title: Tod Browning

text: Circus performer "Alonzo the armless", a Gypsy knife-thrower, appears as a double amputee, casting his knives with his feet. His deformity is an illusion (except for a bifid thumb), achieved by donning a corset to bind and conceal his healthy arms. The able-bodied Alonzo, sought by the police, engages in this deception to evade detection and arrest. Alonzo harbors a secret love for Nanon (Joan Crawford), his assistant in the act. Nanon's father is the abusive (perhaps sexually so) ringmaster Zanzi (Nick De Ruiz), and Nanon has developed a pathological aversion to any man's embrace. Her emotional dysfunction precludes any sexual intimacy with the highly virile strong-man, Malabar, or Alonzo, his own sexual prowess symbolized by his knife-throwing expertise and his double thumb. When Alonzo murders Zanzi during an argument, the homicide is witnessed by Nanon, who detects only the bifid thumb of her father's assailant.


title: Tod Browning

text: Browning's theme of sexual frustration and physical mutilation ultimately manifests itself in Alonzo's act of symbolic castration; he willingly has his arms amputated by an unlicensed surgeon so as to make himself unthreatening to Nanon (and to eliminate the incriminating bifid thumb), so as to win her affection. The "nightmarish irony" of Alonzo's sacrifice is the most outrageous of Browning's plot conceits and consistent with his obsessive examination of "sexual frustration and emasculation". When Alonzo recovers from his surgery, he returns to the circus to find that Nanon has overcome her sexual aversions and married the strongman Malabar (Norman Kerry).The primal ferocity of Alonzo's reaction to Nanon's betrayal in marrying Malabar is instinctual. Film historian Stuart Rosenthal writes:


title: Tod Browning

text: "The Unknown" is widely regarded as the most outstanding of the Browning-Chaney collaborations and a masterpiece of the late silent film era. Film critic Scott Brogan regards "The Unknown" worthy of "cult status."


title: Tod Browning

text: A lost film, "The Big City" stars Lon Chaney, Marceline Day and Betty Compson, the latter in her only appearance in an M-G-M film. Browning wrote the story and Waldemar Young the screenplay concerning "A gangster Lon Chaney who uses a costume jewelry store as a front for his jewel theft operation. After a conflict with a rival gang, he and his girlfriend Marceline Day reform."


title: Tod Browning

text: Film historian Vivian Sobchack remarked that ""The Big City" concerns a nightclub robbery, again, the rivalry between two thieves. This time Chaney plays only one of them—without a twisted limb or any facial disguise.'" Critic Stuart Rosenthal commented on "The Big City": "...Chaney, without makeup, in a characteristic gangster role."


title: Tod Browning

text: In 1928, Browning and Lon Chaney embarked upon their penultimate collaboration, West of Zanzibar, based on Chester M. De Vonde play "Kongo" (1926).


title: Tod Browning

text: scenario by Elliott J. Clawson and Waldemar Young, provided Chaney with dual characterizations: the magician Pharos, and the later paraplegic Pharos who is nicknamed "Dead Legs." A variation of the "unknown parentage motif" Browning dramatizes a complex tale of "obsessive revenge" and "psychological horror." Biographer Stuart Rosenthal made these observations on Chaney's portrayals:


title: Tod Browning

text: The story opens in Paris, where Pharos, a magician, is cuckolded by his wife Anna (Jacqueline Gadsden) and her lover Crane (Lionel Barrymore). Pharos is crippled when Crane pushes him from a balcony, leaving him a paraplegic. Anna and Crane abscond to Africa. After a year, Phroso learns that Anna has returned. He finds his wife dead in a church, with an infant daughter beside her. He swears to avenge himself both on Crane and the child he assumes was sired by Crane. Unbeknownst to Phroso, the child is actually his. Rosenthal singles out this scene for special mention:


title: Tod Browning

text: Eighteen years hence, the crippled Pharos, now dubbed Dead Legs, operates an African trading outpost. He secretly preys upon Crane's ivory operations employing local tribes and using sideshow tricks and illusions to seize the goods. After years of anticipation, Dead Legs prepares to hatch his "macabre revenge": a sinister double murder. He summons Anna's daughter Maizie (Mary Nolan) from the sordid brothel and gin mill where he has left her to be raised. He also invites Crane to visit his outpost so as to expose the identity of the culprit stealing his ivory. Dead Legs has arranged to have Crane murdered, but not before informing him that he will invoke the local Death Code, which stipulates that "a man's demise be followed by the death of his wife or child." Crane mockingly disabuses Dead Legs of his gross misapprehension: Maizie is Dead Legs' daughter, not his, a child that Pharos conceived with Anna in Paris. Crane is killed before Dead Legs can absorb the significance of this news.


title: Tod Browning

text: The climax of the film involves Dead Legs' struggle to save his own offspring from the customary death sentence that his own deadly scheme has set in motion. Dead Legs ultimately suffers the consequences of his "horribly misdirected revenge ploy." The redemptive element with which Browning-Chaney endows Pharos/Dead Legs fate is noted by Rosenthal: ""West of Zanzibar" reaches the peak of its psychological horror when Chaney discovers that the girl he is using as a pawn in his revenge scheme is his own daughter. Dead Legs undertook his mission of revenge with complete confidence in the righteousness of his cause. Now he is suddenly overwhelmed by the realization of his own guilt. That Barrymore as Crane committed the original transgression in no way diminishes that guilt."


title: Tod Browning

text: Dead Legs' physical deformity reduces him to crawling on the ground, and thus to the "state of an animal." Browning's camera placement accentuates his snake-like "slithering" and establishes "his animal transformation by suddenly changing the visual frame of reference to one that puts the viewer on the same level as the beast on the screen, thereby making him vulnerable to it, accomplished by tilting the camera up at floor level in front of the moving subject [used to] accentuate Chaney's [Dead Legs] slithering movements in West of Zanzibar." Film historians Stephanie Diekmann and Ekkehard Knörer state more generally "...the spectator in Browning's films can never remain a voyeur; or rather, he is never safe in his voyeuristic position..."


title: Tod Browning

text: Diekmann and Knörer also place "West of Zanzibar" in the within the realm of the Grand Guignol tradition:


title: Tod Browning

text: Despite being characterized as a "cess-pool" by the censorious Harrison's Reports motion picture trade journal, "West of Zanzibar" enjoyed popular success at the box office.


title: Tod Browning

text: Adapted by Waldemar Young from a story by Browning and Harry Sinclair Drago, Where East Is East borrows its title from the opening and closing verses of Rudyard Kipling's 1889 poem "The Ballad of East and West": "Oh! East is East, and West is West, and never the twain shall meet..." Browning's appropriation of the term "Where East Is East" is both ironic and subversive with regard to his simultaneous cinematic presentation of Eurocentric cliches of the "East" (common in early 20th Century advertising, literature and film), and his exposure of these memes as myths. Film historian Stefan Brandt writes that this verse was commonly invoked by Western observers to reinforce conceptions stressing "the homogeneity and internal consistency of 'The East'" and points out that Kipling (born and raised in Bombay, India) was "far from being one-dimensional" when his literary work "dismantles the myth of ethnic essentiality":


title: Tod Browning

text: Biographer Bernd Herzogenrath adds that "paradoxically, the film both essentializes the East as a universal and homogeneous entity ("Where East Is East") and deconstructs it as a Western myth consisting of nothing but colorful [male] fantasies." [brackets and parentheses in original]


title: Tod Browning

text: The last of Browning-Chaney collaborations with an "outrageous premise" and their final silent era film, "Where East Is East" was marketed by Metro-Goldwyn-Mayer "as a colonial drama in the mold of British imperialist fiction."


title: Tod Browning

text: "Where East Is East", set in the "picturesque French Indo-China of the 1920s" concerns the efforts of big game trapper "Tiger" Haynes (Chaney) intervention to stop his beloved half-Chinese daughter Toyo (Lupe Velez) from marrying Bobby "white boy" Bailey, a Western suitor and son of a circus owner. He relents when Bobby rescues Toyo from an escaped tiger. The Asian seductress, Madame de Sylva (Estelle Taylor), Tiger's former wife and mother to Toyo—who abandoned her infant to be raised by Tiger—returns to lure Bobby from Toyo and ruin the couple's plans for conjugal bliss. Tiger takes drastic action, unleashing a gorilla which dispatches Madame de Sylva but mortally wounds Tiger. He lives long enough witness the marriage of Toyo and Bobby.


title: Tod Browning

text: In a key sequence in which the American Bobby Bailey (Lloyd Hughes), nicknamed "white boy", is briefly seduced by the Asian Madame de Sylva (mother to Bobby's fiancee Toya), Browning offers a cliche-ridden intertitle exchange that is belied by his cinematic treatment. Film historian Stefan Brandt writes: "Browning here plays with the ambiguities involved in the common misreading of Kipling's poem, encouraging his American audience to question the existing patterns of colonial discourse and come to conclusions that go beyond that mode of thinking. The romantic version of the Orient as a land of eternal mysticism is exposed here as a Eurocentric illusion that we must not fall prey to."


title: Tod Browning

text: Browning's presentation of the alluring Madame de Sylva -whose French title diverges from her Asian origins- introduces one of Browning's primary themes: "Reality vs. Appearance". Rosenthal notes that "physical beauty masking perversity is identical to the usual Browning premise of respectability covering corruption. This is the formula used in "Where East Is East". Tiger's thorny face masks a wealth of kindness, sensitively and abiding paternal love. But behind the exotic beauty of Madame de Silva lies an unctuous, sinister manner and callous spitefulness."


title: Tod Browning

text: The animal imagery with which Browning invests "Where East Is East" informed Lon Chaney's characterization of Tiger Haynes, the name alone identifying him as both "tiger hunter and the tiger himself." Biographer Stuart Rosenthal comments on the Browning-Chaney characterization of Tiger Haynes:


title: Tod Browning

text: As in Browning's "The Unknown" (1927) in which protagonist Alonzo is trampled to death by a horse, "animals become the agents of destruction for Tiger [Haynes] in "Where East Is East"."


title: Tod Browning

text: Upon completing "Where East Is East", M-G-M prepared to make his first sound production, "The Thirteenth Chair" (1929). The question as to Browning's adaptability to the film industry's ineluctable transition to sound technology is disputed among film historians.


