of the most repulsive movies about men and women that has ever been made" and a musical about rape.


title: Stanley Donen

text: "Deep in My Heart" (1954), is Donen's biographical film concerning Sigmund Romberg, the Hungarian-born American operetta composer. Starring José Ferrer, the film included cameos by many MGM contract actors, including the only screen pairing of Gene Kelly and his brother Fred. Although it received mediocre reviews, Romberg's status helped make the film a hit.


title: Stanley Donen

text: Donen's third and final directorial collaboration with Kelly was "It's Always Fair Weather" (1955), another musical. It was produced by Freed, written by Comden and Green and the score was by André Previn. It starred Kelly, Dan Dailey, Cyd Charisse, Michael Kidd, and Dolores Gray. Originally envisioned as a sequel to "On the Town", Kelly, Dailey and Kidd play three ex-GIs who reunite 10 years after World War II and discover that none of their lives have turned out how they had expected. Kelly approached Donen with the project and at first Donen was reluctant due to his own success. Their friendship deteriorated during production and Donen noted, "the atmosphere from day one was very tense and nobody was speaking to anybody." He called it a "one hundred percent nightmare" which was a "struggle from beginning to end". This time, MGM refused to allow the co-directors to shoot on location in New York. "It's Always Fair Weather" was moderately profitable, but not as successful as their previous two films. It was Donen's last film with Kelly or Freed. After its completion he fulfilled his MGM contract agreement by working with other studios. His last project for MGM was completing the final four days of shooting on "Kismet" in July 1955 for director Vincente Minnelli.


title: Stanley Donen

text: Donen's next film was at Paramount Pictures for producer Roger Edens. "Funny Face" (1957) contains four of the original George and Ira Gershwin songs from the otherwise unrelated 1927 Broadway musical of the same name that had starred Fred Astaire. Loosely based on the life of fashion photographer Richard Avedon, who was also the visual consultant and designed the opening title sequence for the film, it was written by Leonard Gershe and included additional music by Gershe and Edens. Donen and Edens began pre-production at MGM, but had difficulty juggling Astaire and Audrey Hepburn's Paramount contracts, the Warner Brothers-owned rights to the Gershwin music that they wanted and their own MGM contracts. Eventually a deal was reached that both released Donen from his MGM contract and allowed him to make his next two films at Paramount and Warner Brothers respectively. Astaire plays an aging fashion photographer who discovers the intellectual bohemian Hepburn at a used bookstore in Greenwich Village and turns her into his new model while falling in love with her in Paris. Donen, Avedon and cinematographer Ray June collaborated to give the film an abstract, smokey look that resembled the fashion photography of the period despite protests by Paramount, which had recently invested in the sharp VistaVision film format. "Funny Face" was screened in competition at the 1957 Cannes Film Festival and received good reviews from critics like Bosley Crowther. "Sight & Sound", in contrast, accused it of being anti-intellectual.


title: Stanley Donen

text: While in pre-production on "Funny Face", Donen received a letter from his old boss George Abbott inviting him to make a film version of Abbott's stage hit "The Pajama Game" at Warner Brothers. As part of the deal to secure the Warner-owned Gershwin music he wanted for "Funny Face", Donen accepted the offer and he and Abbott co-directed the film version. "The Pajama Game" (1957) stars Doris Day and John Raitt, with music by Richard Adler and Jerry Ross and choreography by Bob Fosse. Raitt plays a plant supervisor at a nightwear factory who is in constant disputes with the plant's union organizer (Day), until they end up falling in love. Donen described his working relationship with Abbott as relaxed, stating that "[Abbott would] play tennis, come watch on the set for an hour, then watch the rushes, then go home." It was only a modest financial success, but Jean-Luc Godard praised it and declared "Donen is surely the master of the movie musical. "The Pajama Game" exists to prove it."


title: Stanley Donen

text: Donen's next film was "Kiss Them for Me" (also 1957). He was personally asked by Cary Grant to direct and began developing it while still under contract at MGM. With a plot that strongly resembles "On the Town", the film features Grant, Ray Walston and Larry Blyden as three navy officers on leave in San Francisco in 1944. Unlike "On the Town", "Kiss Them for Me" is a dark comedy that contrasts the officers' selfless heroism with their self-absorbed hedonism while on leave. The film received mostly poor reviews.


title: Stanley Donen

text: After three films released in 1957, Donen became an independent producer and director. He had reluctantly agreed to direct "Kiss Them for Me" on condition that 20th Century Fox buy out his remaining contract with MGM. Now free from contractual obligations, he formed Grandon Productions with Grant and signed a distribution deal through Warner Brothers. Donen would self-produce nearly all of his films for the rest of his career, sometimes under the name "Stanley Donen Productions". Donen and Grant inaugurated their company with "Indiscreet" (1958), based on a play by Norman Krasna and starring Grant and Ingrid Bergman. Because of Bergman's schedule, the film was shot on location in London. Bergman plays a famous and reclusive actress who falls in love with the supposedly married playboy-diplomat Grant. When Bergman discovers that he has been lying about having a wife, she concocts a charade with another man in order to win Grant's full affection. A scene in the film involves Donen's clever circumvention of the strict Production Code. In the scene, Grant is in Paris while Bergman is still in London and the two exchange pillow talk over the phone. Donen used a split screen of the two stars with synchronized movements to make it appear as though they were in the same bed together. The film was a financial and critical success, and Donen was compared to such directors as Ernst Lubitsch and George Cukor.