title: Tod Browning

text: Biographers David Skal and Elias Savada report that Browning "had made his fortune as a silent film director but had considerable difficulties in adapting his talents to talking pictures." Film critic Vivian Sobchack notes that Browning, in both his silent and sound creations, "starts with the visual rather than the narrative" and cites director Edgar G. Ulmer: "until the end of his career, Browning tried to avoid using dialogue; he wanted to obtain visual effects." Biographer Jon Towlson argues that Browning's 1932 Freaks reveals "a director in full control of the [sound] medium, able to use the camera to reveal a rich subtext beneath the dialogue" and at odds with the general assessment of the filmmakers post-silent era pictures.


title: Tod Browning

text: Browning's first sound film, "The Thirteenth Chair" is based on a 1916 "drawing room murder mystery" stage play by Bayard Veiller first adapted to film in a 1919 silent version and later a sound remake in 1937.


title: Tod Browning

text: Set in Calcutta, the story concerns two homicides committed at séances. Illusion and deception are employed to expose the murderer.


title: Tod Browning

text: In a cast featuring some of M-G-M's top contract players including Conrad Nagel, Leila Hyams and Margaret Wycherly Hungarian-American Bela Lugosi, a veteran of silent films and the star of Broadway's "Dracula" (1924) was enlisted by Browning to play Inspector Delzante, when Lon Chaney declined to yet embark on a talking picture.


title: Tod Browning

text: The first of his three collaborations with Lugosi, Browning's handling of the actor's role as Delzante anticipated the part of Count Dracula in his "Dracula" (1931). Browning endows Lugosi's Delzante with bizarre eccentricities, including a guttural, broken English and heavily accented eyebrows, characteristics that Lugosi made famous in his film roles as vampires. Film historian Alfred Eaker remarks: "Serious awkwardness mars this film, a product from that transitional period from silent to the new, imposing medium of sound. Because of that awkwardness "The Thirteenth Chair" is not Browning in best form."


title: Tod Browning

text: A remake of Browning's 1921 silent version starred Priscilla Dean and Lon Chaney who appeared in dual roles. "Outside the Law" concerns a criminal rivalry among gangsters. It stars Edward G. Robinson as Cobra Collins and Mary Nolan as his moll Connie Madden. Film critic Alfred Eaker commented that Browning's remake "received comparatively poor reviews."


title: Tod Browning

text: Browning's "Dracula" initiated the modern horror genre, and it remains his only "one true horror film." Today the picture stands as the first of Browning's two sound era masterpieces, rivaled only by his "Freaks" (1932). The picture set in motion Universal Studios' highly lucrative production of vampire and monster movies during the 1930s. Browning approached Universal's Carl Laemmle Jr. in 1930 to organize a film version of Bram Stoker's 1897 gothic horror novel "Dracula", previously adapted to film by director F. W. Murnau in 1922.


title: Tod Browning

text: In an effort to avoid copyright infringement lawsuits, Universal opted to base the film on Hamilton Deane's and Louis Bromfield's melodramatic stage version "Dracula" (1924), rather than Stoker's novel.


title: Tod Browning

text: Actor Lon Chaney, then completing his first sound film with director Jack Conway in a remake of Browning's silent "The Unholy Three" (1925), was tapped for the role of Count Dracula. Terminally ill from lung cancer, Chaney withdrew early from the project, a significant personal and professional loss to long-time collaborator Browning. The actor died during the filming of "Dracula". Hungarian expatriate and actor Bela Ferenc Deszo Blasco, appearing under the stage name Bela Lugosi, had successfully performed the role of Count Dracula in the American productions of the play for three years. According to film historian David Thomson, "when Chaney died it was taken for granted that Lugosi would have the role in the film."


title: Tod Browning

text: Lugosi's portrayal of Count Dracula is inextricably linked to the vampire genre established by Browning. As film critic Elizabeth Bronfen observes, "the notoriety of Browning's Dracula within film history resides above all else in the uncanny identification between Bela Lugosi and his role." Browning quickly establishes what would become Dracula's— and Bela Lugosi's—"sine qua non": "The camera repeatedly focuses on Dracula's hypnotic gaze, which, along with his idiosyncratic articulation, was to become his cinematic trademark." Film historian Alec Charles observes that "The first time we see Bela Lugosi in Tod Browning's Dracula...he looks almost directly into the camera...Browning affords the audience the first of those famously intense and direct into-the-camera Lugosi looks, a style of gaze that would be duplicated time and again by the likes of Christopher Lee and Lugosi's lesser imitators..." Lugosi embraced his screen persona as the preeminent "aristocratic Eastern European vampire" and welcomed his typecasting, assuring his "artistic legacy".


title: Tod Browning

text: Film critic Elizabeth Bronfen reports that Browning's cinematic interpretation of the script has been widely criticized by film scholars. Browning is cited for failing to provide adequate "montage or shot/reverse shots", the "incoherence of the narrative" and his putative poor handling of the "implausible dialogue" reminiscent of "filmed theatre." Bronfen further notes critic's complaints that Browning failed to visually record the iconic vampiric catalog: puncture wounds on a victims necks, the imbibing of fresh blood, a stake penetrating the heart of Count Dracula. Moreover, no "transformation scenes" are visualized in which the undead or vampires morph into wolves or bats.


title: Tod Browning

text: Film critics have attributed these "alleged faults" to Browning's lack of enthusiasm for the project. Actor Helen Chandler, who plays Dracula's mistress, Mina Seward, commented that Browning seemed disengaged during shooting, and left the direction to cinematographer Karl Freund.


title: Tod Browning

text: Bronfen emphasizes the "financial constraints" imposed by Universal executives, strictly limiting authorization for special effects or complex technical shots, and favoring a static camera requiring Browning to "shoot in sequence" in order to improve efficiency. Bronfen suggests that Browning's own thematic concerns may have prompted him—in this, 'the first talkie horror picture'—to privilege the spoken word over visual tricks.":


title: Tod Browning

text: The scenario follows the vampire Count Dracula to England where he preys upon members of the British upper-middle class, but is confronted by nemesis Professor Van Helsing, (Edward Van Sloan) who possesses sufficient will power and knowledge of vampirism to defeat Count Dracula. Film historian Stuart Rosenthal remarks that "the Browning version of Dracula retains the Victorian formality of the original source in the relationships among the normal characters. In this atmosphere the seething, unstoppable evil personified by the Count is a materialization of Victorian morality's greatest dread."


title: Tod Browning

text: A number of sequences in "Dracula" have earned special mention, despite criticism concerning the "static and stagy quality of the film." The dramatic and sinister opening sequence in which the young solicitor Renfield (Dwight Frye) is conveyed in a coach to Count Dracula's Transylvanian castle is one of the most discussed and praised of the picture. Karl Freund's Expressionistic technique is largely credited with its success.


title: Tod Browning

text: Browning employs "a favorite device" with an animal montage early in the film to establish a metaphoric equivalence between the emergence of the vampires from their crypts and the small parasitic vermin that infest the castle: spiders, wasps and rats. Unlike Browning's previous films, "Dracula" is not a "long series of [illusionist] tricks, performed and explained" but rather an application of cinematic effects "presenting vampirism as scientifically verified 'reality'."


title: Tod Browning

text: Despite Universal executives editing out portions of Browning's film, Dracula was enormously successful. Opening at New York City's Roxy Theatre, "Dracula" earned $50,000 in 48 hours, and was Universal's most lucrative film of the Depression Era. Five years after its release, it had grossed over one million dollars worldwide. Film critic Dennis Harvey writes: "Dracula's enormous popularity fast-tracked Browning's return to MGM, under highly favorable financial terms and the protection of longtime ally, production chief Irving Thalberg."


title: Tod Browning

text: The last of Browning's three sound films he directed for Universal Studios, "Iron Man" (1931) is largely ignored in critical literature.


title: Tod Browning

text: Described as "a cautionary tale about the boxer as a physically powerful man brought down by a woman", Browning's boxing story lacks the macabre elements that typically dominate his cinema. Film historian Vivian Sobchack observes that "Iron Man, in subject and plot, is generally regarded as uncharacteristic of Browning's other work." Thematically, however, the picture exhibits a continuity consistent with his obsessive interest in "situations of moral and sexual frustration."


title: Tod Browning

text: Film critic Leger Grindon cites the four "subsidiary motifs" recognized by Browning biographer Stuart Rosenthal: "appearances hiding truth (particularly physical beauty as a mask for villainy), sexual frustration, opposing tendencies within a protagonist that are often projected onto alter egos and finally, an inability to assign guilt." These themes are evident in Iron Man.


title: Tod Browning

text: Actor Lew Ayres, following his screen debut in Universal's immensely successful anti-war themed "All Quiet on the Western Front" (1930), plays Kid Mason, a Lightweight boxing champion. This sports-drama concerns the struggle between the Kid's friend and manager George Regan Robert Armstrong, and the boxer's adulterous wife Rose (Jean Harlow) to prevail in a contest for his affection and loyalty.


title: Tod Browning

text: Rather than relying largely upon "editing and composition as expressive tools" Browning moved away from a stationary camera "toward a conspicuous use of camera movement" under the influence of Karl Freund, cinematographer on the 1931 "Dracula". Iron Man exhibits this "transformation" in Browning's cinematic style as he entered the sound era. Leger Grindon provides this assessment of Browning's last picture for Universal:


title: Tod Browning

text: Though box office earning for "Iron Man" are unavailable, a measure of its success is indicated in the two remakes the film inspired: "Some Blondes Are Dangerous" (1937) and "Iron Man" (1950).


title: Tod Browning

text: Browning returned to M-G-M studios after completing "Iron Man" to embark upon the most controversial film of his career: "Freaks" (1932).


title: Tod Browning

text: After the spectacular success of "Dracula" (1931) at Universal, Browning returned to M-G-M studios, lured by a generous contract and enjoying the auspices of production manager Irving Thalberg. Anticipating a repeat of his recent success at Universal, Thalberg accepted Browning's story proposal based on Tod Robbins' circus-themed tale "Spurs" (1926).


title: Tod Browning

text: The studio purchased the rights and enlisted screenwriter Willis Goldbeck and Leon Gordon to develop the script with Browning. Thalberg collaborated closely with the director on pre-production, but Browning completed all the actual shooting on the film without interference from studio executives. Metro-Goldwyn-Mayer's president, Louis B. Mayer, registered his disgust with the project from its inception and during the filming, but Thalberg successfully intervened on Browning's behalf to proceed with the film. The picture that emerged was Browning's "most notorious and bizarre melodrama."


title: Tod Browning

text: A "morality play", "Freaks" centers around the cruel seduction of a circus sideshow midget Hans (Harry Earles) by a statuesque trapeze artist Cleopatra (Olga Baclanova). She and her lover, strongman Hercules (Henry Victor), scheme to murder the diminutive Hans for his inheritance money after sexually humiliating him. The community of freaks mobilizes in Hans' defense, meting out severe justice to Cleopatra and Hercules: the former trapeze beauty is surgically transformed into a sideshow freak.


title: Tod Browning

text: Browning enlisted a cast of performers largely assembled from carnival freak shows—a community and milieu both of which the director was intimately familiar. The circus freaks serve as dramatic and comedic players, central to the story's development, and do not appear in their respective sideshow routines as novelties.


title: Tod Browning

text: Two major themes in Browning's work—"Sexual Frustration" and "Reality vs. Appearances"—emerge in "Freaks" from the conflict inherent in the physical incompatibility between Cleopatra and Hans.


title: Tod Browning

text: The guileless Hans' self-delusional fantasy of winning the affection of Cleopatra—"seductive, mature, cunning and self-assured"—provokes her contempt, eliciting "cruel sexual jests" at odds with her attractive physical charms. Browning provides the moral rationale for the final reckoning with Cleopatra "before" she has discovered Hans' fortune and plans to murder him. Film historian Stuart Rosenthal explains:


title: Tod Browning

text: Browning addresses another theme fundamental to his work: "Inability to Assign Guilt". The community of freaks delay judgement on Cleopatra when she insults Frieda (Daisy Earles), the midget performer who loves Hans. Their social solidarity cautions restraint, but when the assault on Hans becomes egregious, they act single-mindedly to punish the offender. Browning exonerates the freaks of any guilt: they are "totally justified" in their act of retribution. Stuart Rosenthal describes this doctrine, the "crux" of Browning's social ideal:


title: Tod Browning

text: Browning cinematic style in "Freaks" is informed by the precepts of German Expressionism, combining a subdued documentary-like realism with "chiaroscuro shadow" for dramatic effect.


title: Tod Browning

text: The wedding banquet sequence in which Cleopatra and Hercules brutally degrade Hans is "among the most discussed moments of "Freaks"" and according to biographer Vivian Sobchack "a masterpiece of sound and image, and utterly unique in conception and realization."


title: Tod Browning

text: The final sequence in which the freaks carry out their "shocking" revenge and Cleopatra's fate is revealed "achieves the most sustained level of high-pitched terror of any Browning picture."


title: Tod Browning

text: "Freaks" was given general release only after 30-minutes of footage was excised by Thalberg to remove portions deemed offensive to the public.


title: Tod Browning

text: Though Browning had a long history of making profitable pictures at M-G-M Freaks was a "disaster" at the box office, though earning mixed reviews among critics.


title: Tod Browning

text: Browning's reputation as a reliable filmmaker among the Hollywood establishment was tarnished, and he completed only four more pictures before retiring from the industry after 1939. According to biographer Alfred Eaker ""Freaks", in effect, ended Browning's career."


title: Tod Browning

text: In the aftermath of the commercial failure of his 1932 "Freaks", Browning was assigned to produce and direct (uncredited) an adaption of John McDermott's play "Rivets".


title: Tod Browning

text: The script for "Fast Workers" by Karl Brown and Laurence Stallings dramatizes the mutual infidelities, often humorous, that plague a ménage à trois comprising a high-rise construction worker and seducer Gunner Smith (John Gilbert), his co-worker and sidekick, Bucker Reilly (Robert Armstrong) and Mary (Mae Clarke), an attractive "Gold digger" seeking financial and emotional stability during the Great Depression. Browning brings to bear all the thematic modes that typically motivate his characters. Film historian Stuart Rosenthal writes:


title: Tod Browning

text: The betrayals, humiliations and retaliations that plague the characters, and the moral legitimacy of their behaviors remains unresolved. Rosenthal comments on Browning's ambivalence: ""Fast Workers" is Browning's final cynical word on the impossibility of an individual obtaining justice, however righteous his cause, without critically sullying himself. Superficially, things have been set right. Gunner and Bucker are again friends and, together are equal to any wily female. Yet Gunner, the individual who is the most culpable, finds himself in the most secure position, while the basically well-intentioned Mary is rejected and condemned by both men." An outstanding example of Browning's ability to visually convey terror—a technique he developed in the silent era—is demonstrated when Mary perceives that Bucker, cuckolded by Gunner, reveals his homicidal rage.


title: Tod Browning

text: Metro-Goldwyn-Mayer committed $525,000 to the film's production budget, quite a high sum for a relatively short feature. Ultimately, MGM reported earnings of only $165,000 on the film after its release, resulting in a net loss of $360,000 on the motion picture.


title: Tod Browning

text: Browning returned to a vampire-themed picture with his 1935 "Mark of the Vampire". Rather than risk a legal battle with Universal Studios who held the rights to Browning's 1931 "Dracula", he opted for a reprise of his successful silent era "London After Midnight" (1927), made for M-G-M and starring Lon Chaney in a dual role.


title: Tod Browning

text: With "Mark of the Vampire", Browning follows the plot conceit employed in "London After Midnight": An investigator and hypnotist seeks to expose a murderer by means of a "vampire masquerade" so as to elicit his confession. Browning deviates from his 1927 silent film in that here the sleuth, Professor Zelen (Lionel Barrymore), rather than posing as a vampire himself in a dual role, hires a troupe of talented thespians to stage an elaborate hoax to deceive the murder suspect Baron Otto von Zinden (Jean Hersholt). Bela Lugosi was enlisted to play the lead vampire in the troupe, Count Moro.


title: Tod Browning

text: As a direct descendant of Browning's carnival-themed films, Browning offers the movie audience a generous dose of Gothic iconography: "hypnotic trances, flapping bats, spooky graveyards, moaning organs, cobwebs thick as curtains -- and bound it all together with bits of obscure Eastern European folklore..."


title: Tod Browning

text: As such, "Mark of the Vampire" leads the audience to suspend disbelief in their skepticism regarding vampires through a series of staged illusions, only to sharply disabuse them of their credulity in the final minutes of the movie. Browning reportedly composed the conventional plot scenes as he would a stage production, but softened the static impression through the editing process. In scenes that depicted the supernatural, Browning freely used a moving camera. Film historian Matthew Sweney observes "the [special] effects shots...overpower the static shots in which the film's plot and denouement take place...creating a visual tension in the film."


title: Tod Browning

text: Cinematographer James Wong Howe's lighting methods endowed the film with a spectral quality that complimented Browning's "sense of the unreal".


title: Tod Browning

text: "Mark of the Vampire" is widely cited for its famous "tracking shot on the stairwell" in which Count Mora (Bela Lugosi) and his daughter Luna (Carol Borland) descend in a stately promenade. Browning inter-cuts their progress with images of vermin and venomous insects, visual equivalents for the vampires as they emerge from their own crypts in search of sustenance. Rosenthal describes the one-minute sequence:


title: Tod Browning

text: In another notable and "exquisitely edited" scene Browning presents a lesbian-inspired seduction. Count Mora, in the form of a bat, summons Luna to the cemetery where Irene Borotyn (Elizabeth Allan) (daughter of murder victim Sir Karell, awaits in a trance.) When vampire Luna avidly embraces her victim, Count Moro voyeuristically looks on approvingly. Borland's Luna would inspire the character Morticia in the TV series "The Addams Family".


title: Tod Browning

text: The soundtrack for "Mark of the Vampire" is notable in that it employs no orchestral music aside from accompanying the opening and closing credits. Melodic passages, when heard, are provided only by the players. The sound effects provided by recording director Douglas Shearer contribute significantly to the film's ambiance.


title: Tod Browning

text: The climatic "coup-de-grace" occurs when the murderer's incredulity regarding the existence of vampires is reversed when Browning cinematically creates an astonishing illusion of the winged Luna in flight transforming into a human. The rationalist Baron Otto, a witness to this legerdemain, is converted into a believer in the supernatural and ultimately confesses, under hypnosis, to the murder of his brother Sir Karell.


title: Tod Browning

text: In the final five minutes of "Mark of the Vampire", the theatre audience is confronted with the "theatrical trap" that Browning has laid throughout the picture: none of the supernatural elements of film are genuine—the "vampires" are merely actors engaged in a deception. This is made explicit when Bela Lugosi, no longer in character as Count Moro, declares to a fellow actor: "Did you see me? I was greater than any real vampire!"


title: Tod Browning

text: In this, the penultimate film of his career, Browning created a work reminiscent of his collaborations with actor Lon Chaney during the silent era, in the "bizarre melodrama" "The Devil-Doll".


title: Tod Browning

text: Based on the novel "Burn, Witch, Burn" (1932) by Abraham Merritt, the script was crafted by Browning with contributions from Garrett Fort, Guy Endore and Erich von Stroheim (director of "Greed" (1924) and "Foolish Wives" (1922)), and "although it has its horrific moments, like "Freaks" (1932), "The Devil-Doll" is not a horror film."


title: Tod Browning

text: Paul Lavond (Lionel Barrymore) has spent 17 years incarcerated at Devil's Island, framed for murder and embezzlement committed by his financial associates. He escapes from the prison with fellow inmate, the ailing Marcel (Henry B. Walthall). The terminally ill scientist divulges to Lavond his secret formula for transforming humans into miniature, animated puppets. In alliance with Marcel's widow Malita ( Rafaela Ottiano), the vengeful Lavond unleashes an army of tiny living "dolls" to exact a terrible retribution against the three "unholy" bankers. Biographer Vivian Sobchack acknowledges that "the premises on which the revenge plot rest are incredible, but the visual realization is so fascinating that we are drawn, nonetheless, into a world that seems quite credible and moving" and reminds viewers that "there are some rather comic scenes in the film..."


title: Tod Browning

text: Barrymore's dual role as Lavond and his cross-dressing persona, the elderly Madame Mandilip, a doll shop proprietor, is strikingly similar to Lon Chaney's Professor Echo and his transvestite counterpart "Granny" O'Grady, a parrot shop owner in "The Unholy Three" (1925).


title: Tod Browning

text: Thematically, "The Devil-Doll" presents a version of Browning "indirect" sexual frustration. Here, Lavond's daughter Lorraine (Maureen O'Sullivan), ignorant of her father's identity, remains so. Stuart Rothenthal explains:


title: Tod Browning

text: Rosenthal points out another parallel between "The Devil-Doll" and "The Unholy Three" (1925): "Lavond's concern for his daughter and refusal to misuse his powers mark him as a good man...when his revenge is complete, like Echo [in "The Unholy Three"], Lavond demonstrates a highly beneficent nature."


title: Tod Browning

text: Browning proficient use of the camera and the remarkable special effects depicting the "miniature" people are both disturbing and fascinating, directed with "eerie skill."