title: Stanley Donen

text: Donen briefly returned to the musical genre with "Damn Yankees!" (also 1958), based on George Abbott's Broadway hit. He again co-directed with Abbott in the same hands-off collaboration as their first film. Like "The Pajama Game" the film includes music by Adler and Ross and choreography by Fosse. It starred Tab Hunter, Gwen Verdon, and Ray Walston. "Damn Yankees!" is an adaptation of the Faust legend about a fan of the Washington Senators who would sell his soul to give the losing team a good hitter. Walston plays the Brooks Brothers-attired Devil who grants the fan his wish and transforms him into the muscular young hitter Joe Hardy (Hunter). Donen was able to shoot three real Senator–Yankee games on location with seven hidden cameras. The low-budget film was a moderate financial success and received good reviews. It was also Donen's last musical film until "The Little Prince" (1974).


title: Stanley Donen

text: After "Indiscreet" Donen made England his home until the early 1970s. Musicals' waning popularity caused Donen to focus on comedy films. He observed that his "London base afforded me the advantage of being away from the Hollywood rat race. Just going your own way in spite of whatever anyone else is doing or in spite of what you've done already was satisfying. I also had the advantage of the European influence: their way of looking at life, of making movies." While in the UK in the early 1960s, Donen was praised as an early influence on the then-emerging British New Wave film movement.


title: Stanley Donen

text: In the late 1950s, Donen signed a non-exclusive, three-film deal with Columbia Pictures. His first film under this contract was "Once More, with Feeling!" (1960). Adapted by Harry Kurnitz from his own stage play, the film was shot in Paris and starred Yul Brynner as a tyrannical orchestra conductor whose mistress (Kay Kendall) grows tired of his tantrums and plots to marry him in order to quickly divorce him for his money. Kendall was terminally ill with leukemia during the shoot and died before its release. The film was not successful financially or critically.


title: Stanley Donen

text: Donen quickly re-teamed with Brynner and Kurnitz for the film "Surprise Package" (also 1960). In this film Brynner plays an American gangster who is deported to the Greek island of Rhodes. Mitzi Gaynor plays the "surprise package" who is sent to the island to appease Brynner, and Noël Coward plays the King of Rhodes whom Brynner plots to dethrone. The film was not a financial success, and Donen stated that it was made because he "desperately needed money for personal reasons." These were the only two films that Donen completed for his Columbia contract. The studio cancelled the deal after their poor box-office returns, and Donen was unable to produce the projects that he was pursuing at that time: playwright Robert Bolt's "A Man for All Seasons" and "A Patch of Blue", both of which became successful films for other directors.


title: Stanley Donen

text: Grandon Productions produced Donen's next film: "The Grass Is Greener", released through Universal Pictures in December 1960. Cary Grant and Deborah Kerr play the earl and countess of a large estate in England who are forced to permit guided tours of their mansion in order to help their financial problems. Robert Mitchum plays an American oil tycoon who falls in love with Kerr and Jean Simmons plays an eccentric American heiress who is Grant's former girlfriend. The film was a financial disappointment in the United States, but was successful in England where the original stage version had been a West End hit.


title: Stanley Donen

text: One of Donen's most praised films was "Charade" (1963), starring Cary Grant, Audrey Hepburn, Walter Matthau, James Coburn, George Kennedy and Ned Glass. Donen said that he had "always wanted to make a movie like one of my favorites, Hitchcock's "North by Northwest"" and the film has been referred to as "the best Hitchcock movie that Hitchcock never made." "Charade" was produced by Stanley Donen Productions, released through Universal and adapted by Peter Stone from his own novel. Reggie Lampert (Hepburn) discovers that her husband has been murdered and (at least) three sinister men are all searching for the $250,000 in gold that he had hidden somewhere. Peter Joshua (Grant) befriends Reggie and helps her fight off the three thugs while the two begin to fall in love. The film was released in December 1963, only two weeks after the assassination of US President John F. Kennedy, and the word "assassinate" had to be redubbed twice. It was Donen's most financially successful film and influenced a number of romantic comedy-thrillers released in the years following it. Film critic Judith Crist called it a "stylish and amusing melodrama", and Pauline Kael said it had "a freshness and spirit that makes [it] unlike the films of any other country" and was "probably the best American film of [1963]". It was remade as "The Truth About Charlie" (2002), directed by Jonathan Demme.


title: Stanley Donen

text: Donen made another Hitchcock-inspired film with "Arabesque" (1966), starring Gregory Peck and Sophia Loren. The film was written by Julian Mitchell and Stanley Price, with an uncredited rewrite by Peter Stone. Peck plays an American professor at Oxford University who is an expert in ancient hieroglyphics. He is approached by a Middle Eastern prime minister to investigate an organization that is attempting to assassinate him and uses hieroglyphic codes to communicate. The investigation leads Peck to one mystery after another, often involving the prime minister's mysterious mistress (Loren). The film was Donen's second consecutive hit.


title: Stanley Donen

text: Donen made "Two for the Road" (1967), starring Audrey Hepburn and Albert Finney with Eleanor Bron, William Daniels, and Jacqueline Bisset in supporting roles. The film was conceived by Donen and written by novelist Frederic Raphael, who was nominated for an Academy Award. It has been called one of Donen's most personal films, "with glints of passion never disclosed before", and "a veritable textbook on film editing." The film's complicated and non-linear story is about the 12-year relationship between Hepburn and Finney over the course of four separate (but interwoven) road trips that they take together throughout the years in the south of France. It was moderately successful at the box-office while the critical reception was extremely mixed. Bosley Crowther called the film "just another version of commercial American trash." It is also the film that Donen said he was most frequently asked about by film students.