title: Tod Browning

text: Film historians Stefanie Diekmann and Ekkehard Knörer report that the only direct link between Browning's fascination with "the grotesque, the deformed and the perverse" and the traditions of the French Grand Guignol is actor Rafaela Ottiano who plays doll-obsessed scientist Matila. Before her supporting role in "The Devil-Doll", she enjoyed "a distinguished career as a Grand Guignol performer."


title: Tod Browning

text: Shortly after the completion of "The Devil-Doll", Browning mentor at M-G-M Irving Thalberg died at the age of 37. Browning received no screen credit for the film. It would be two years before his final film: "Miracles for Sale" (1939).


title: Tod Browning

text: "Miracles for Sale" (1939) was the last of the forty-six feature films Browning made for Universal and M-G-M studios since he began directing in 1917.


title: Tod Browning

text: In 1939, he was tasked with adapting Clayton Rawson's locked-room mystery, "Death from a Top Hat" (1938).


title: Tod Browning

text: Robert Young appears as "The Amazing Morgan", a conjurer and "purveyor of magic show equipment." Florence Rice plays the ingenue, Judy Barkley. In this, his cinematic "swan song", Browning "revisits obsessive, familiar themes of fake spiritualism, magic acts [and] transformation through disguises..." and, as with virtually all of Browning's explorations of the arts of illusion and the "realms of theatrical magic", his denoumae provides "an impirical solution" to the mystery murder.


title: Tod Browning

text: "Miracles for Sale" opens with a startling sequence that includes a graphic illusion depicting a "below-the-waist mutilation." Film critic Stuart Rosenthal writes:


title: Tod Browning

text: Despite this "inspired jolt" at the film's outset, "Miracles for Sale" is the most "studio bound" of Browning's sound oeuvre, and according to film critic Stuart Rosenhal "the only Browning production that really looks like an M-G-M studio job..."


title: Tod Browning

text: "Miracles for Sale" lost money at the box-office, returning only $39,000 to M-G-M on a $297,000 investment. Critical evaluation was generally positive.


title: Tod Browning

text: By the early 1940s, Browning's macabre sensibilities were no longer welcome in a Hollywood that was striving for "glamour and prestige." Browning was summarily terminated at M-G-M by producer Carey Wilson after the release of Miracles for Sale and was, by the director's own account "blackballed" from Hollywood as a filmmaker. Stephanie Diekmann and Ekkehard Knörer offer this assessment of Browning's final cinematic effort:


title: Tod Browning

text: Film historian Alfred Eaker adds that "the entire structure of "Miracles for Sale" is an illusion itself, making it a sublime curtain call for the director..."


title: Tod Browning

text: Browning occasionally offered screenplays to M-G-M, but eventually disengaged entirely from the film industry and in 1942 retired to his home in Malibu, California.


title: Tod Browning

text: Browning's wife Alice died in 1944 from complications from pneumonia, leaving him a recluse at his Malibu Beach retreat. By that time Browning had become so isolated from the Hollywood establishment that "Variety" mistakenly published an obituary that year for Browning, confusing his spouse's death for that of the former director.


title: Tod Browning

text: In 1949, the Directors Guild of America bestowed a life membership on Browning; at the time of his death, the honor had been enjoyed by only four of Browning's colleagues.


title: Tod Browning

text: Browning, now a widower, lived in isolation for almost 20 years, "an alcoholic recluse." In 1962 he was diagnosed with cancer of the larynx. The surgical procedure performed to correct the condition rendered him mute.


title: Tod Browning

text: Vivian Sobchack: "...Browning was sometimes called the Edgar Allan Poe of the cinema' [and] much admired by the surrealists. Browning's creations were, of course, a commercial cinema as well. The films suggest a man of humor and compassion who had a dark and melancholic fascination with physical deformity and with the exotic and extraordinary, and yet who observed the oddities of life with unprejudiced objectivity and some delight. A Southerner who ran away with the circus; a former Vaudevillian and magician who traveled the world before he became a filmmaker, a [literary] aesthete and a beer drinker, above all a storyteller, Browning was both a poet and a pragmatist."


title: Tod Browning

text: Alfred Eaker: "Browning himself continues to be dismissed by less insightful critics, who evaluate the man and his work by contemporary entertainment standards or even accuse the great empathetic artist of exploitation. Browning's standing still remains low. Neither he, nor any of his films have received a single honor by a major film recognition or preservation institution."


title: Tod Browning

text: Stuart Rosenthal: "Although the work of any auteur will repeatedly emphasize specific thoughts and ideas, Browning is so aggressive and unrelenting in his pursuit of certain themes that he appears to be neurotically fixated on them. He is inevitably attracted to situations of moral and sexual frustration...[w]hat sets Browning apart is his abnormal fascination with the deformed creatures who populate his films—a fascination that is not always entirely intellectual, and one in which he takes extreme delight."


title: The Pineapple Thief

text: The Pineapple Thief are a British progressive rock band, started by Bruce Soord in 1999 in Somerset, England.


title: The Pineapple Thief

text: Founder Bruce Soord started The Pineapple Thief as an outlet for his music back in 1999. Soord released the debut "Abducting the Unicorn" on Cyclops Records, which created enough interest to establish a small but loyal fan base. Soord returned to the Dining Room studios to work on the second album "137".


title: The Pineapple Thief

text: During this time, several major labels started to take an interest, causing a delay in the release which arrived over two years after the debut. However, it was debatably the third album, "Variations on a Dream" that gave the band the boost it needed, reaching out to yet more people all over the world, by which point they were consistently the top sellers on their label, Cyclops.


title: The Pineapple Thief

text: After this release in the spring of 2002 Bruce decided to form a band to take his music to the fans. The band consisted of his close musical friends – former university bandmate Jon Sykes on bass, Wayne Higgins on guitars, Matt O'Leary on keyboards and Keith Harrison on drums. As a full band, they released "12 Stories Down" in 2004, but Bruce Soord was unhappy with the final sound and re-recorded, remixed and changed some of the tracks before the release of "10 Stories Down" in 2005. Matt O'Leary subsequently left the band, but Steve Kitch (who co-produced and mixed "10 Stories Down") joined to play keyboards.


title: The Pineapple Thief

text: Following the release of "Little Man" in 2006, the band released "What We Have Sown" in late 2007 as a final Cyclops release before being signed to Kscope, a division of Snapper Music. In 2007 The Pineapple Thief's music featured on the final Episode of the MTV show The Hills. The song 'Snowdrops' can be heard on episode 28 during a scene between Lauren & Jo.


title: The Pineapple Thief

text: Wayne Higgins left the band in March 2008, but the group continued as a four-piece live act, playing gigs across Europe, Canada and the US throughout much of the following years.


title: The Pineapple Thief

text: In May 2008, The Pineapple Thief helped relaunch the Kscope label with the critically acclaimed album "Tightly Unwound", which was marked by launch shows at Witchwood in Manchester on 17 May 2008 and at the Water Rats Theatre in London on 22 May 2008. The same day as the album's release, a mini-documentary filmed at The Half Moon, London, was released through the band's website, featuring interviews and two exclusive live tracks.


title: The Pineapple Thief

text: This was followed in 2009 by The Dawn Raids EPs and "3000 Days", a 2-CD re-mixed and re-mastered collection of songs from their ten-year history to date. In January 2010, their 2006 album, "Little Man" was also fully remixed by Bruce Soord and Steve Kitch and released through Kscope with new artwork. There are plans to gradually give all of their back catalogue the same treatment as the Cyclops albums are no longer available and sell for large sums in the second-hand market. 2009 also saw them supporting Riverside on the UK leg of their European tour.


title: The Pineapple Thief

text: "Someone Here Is Missing" was launched at a show at Bush Hall, London on 19 May 2010, whose attendees included Kscope labelmates Steven Wilson of Porcupine Tree and Daniel Cavanagh of Anathema. The album also features artwork by the legendary designer Storm Thorgerson. The album continues to nurture the band's trademark ‘bittersweet’ progressive sound.


title: The Pineapple Thief

text: 2010 saw a number of European festival appearances and a full 2-week tour of mainland Europe. This was recorded and released as the download-only album "Someone Here Is Live".


title: The Pineapple Thief

text: The band entered the studio in January 2012 to record their ninth album, which included (for the first time) a 22-piece orchestra and choir. "All the Wars" was released in September 2012 and followed by a UK tour.


title: The Pineapple Thief

text: The Pineapple Thief's tenth studio album, "Magnolia", was released on 15 September 2014. It peaked at number 55 on UK Album Chart.


title: The Pineapple Thief

text: In August 2016 the band released the album "Your Wilderness", featuring Gavin Harrison on drums, through Kscope.


title: The Pineapple Thief

text: On the last day of August 2018, the band released their 12th studio album, "Dissolution". Gavin Harrison returned on drums, this time taking a more active role in the songwriting. The band embarked on a European tour with Gavin Harrison on drums and George Marios on guitars, and LiZzard as the support act.


title: LGA 2066

text: LGA 2066, also called "Socket R4", is a CPU socket by Intel that debuted with Skylake-X and Kaby Lake-X processors in June 2017. It replaces Intel's LGA 2011-3 (R3) in the performance, high-end desktop and Workstation platforms (based on the X299 "Basin Falls" and C422 chipsets), while LGA 3647 (Socket P) replaces LGA 2011-3 (R3) in the server platforms based on Skylake-SP (Xeon "Purley").


title: LGA 2066

text: All of these CPUs require the Intel X299 chipset to work. So, the C422 chipset is strictly limited to work with workstation processors only.


title: LGA 2066

text: Kaby Lake-X processors were discontinued in May 2018. Starting October 2019, BIOS updates for most of the X299-based motherboards removed support for Kaby Lake-X processors.


title: 2020–21 Eredivisie

text: The 2020–21 Eredivisie was the 65th season of the Eredivisie since its establishment in 1955. The season began on 12 September 2020 and concluded on 16 May 2021.


title: 2020–21 Eredivisie

text: On 2 February 2021, the KNVB announced that effective immediately clubs would be allowed to make an extra substitution for suspected concussions as part of an IFAB sanctioned trial. This trial will allow teams to make up to six substitutions across four breaks in the match instead of five substitutions across three breaks in the match.


title: 2020–21 Eredivisie

text: Ajax, having won the title in 2018–19, were the title holders, since the 2019–20 edition was cancelled due to the COVID-19 pandemic in the Netherlands after 25 matchdays and the title was not awarded.


title: 2020–21 Eredivisie

text: A total of 18 teams are taking part in the league. There were no changes in the league's makeup due to the COVID-19 pandemic.


title: 2020–21 Eredivisie

text: For both play-offs, who plays who, is not decided based on draws, but the brackets are fully preset based on seeds. The seeds are assigned based on the final ranking after the regular season. The best ranked team will get the highest seed (lowest number). Eredivisie teams are considered to be better ranked than eerste divisie teams.


title: 2020–21 Eredivisie

text: Contrary to previous years, all rounds are no longer two legs (home and away) but a single leg. The team with the best seed will get the home advantage.


title: 2020–21 Eredivisie

text: If a match is leveled at the end of the normal playing time, extra time will be played (two periods of 15 minutes each) and followed, if necessary, by a penalty shoot-out to determine the winners.


title: 2020–21 Eredivisie

text: The four best ranked teams without a European tournament ticket will play for one spot in the 2021–22 UEFA Europa Conference League second qualifying round. The highest seeded team will always play at home.


title: 2020–21 Eredivisie

text: Seven teams, six from the 2020–21 Eerste Divisie and one from the Eredivisie, will play for a spot in the 2021–22 Eredivisie. The remaining six teams will play in the 2021–22 Eerste Divisie. The highest seeded team or the team from the Eredivisie will always play at home.


title: Aegukka

text: "" (Chosŏn'gŭl: ; ), officially translated as "Patriotic Song", is the national anthem of the Democratic People's Republic of Korea, more commonly known as North Korea. It was composed in 1945 as a patriotic song celebrating independence from Japanese occupation and was adopted as the state anthem in 1947.


title: Aegukka

text: "Aegukka" is a Romanized transliteration of "The Patriotic Song"; the song is also known by its incipit "Ach'imŭn pinnara" or "Let Morning Shine" or in its Korean name or alternatively as the "Song of a Devotion to a Country".


title: Aegukka

text: The "Encyclopedia of Korean Culture" defines "Aegukka" as "the song to wake up the mind to love the country". "Aegukka" in itself is differentiated from a national anthem. While a national anthem or "gukka" () is an official symbol of the state, "aegukka" refers to any song, official or unofficial, that contains patriotic fervor towards its country, such as Hungary's "Szózat" or the U.S. "The Stars and Stripes Forever". However, the nationally designated "Aegukka" plays the role of symbolizing the country. In general shorthand, the term "aegukka" refers to the national anthem of North Korea.


title: Aegukka

text: Originally, the Korean exile government (1919–1945) in Shanghai, China adopted as their national anthem "Aegukga" (which has the same name with a different Romanization) to the tune of "Auld Lang Syne". After World War II, South Korea kept the words, put to a new tune (changed from "Auld Lang Syne"), while North Korea adopted this newly written piece in 1947. The words were written by Pak Se-yong and the music was composed by Kim Won-gyun.


title: Aegukka

text: In the early 1980s, Kim Jong-il sought to reduce the song's importance to the benefit of "Song of General Kim Il-sung".


title: Aegukka

text: The complete version of "Aegukka" consists two verses. On official occasions, when only the first verse is performed, it is customary to repeat the last four bars. However, if both verses are performed, it is the last four bars of the second verse that are repeated instead.


title: Aegukka

text: "Song of General Kim Il-sung" and "Song of General Kim Jong-il" have since taken the place of "de facto" national anthems domestically, and "Aegukka" is reserved for representing North Korea internationally: when foreign dignitaries visit the country or North Korean athletes compete at international sporting competitions.


title: Aegukka

text: "Aegukka" is almost unique among most North Korean patriotic songs, as it praises neither the Workers' Party of Korea, nor the Kim dynasty, but rather the whole of Korea itself.


title: Head voice

text: Head voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Head voice can be used in relation to the following:


title: Head voice

text: The term goes back at least as far as the Roman tradition of rhetorical instruction. Quintilian (ca. AD 95) recommends teaching students "ut quotiens exclamandum erit lateris conatus sit ille, non capitis" ("that when the voice has to be raised the effort comes from the lungs and not from the head," "Inst." 1.11.8, transl. Russell). The first recorded mention of the term in a musical context was around the 13th century, when it was distinguished from the throat and the chest voice (pectoris, guttoris, capitis—at this time it is likely head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia. The term was later adopted within bel canto, the Italian opera singing method, where it was identified as the highest of three vocal registers: the chest, passagio and head registers. This approach is still taught by some vocal pedagogists today.


title: Head voice

text: However, as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists have redefined or even abandoned the use of the term head voice. In particular, the use of the term head register has become controversial since vocal registration is more commonly seen today as a product of laryngeal function. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the head. The vibratory sensations that are felt in the head are resonance phenomena and should be described in terms related to vocal resonance, not to registers. These vocal pedagogists prefer the term "head voice" over the term "head register." These vocal pedagogists also hold that many of the problems which people identify as register problems are really problems of resonance adjustment. This helps to explain the controversy over this terminology. Also, the term head register is not used within speech pathology and is not one of the four main vocal registers identified by speech pathologists.


title: Head voice

text: One prevailing practice within vocal pedagogy is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and women's voices into "chest register", "middle register", and "head register". According to this practice, singing in the head register feels to the singer as if the tone is resonating in their head (rather than primarily in the chest or throat). According to an early 20th-century book written by David Clippinger, all voices have a head register, whether bass or soprano.


title: Head voice

text: Clippinger claims that males and females switch registers at the same absolute pitches. He also states that at about E or E above middle C the tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. At the same absolute pitches the alto or soprano passes from the chest to the middle register. According to Clippinger there is every reason to believe that the change in the mechanism for male voices into head register is the same as that which occurs in the female voice as it goes into the middle register at the same pitches.


title: Head voice

text: The contemporary vocal pedagogy instructor Bill Martin seconds the view that the change from chest voice to head voice occurs at around E in all voices, including the bass, but Martin states in the coloratura soprano it is more likely to occur at F. A recent book by a former teacher at Oberlin College Conservatory of Music and a vocal pedagogy teacher, Richard Miller, states that in the "tenore lirico" the higher part of the singing voice above the secondo passaggio at G extending upwards is referred to as "full voice in head," or "voce piena in testa", effectively stating the head register begins at G in the "tenore lirico," not at E. According to Singing For Dummies, the bass changes from chest voice into middle voice around A or A below Middle C and changes into his head voice around D or C above Middle C.


title: Head voice

text: In the head register (which is above the chest register), some of the bottom end leaves the voice, but it's still, according to Martin, a voice capable of much power.


title: Head voice

text: Explanations for the physiological mechanisms behind the head voice can alter from voice teacher to voice teacher. This is because, according to Clippinger, ""In discussing the head voice it is the purpose to avoid as much as possible the mechanical construction of the instrument"".


title: Head voice

text: However, not all vocal teachers agree with this view. Thomas Appell's 1993 book "Can You Sing a HIGH C Without Straining?" aimed to refute the theory that all singers switch registers at the same absolute pitch. Appell defined chest voice as resonance below the vocal folds and head voice as resonance above the vocal folds. He recorded examples of male and female singers changing from chest voice to head voice at different pitches in an attempt to prove that the transition pitch is a function of the intensity of the vocal tone and is not absolute. At higher vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be higher. At lower vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be lower.


title: Head voice

text: This view is that since all registers originate in laryngeal function, it is meaningless to speak of registers being produced in the head. The vibratory sensations which are felt in the head are resonance phenomena and should be described in terms related to resonance, not to registers. These vocal pedagogists prefer the term "head voice" over the term register and divide the human voice into four registers: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is more consistent with modern understandings of human physiology and in keeping with stroboscope videos of laryngeal function during vocal phonation.


title: Head voice

text: Tarneaud says, "during singing, the vibration of the vocal folds impresses periodic shakes on the laryngeal cartilage which transmits them to the bones in the thorax via the laryngeal depressors, and to the bony structures in the head via the laryngeal elevators. Singers feel these shakes in the form of thoracic and facial vibrations". These internal phonatory sensations produced by laryngeal vibrations are called "resonance" by singers and teachers of singing.


title: Head voice

text: There are seven parts of the human body that act as resonators and of those seven the three most effective resonators that help amplify and create the most pleasing sounds are all located in the head: the pharynx, the oral cavity, and the nasal cavity.


title: Head voice

text: Resonances and registration aside, the term "head voice" is commonly used to mean "high notes that are not falsetto or strained". For example, when Pavarotti, Stevie Wonder or Bill Withers slide from chest voice to a tenor high C (C) in full, balanced voice, this is referred to as "head voice". (Pavarotti's range was C♯3 to F5, but beyond D5 (E♭5 to F5) he sang in a strong or reinforced falsetto.)


title: Head voice

text: Beginning singers who have difficulty controlling their vocal break need to be taught to eliminate or control the physiological conditions associated with falsetto or strain in a process called "head voice." A strong falsetto is called a reinforced falsetto and a very light head voice is called "voce di testa bianca" or <nowiki>"white head voice."</nowiki>


title: Head voice

text: High notes that are sung with balanced physiology do tend to have better resonance than falsetto or strained notes, so this definition doesn't usually contradict the other two.


title: Kalki (2019 Malayalam film)

text: Kalki is a 2019 Indian Malayalam-language action crime film directed by Praveen Prabharam, co-written by Praveen Prabharam and Sujin Sujathan, and produced by Suvin K. Varkey and Prasobh Krishna for their studio "Little Big Films". The film stars Tovino Thomas in the lead role, while Shivajith Padmanabhan, Samyuktha Menon, and Vini Vishwa Lal play the negative roles. In the film, a cop named K takes charge at a village named Nanchenkotta, where he tries to restore peace and locks horns with a political leader.


title: Kalki (2019 Malayalam film)

text: Nanchenkotta is a fictional place in Kerala-Tamil Nadu border which is ruled by Amarnath, who is the leader of the party DYP. The party threatens and tortures the people to keep them under control and everyone lives in fear. Due to which, many residents left the land and are living in neighbouring places. At present, the place was now filled with goons under Amarnath's command. The party is also involved in illegal businesses like gun production and other known members of the party are Amarnath's brother Appu and their cousin Dr. Sangeetha. Another rival party headed by Adv. Lakshmanan participates in election, but to no avail due to the influence of Amarnath. Adv. Lakshmanan gives a speech in favour of the locals and goes against DYP and asks for the vote of the local people. After the speech, Lakshmanan was killed by Amarnath's henchman Ummar.


title: Kalki (2019 Malayalam film)

text: Even though there was a police station, the law was in Amarnath's hands and the cops were unable to take any action against him. After his daughter criticise him for not taking any action in the murder case of Lakshmanan and after thinking about his inability, SI Vyshakan, who is in-charge of Nanchenkotta, commits suicide. Meanwhile, the new leader of the rival party along with his subordinates starts taking their own decisions without thinking about the people. They conduct a meeting to select the candidate for the upcoming election (against DYP's candidate Appu). The new decisions were not welcomed well and as a senior party member named Sooraj and several other members leave the party to work for the people on their own. The same day, the new leader lends a goon out of town to murder Amarnath, but he ends up dying by Amarnath's hands. A nameless SI (simply referred to as "K") arrives at Nanchenkotta, where he burns a goon alive who had taken over the police station.


title: Kalki (2019 Malayalam film)

text: After this, K rallies the other cops and starts clearing Amarnath's goons using illegal methods. Fearing the new officer's wrath most of the goons change their ways. K also visits the illegal gun manufacturing site run by Appu and threatens him to shut it down. In response, Ummar arrives at the police station and threatens K, only to be thrashed by him and K orders him not to work under Amarnath from. Under the command of Amarnath, Ummar does various activities to make K leave the town or kill him but to no avail. In a final attempt, he attacks two policemen and one loses his leg in the process. An agitated K tracks down Ummar in a factory and thrashes him and his allies, where he finally chops off Ummar's legs with a chainsaw along with his crew. Sooraj meets K and tells him about the people, who have left the place and the problems, where he requests his help to convince the people to arrive back.


title: Kalki (2019 Malayalam film)

text: K starts working for the people against DYP which enrages Amarnath. Amarnath's goons kill a policeman in response and stabs K, but K manages to defeat them. In the next step, Amarnath murders Sooraj which pulls down the confidence of the locals. K kidnaps Appu and thrashes him severely that he falls into a coma. Amarnath is forced to kill Appu to end his suffering. After Appu's death, Sangeetha becomes the candidate, but leaves for Hyderabad after a cop threatens her. Having lost Appu, Amarnath vows to kill K and asks him to arrive for a final battle. In the subsequent fight, Amarnath overpowers K, but the latter prevails and defeats him. K drags Amarnath's body through the streets and orders no one to move until the prison authorities arrive. The people, who had left arrives and walks over Amarnath's unconscious body, thus establishing peace in Nanchenkotta. As his work is done, K leaves the place unnoticed. A few months later, in an unknown place in Tamil Nadu, a goon threatens the locals, but is knocked by K, who has arrived to restore peace and order in the place too.


title: Kalki (2019 Malayalam film)

text: "Kalki" was announced by Tovino Thomas on 16 September 2018 through his Facebook page. The film is produced by Suvin K. Varkey and Prasobh Krishna under their production house Little Big Films. The first-look poster of the film was also released during the film announcement. Tovino Thomas is portraying the lead role as a police officer, and Samyuktha Menon is playing the female lead. Saiju Kurup playing a supporting role.Principal photography began on 12 March 2019 with a customary pooja function held at Kochi. Filming took place at Tenkasi, Tamilnadu and Kundara, Kerala. The shooting was completed on 29 May 2019 in a single schedule with 62 days of filming.


title: Kalki (2019 Malayalam film)

text: The movie got released worldwide on 8 August 2019. In Kerala the movie was released across 161 theaters. Outside India the movie was released on same day itself across theaters in UAE, Oman, Kuwait, Singapore, United States and Canada.


title: Kalki (2019 Malayalam film)

text: In its review, Sify has termed ‘Kalki’ as a hardcore masala entertainer that celebrates its hero. Kalki is an action flick that is a gripping ride for sure, especially if you have an idea about what you are going to see. It is a delightful Tovino Thomas show that is definitely worth a watch. Anjana George of "The Times of India" has rated the film as 3.5/5 and mentioned that “If you love to enjoy an adrenaline rush, Tovino’s looks and action sequences with blood, Kalki is for you.” Litty Simon from news portal Manorama Online in its review mentioned that “ Tovino Thomas fits the bill as fiery cop. This is the first time that Tovino is seen in a complete action avatar and he does justice.” Vidya Nair from Deccan Chronicle has mentioned that larger-than-life portrayal of action has made Kalki an entertaining and one of the fine movies of this year.


title: FBI Ten Most Wanted Fugitives, 2010s

text: The FBI's Ten Most Wanted Fugitives during the 2010s is a list, maintained for a seventh decade, of the Ten Most Wanted Fugitives of the United States Federal Bureau of Investigation. At any given time, the FBI is actively searching for 12,000 fugitives. During the 2010s, 29 new fugitives were added to the list. By the close of the decade a total of 523 fugitives had been listed on the Top Ten list, of whom 488 have been captured or located.


title: FBI Ten Most Wanted Fugitives, 2010s

text: The FBI in the past has identified individuals by the sequence number in which each individual has appeared on the list. Some individuals have even appeared twice, and often a sequence number was permanently assigned to an individual suspect who was soon caught, captured, or simply removed, before his or her appearance could be published on the publicly released list. In those cases, the public would see only gaps in the number sequence reported by the FBI. For convenient reference, the wanted suspect's sequence number and date of entry on the FBI list appear below, whenever possible.


title: FBI Ten Most Wanted Fugitives, 2010s

text: It took a year into the new decade before any of the fugitives were captured. The replacements were not named until 2012. The list includes (in FBI list appearance sequence order):


title: Myeloid tissue

text: Myeloid tissue, in the bone marrow sense of the word "myeloid" ("myelo-" + "-oid"), is tissue of bone marrow, of bone marrow cell lineage, or resembling bone marrow, and myelogenous tissue ("myelo-" + "-genous") is any tissue of, or arising from, bone marrow; in these senses the terms are usually used synonymously, as for example with chronic myeloid/myelogenous leukemia.


title: Myeloid tissue

text: In hematopoiesis, myeloid or myelogenous cells are blood cells that arise from a progenitor cell for granulocytes, monocytes, erythrocytes, or platelets (the common myeloid progenitor, that is, CMP or CFU-GEMM), or in a narrower sense also often used, specifically from the lineage of the myeloblast (the myelocytes, monocytes, and their daughter types). Thus, although all blood cells, even lymphocytes, are normally born in the bone marrow in adults, myeloid cells in the narrowest sense of the term can be distinguished from lymphoid cells, that is, lymphocytes, which come from common lymphoid progenitor cells that give rise to B cells and T cells. Those cells' differentiation (that is, lymphopoiesis) is not complete until they migrate to lymphatic organs such as the spleen and thymus for programming by antigen challenge. Thus, among leukocytes, the term "myeloid" is associated with the innate immune system, in contrast to "lymphoid", which is associated with the adaptive immune system. Similarly, "myelogenous" usually refers to nonlymphocytic white blood cells, and "erythroid" can often be used to distinguish "erythrocyte-related" from that sense of "myeloid" and from "lymphoid".


title: Myeloid tissue

text: The word "myelopoiesis" has several senses in a way that parallels those of "myeloid", and myelopoiesis in the narrower sense is the regulated formation specifically of myeloid leukocytes (myelocytes), allowing that sense of "myelopoiesis" to be contradistinguished from erythropoiesis and lymphopoiesis (even though all blood cells are normally produced in the marrow in adults).


title: Myeloid tissue

text: Myeloid neoplasms always concern bone marrow cell lineage and are related to hematopoietic cells. Myeloid tissue can also be present in the liver and spleen in fetuses, and sometimes even in adults as well, which leads to extramedullary hematopoiesis.


title: Myeloid tissue

text: There is one other sense of "myeloid" that means "pertaining to the spinal cord", but it is much less commonly used. "Myeloid" should not be confused with "myelin", referring to an insulating layer covering the axons of many neurons.


title: Park Joo-ho

text: Park Joo-ho (; or ; born 16 January 1987) is a South Korean football player who plays as a defender for Suwon FC. A versatile player, his primary position is left-back but he is also able play in midfield as a defensive or wide midfielder. As captain, he played for South Korea national under-20 football team in 2007 FIFA U-20 World Cup in Canada.


title: Park Joo-ho

text: Park attended Kwangwoon Electronics Technical High School and Soongsil University. While at university, he gained the interest of notable local and Japanese top-flight clubs but was not offered a contract after medicals revealed a back injury.


title: Park Joo-ho

text: Park started his professional career by joining J2 League club Mito HollyHock in 2008 after recovering from his back injury. He advanced to the top division after his debut season, and won the 2009 J1 League and the 2010 J.League Cup with Kashima Antlers and Júbilo Iwata respectively.


title: Park Joo-ho

text: On 25 June 2011, Swiss Super League club Basel announced that Park had signed a four-year contract with them.<ref name="BaZ-2011/12-FCB-Park"></ref> He joined Basel's first team for their 2011–12 season under head coach Thorsten Fink. To the beginning of their 2011–12 season season Park was member of the Basel team that won the 2011 Uhrencup, beating both Hertha Berlin 3–0 and West Ham United 2–1 to lead the table on goal difference above Young Boys. After playing in six test games, Park played his domestic league debut for the club in the away game in the Swissporarena on 20 August 2011 as Basel were defeated 1–3 by Luzern.<ref name="fcb-achiv-2011/12-H-2011/12-FCL-FCB"></ref> Park soon established himself as Basel's first-choice left-back.


title: Park Joo-ho

text: Basel entered the 2011–12 UEFA Champions League in the group stage. On 7 December 2011, during the Champions League group C match at home in the St. Jakob-Park he helped Basel defeat Manchester United to make his team become the first Swiss club to advance to the knockout stage of a Champions League. Basel won the match 2–1, sending United out of the Champions league. He also contributed to the team's 1–0 first-leg victory over Bayern Munich in the round of 16 by stopping Arjen Robben successfully. However, the team suffered a 7–0 defeat in the second leg and, therefore, it was the German team who advanced to the next round. At the end of the 2011–12 season Park won the Double with his new club. They won the League Championship title with 20 points advantage.<ref name="rsssf-Switzerland 2011/12"></ref> The team won the Swiss Cup, winning the final 4–2 in a penalty shootout against Luzern.<ref name="sfv-cup-2011/12-"></ref>


title: Park Joo-ho

text: The following season, Basel had to rotate their players a lot because they played twenty European games, including Champions League qualifiers and Europa League matches. Park wasn't guaranteed a consistent position as a starter, but still got enough appearances. Basel had started in the 2012–13 UEFA Champions League in the qualifying rounds. But were knocked out of the competition by CFR Cluj in the play-off round. They then continued in the 2012–13 UEFA Europa League group stage. Ending the group in second position, Basel continued in the knockout phase. Missing the first leg due to a suspension, Park played the second leg of quarter-final matches against Tottenham Hotspur, whom they beat 4–1 on penalties after a 4–4 aggregate draw to progress to the semi-finals. In the semi-final Basel were being matched against the reigning UEFA Champions League holders Chelsea. Park played in the first leg, but Chelsea won both games advancing 5–2 on aggregate and eventually winning the competition.<ref name="Uefa-UEL-2012/13-FCB-Chelsea"></ref>


title: Park Joo-ho

text: Park scored his first goal for the club on 21 April 2013 in the away game at the Stockhorn Arena as Basel played a 2–2 draw with Thun.<ref name="fcb-achiv-2012/13-F-Thun-FCB"></ref> At the end of the Super League season 2012–13 he won his second Championship title with the team.<ref name="rsssf-Switzerland 2012/13"></ref> In the 2012–13 Swiss Cup Basel reached the final, but were runners up behind Grasshopper Club, being defeated 4–3 on penalties, following a 1–1 draw after extra time.<ref name="ASF/SFV-2012/13-Cup-FCB-GC"></ref>


title: Park Joo-ho

text: On 17 July 2013 it was announced that Park was leaving the club. During his two season with them, Park played a total of 107 games for Basel scoring that one goal. 47 of these games were in the Swiss Super League, eight in the Swiss Cup, 22 in the UEFA competitions (Champions League and Europa League) and 30 were friendly games.


title: Park Joo-ho

text: On 17 July 2013, Mainz 05 announced the signing of Park on a full transfer from Basel. He signed a two-year contract through June 2015 with a club option for an additional two years. He played 27 matches as a left-back or a central midfielder for Mainz in the 2013–14 Bundesliga, and cooperated with them in qualifying for the Europa League. He was named in player rankings of football magazine "kicker" after the end of the season.


title: Park Joo-ho

text: Park moved to Borussia Dortmund, following Thomas Tuchel who coached him in Mainz. On 17 September 2015, he played his first match for Dortmund in a Europa League match against Krasnodar, and led Dortmund to a 2–1 win by having a goal and an assist. Afterwards, however, he spent much time on Dortmund's bench during two seasons.


title: Park Joo-ho

text: Furthermore, Park was sent to the club's reserve team by new manager Peter Bosz at the beginning of the 2017–18 season. Park finally left Dortmund on 3 December 2017.


title: Park Joo-ho

text: Park signed a four-year contract with Ulsan Hyundai on 18 December 2017. He was appointed a vice-captain ahead of his second season with Ulsan. He conceded a goal by mistake in the 2020 AFC Champions League Final, but won the Champions League title. He decided not to see out his contract as new incoming manager Hong Myung-bo could not guarantee him playing time.


title: Park Joo-ho

text: On 27 January 2021, it was announced that Park had signed with Suwon FC, which had just been promoted to the top flight.


title: Park Joo-ho

text: On 18 January 2010, Park made his first international cap for South Korea in a friendly against Finland.


title: Park Joo-ho

text: On 28 May 2014, Park was selected for the South Korean squad for the 2014 FIFA World Cup to replace injured player Kim Jin-su. However, he didn't play any matches while South Korea finished at the bottom of their group.


title: Park Joo-ho

text: Park was one of the three over-aged players in South Korea's squad for the 2014 Asian Games, and played in a defensive midfield position as Kim Jin-su preferred playing as a left back. He scored in the round of 16 match against Hong Kong. He played all matches as starter, and became a gold medalist. His gold medal allowed him to be exempted from the two-year mandatory military service and continue his career in the Bundesliga.


title: Park Joo-ho

text: Park also played as a defensive midfielder and Ki Sung-yueng's partner in the 2015 AFC Asian Cup, helping South Korea advance to the Asian Cup final for the first time in 27 years.


title: Park Joo-ho

text: Park was going to participate as a main player in the 2018 FIFA World Cup. However, he sustained a thigh injury during the first match against Sweden and was ruled out for the rest of the tournament.


title: Park Joo-ho

text: Park met his Swiss wife Anna while playing for Basel, where she was working at the stadium cafe. They have three children, daughter Eden/Na-eun (born in 2015), and sons Aciel/Gun-hoo (born in 2017) and Élyséen/Jin-woo (born in 2020). After previously keeping his family out of the spotlight, Park and their oldest two children joined the cast of "The Return of Superman" in 2018.


title: Rafael Lovato Jr.

text: Rafael Lovato Jr. (born June 25, 1983) is a 4th degree black belt Brazilian Jiu-Jitsu practitioner (8x world medallist) and a retired mixed martial artist who last competed in the Middleweight division of Bellator MMA, where he is the former Bellator Middleweight World Champion. At the time of his retirement, Lovato Jr. was ranked the #4 Middleweight fighter in the world by Fight Matrix. In 2022 Lovato won the Brazilian Jiu-Jitsu European Championship for the second time.


title: Rafael Lovato Jr.

text: Lovato was born in Cincinnati, Ohio, but his family moved to Oklahoma City, Oklahoma when he was eight years old. The son of a Jeet Kune Do instructor, Lovato studied a variety of martial arts in his youth and competed in amateur boxing before discovering Brazilian jiu-jitsu at age 13. He is of Spanish and Italian descent.


title: Rafael Lovato Jr.

text: Lovato was the second American, after B.J. Penn, to win the World Jiu Jitsu Championship as a black belt.


title: Rafael Lovato Jr.

text: Lovato is a black belt under Carlos Machado, the oldest of the Machado family. Rafael has had a long and formative training history with Xande and Saulo Ribeiro, one which began after he competed against Saulo in the finals of the 2003 Arnold Classic, when Rafael was just 19 years old.


title: Rafael Lovato Jr.

text: Since retiring from MMA due to medical issues, Lovato Jr. has made a return to competing in BJJ, with several appearances on the superfight circuit throughout 2020. He also competed at the IBJJF Masters World Championships 2020, claiming silver in the absolute division after a close final match with Gregor Gracie. Lovato Jr. has also verbally agreed to compete against the reigning ADCC World Champion Gordon Ryan at some point in 2021.


title: Rafael Lovato Jr.

text: Lovato made his professional MMA debut on September 26, 2014 at LFA 35, against Canaan Grigsby. He won the fight by an arm-triangle choke at the end of the first round. His next fight came at LFA 46, against the future UFC middleweight contender Kevin Holland. Lovato Jr. won the fight by a rear naked choke, 84 seconds into the first round.


title: Rafael Lovato Jr.

text: After these two victories, Lovato Jr. was scheduled to fight Marcelo Nunes at LFA 54, for the Middleweight title. Lovato Jr. won the fight by TKO near the end of the second round. He was scheduled to make his first title defense against Cortez Coleman at LFA 62. He submitted Coleman with an armbar in the last minute of the third round.


title: Rafael Lovato Jr.

text: In March 2017, Lovato made his debut for Bellator MMA. He faced Charles Hackmann at Bellator 174 and won the fight via TKO just 13 seconds into the first round.


title: Rafael Lovato Jr.

text: In his second Bellator bout, Lovato faced Mike Rhodes at Bellator 181 on July 14, 2017. Rafael Lovato Jr. won the fight via submission in the first round.


title: Rafael Lovato Jr.

text: Lovato faced Chris Honeycutt at Bellator 189 on December 1, 2017 and Rafael Lovato Jr. won the fight by unanimous decision.


title: Rafael Lovato Jr.

text: Lovato was expected to face John Salter at Bellator 198 on April 28, 2018. John Salter was later pulled from the event by the Illinois Athletic Commission due to an eye issue on April 24 and replaced by Gerald Harris. Rafael Lovato Jr. won the fight via armbar submission in the first round.


title: Rafael Lovato Jr.

text: Lovato faced John Salter on September 21, 2018 at Bellator 205. Rafael Lovato Jr. won the fight via a submission.


title: Rafael Lovato Jr.

text: Lovato was scheduled to face Gegard Mousasi for the Bellator Middleweight World Championship. This bout was expected to serve as the co-headliner of Bellator 214. On December 20, 2018, it was reported that Mousasi pulled from the fight, citing a back injury and Lovato was pulled from the card. The bout against Mousasi was rescheduled to June 22, 2019 in London, England at Bellator 223. Lovato defeated Mousasi by majority decision.


title: Rafael Lovato Jr.

text: On January 29, 2020, while appearing on the Joe Rogan Experience, Lovato revealed that he was dealing with a brain condition called cerebral cavernoma. He stated that the condition was nearly a reason for him to be pulled from his title bout with Gegard Mousasi, but he was ultimately given clearance. However, after further review on the potential risks of the condition weeks following the bout against Mousasi, commissions in Europe have stated they will not give Lovato clearance to fight in Europe any longer. Per the advice of his doctors, Lovato then said for the time being his MMA career is on hold, though he did not announce retirement and is hopeful he will fight again in the future. On February 10, 2020, it was announced that Lovato had relinquished the Bellator Middleweight title.


title: Rafael Lovato Jr.

text: Lovato Jr has gone on record to state his desire to return to professional MMA for at least one more fight, and ideally in 2021. Although as yet, he's been unable to get medically cleared to fight.


title: Rafael Lovato Jr.

text: Lovato is scheduled to return to MMA on December 28, 2022 at Inoki Bom-Ba-Ye x Ganryujima against undefeated Taiga Iwasaki.


title: Wizzard

text: Wizzard were an English rock band formed by Roy Wood, former member of the Move and co-founder of the Electric Light Orchestra. "The Guinness Book of 500 Number One Hits" states, "Wizzard was Roy Wood just as much as Wings was Paul McCartney." They are most famous for their 1973 Christmas single "I Wish It Could Be Christmas Everyday", which has been played during every Christmas season in the UK since its release.


title: Wizzard

text: Not long after the release of Electric Light Orchestra's first album, Wood found himself in political disagreements with the band's manager Don Arden. Following a difference of opinion during recording of the band's second album, "ELO 2", Wood walked out of the session, went down the road to a studio where the Birmingham group Mongrel (which included his former Move bandmate Rick Price, as well as drummers Charlie Grima and Keith Smart) were recording, and asked them if they would be interested in putting a band together.


title: Wizzard

text: Wood left ELO, taking band members Bill Hunt (keyboards and french horn) and Hugh McDowell (cello) with him, as well as ELO's sound engineer, Trevor Smith. Despite press reporting a fallout between Wood and co-founder/leader Jeff Lynne, Wood denies that he and Lynne ever had a real row, blaming it on press fabrication and insisting that "We never had a real row and we're still mates now." In fact, Wood claimed that he left the group because he foresaw a fallout between him and Lynne due to their increasing differences of opinion (which he felt were caused, indirectly, by the band's management) and wanted to avoid it.


title: Wizzard

text: Also in the line-up were saxophone players Mike Burney and Nick Pentelow (the son of actor Arthur Pentelow). Prior to the recording of the band's second album, "Introducing Eddy and the Falcons", McDowell left and was not replaced (he returned to ELO), and during the recording of the album Bill Hunt also departed and was replaced by Bob Brady (also from Mongrel). Prior to the 1975 recording of the band's final album, "Main Street" (released 2000), drummer Keith Smart departed the band and was not replaced.


title: Wizzard

text: The band made their live debut at The London Rock and Roll Show at Wembley Stadium on 5 August 1972. Wizzard's second appearance was at the Reading Festival later that month. With Wood's distinctive warpaint make-up and colourful costume, not to mention regular appearances on BBC Television's "Top of the Pops" in which members and friends, including Wood's girl friend, singer Ayshea Brough, variously appeared in pantomime horses, gorilla costumes or as roller-skating angels, often wielding custard pies for good measure, they were one of the most picturesque groups in the British glam rock era. In 1973 they scored their first Top 10 hit with "Ball Park Incident", which made No. 6 for three weeks from 13 January. Their biggest hit was with their second single. "See My Baby Jive", Wood's faithful and affectionate tribute to the Phil Spector generated 'Wall of Sound', made No. 1 in the UK Singles Chart for four weeks. It sold over one million copies globally, and was awarded gold disc status. The follow-up, "Angel Fingers", also topped the charts for one week. Wizzard's songs often included lengthy instrumental improvisations.


title: Wizzard

text: The band's 1973 Christmas single "I Wish It Could Be Christmas Everyday" became an annual fixture on British (and Irish) radio and television. It was reissued in 1981, and a 12" re-recording appeared in 1984.


title: Wizzard

text: During 1973 Harvest Records released the Roy Wood solo album "Boulders", which he had recorded and mixed years before forming Wizzard, and which produced a Top 20 hit in "Dear Elaine". Wood said he was bored with "Boulders" by the time of its release and he wanted to focus on his new music with Wizzard. The subsequent heavy working schedule and strain led to health problems, and several cancelled or postponed live dates on a spring 1974 tour of the UK. One highlight of 1974 was a return to the Top 10 with "Rock 'n' Roll Winter (Loony's Tune)". Release was delayed for several weeks until the end of March, so the words 'Sorry, the word 'Spring' wouldn't fit. R.W.' were added on the label after the title. Unusually for the time, this song and the B-side, "Dream of Unwin", were both recorded and released in mono. The song was dedicated to Wood's girlfriend of the time Lynsey de Paul, who repaid the honour by recording a Wizzard flavoured song "Ooh I Do" a few months later.


title: Wizzard

text: A tour of the US later that year failed to bring them any commercial success there, but after meeting Brian Wilson some members guested on a Beach Boys session, which resulted in the eventual release of the latter group's single "It's OK" in 1976. According to Wood, the record label neglected to make a substantial push to make Wizzard a success in the U.S., preferring to focus promotion on England since the band were already very popular there.


title: Wizzard

text: Wizzard was an expensive band to maintain, both because of the large line-up, in terms of recording costs, and Bill Hunt's propensity to smash the pianos of the venues they were playing at. Studio time was an even greater drain on the band's finances. According to Price in a radio interview, "When we finished recording 'Angel Fingers' it was rumoured that we had spent more time in the studio than Paul McCartney had with the whole of the "Band on the Run" album." Whether it was true or not, this meant that most of the record company's money was spent in studio time and that the members of the band had to rely on live touring work for their income. A couple of tours in the UK and one tour of the US were not enough to ensure regular wages for the band. One by one the band members found other, more lucrative, things to occupy their time.


title: Wizzard

text: By autumn 1975 they had split, leaving a farewell single, "Rattlesnake Roll", which failed to chart, and a third album, "Main Street", which their record label did not release as they deemed it insufficiently commercial. Wizzard had initially intended their second album to be a double, with one disc a set of rock and roll pastiches and the other disc jazz-rock. The label heard the rock and roll set and decided to release that as a single album, which appeared in 1974 as "Introducing Eddy & The Falcons". "Main Street", the jazz-rock set, languished in the vaults and was for some time presumed lost, but was finally released in 2000.


title: Wizzard

text: Following the band's split in 1975, Wood and Price formed the short-lived Wizzo Band, after which Wood reverted to a solo career in addition to producing records for other acts, notably a 1979 Top 10 cover version of "Duke of Earl" for British doo-wop revivalists Darts.


title: Rock Island Arsenal

text: The Rock Island Arsenal comprises , located on Arsenal Island, originally known as Rock Island, on the Mississippi River between the cities of Davenport, Iowa, and Rock Island, Illinois. It lies within the state of Illinois. Rock Island was previously used as the summer camp site for Sauk Native Americans, and the dispute over tribal ownership led to the Black Hawk War of 1832, after the primary leader of the Sauk, Black Hawk. It is now home of First Army headquarters, and the US Army's Center of Excellence for Additive Manufacturing.


title: Rock Island Arsenal

text: The island was originally established as a government site in 1816, with the building of Fort Armstrong. It is now the largest government-owned weapons manufacturing arsenal in the United States. It has manufactured military equipment and ordnance since the 1880s. In 1919–1920 one hundred of the Anglo-American or Liberty Mark VIII tanks were manufactured, although too late for World War I. It is designated as a National Historic Landmark.


title: Rock Island Arsenal

text: Established as both an arsenal and a center for the manufacture of leather accoutrements and field gear, today it provides manufacturing, logistics, and base support services for the Armed Forces. The Arsenal is the only active U.S. Army foundry, and manufactures ordnance and equipment, including artillery, gun mounts, recoil mechanisms, small arms, aircraft weapons sub-systems, grenade launchers, weapons simulators, and a host of associated components. Some of the Arsenal's most successful products include the M198 and M119 towed howitzers, and the M1A1 gun mount. About 250 military personnel and 6,000 civilians work there. The 2000 census population was 145.


title: Rock Island Arsenal

text: From the autobiography of Sauk Native American Black Hawk: "When we arrived we found that the troops had come to build a fort on Rock Island...We did not object, however, to their building their fort on the island, but were very sorry, as this was the best one on the Mississippi, and had long been the resort of our young people during the summer. It was our garden, like the white people have near their big villages, which supplied us with strawberries, blackberries, gooseberries, plums, apples and nuts of different kinds."


title: Rock Island Arsenal

text: The island facilities were converted and built in 1863; they were not yet completed in December of that year, when the first Confederate prisoners were incarcerated. The construction was makeshift. The first prisoners were 468 Confederates captured in battles at Chattanooga, Tennessee. That month more than 5,000 Confederates would swell the population of Rock Island military prison. They were kept in 84 barracks, each holding around 100 prisoners. A total of 41 Confederate prisoners successfully escaped during the prison's operation, and many more would try but fail.


title: Rock Island Arsenal

text: A total of 1,964 Confederate prisoners and 125 Union guards are buried in the adjacent military cemetery, including 49 members of the 108th Regiment of United States Colored Troops, who served as guards. Most died from disease, since sanitation was primitive as in all army encampments, and exposure to heat and humidity during the summers and freezing temperatures during winters. In 1864, deadly smallpox epidemics rapidly spread through the prison.


title: Rock Island Arsenal

text: The prison camp operated from December 1863 until July 1865, when the last prisoners were freed. After the war, the prison facility was completely destroyed. During its two years in operation, the prison camp housed a total of more than 12,400 Confederates.


title: Rock Island Arsenal

text: Other historical sites in the area include the Confederate Cemetery, the Rock Island National Cemetery, 19th-century stone workshops, officers' quarters along the river, Col. Davenport's House, and the site of the first bridge built across the Mississippi. Following the war, the federal government retained ownership of Arsenal Island and developed it for use as an arsenal and ordnance manufacturing center, which led to its being renamed.


title: Rock Island Arsenal

text: The Rock Island Arsenal Museum was established on July 4, 1905. It is the second-oldest US Army Museum in the US after the West Point Museum. The museum has been closed twice, during World War I and World War II, to provide more space for manufacturing facilities.


title: Rock Island Arsenal

text: Exhibits interpret the history of Rock Island Arsenal and the Union prison camp during the American Civil War, and the site's role as a military industrial facility. The museum contains the second-largest collection of small arms weapons in the U.S. Army, and an outdoor vehicle display.


title: Geoffrey Bayldon

text: Albert Geoffrey Bayldon (7 January 1924 – 10 May 2017) was an English actor. After playing roles in many stage productions, including the works of William Shakespeare, he became known for portraying the title role of the children's series "Catweazle" (1969–70). Bayldon's other long-running parts include the Crowman in "Worzel Gummidge" (1979–81) and Magic Grandad in the BBC television series "Watch" (1995).


title: Geoffrey Bayldon

text: Bayldon was born in Leeds and attended Bridlington School and Hull College of Architecture. Following service in the Royal Air Force during World War II, he appeared in amateur theatricals and then trained at the Old Vic Theatre School.


title: Geoffrey Bayldon

text: Bayldon enjoyed a substantial stage career, including work in the West End and for the RSC. He made several film appearances in the 1960s and 1970s, including "King Rat" (1965), "To Sir, with Love" (1967), "Casino Royale" (as Q) (1967), the Envy segment of "The Magnificent Seven Deadly Sins" (1971), the Marc Bolan/T. Rex film "Born to Boogie" (1972), "The Pink Panther Strikes Again" (1976), as well as the film versions of "Steptoe and Son", "Steptoe and Son Ride Again" (1973) as the vicar, and "Porridge" (1979) as the Prison Governor.


title: Geoffrey Bayldon

text: Bayldon also appeared in several horror films; "Dracula" and "Frankenstein Must Be Destroyed" for Hammer Films and "The House That Dripped Blood", ""Asylum"" and "Tales from the Crypt" for Amicus. In 2004, after many years of successful television work he appeared in the film "Ladies in Lavender".


title: Geoffrey Bayldon

text: He appeared in "Doctor Who" with a guest appearance as Organon in "The Creature from the Pit" (1979) opposite Tom Baker as the Fourth Doctor. Subsequently, he played an alternative First Doctor in two audio plays based on the "Doctor Who" television series by Big Finish Productions in the "Doctor Who Unbound" series: "Auld Mortality" (2003) and "A Storm of Angels" (2005). In 1963, Bayldon had been one of the first actors offered the role of the Doctor.


title: Geoffrey Bayldon

text: Bayldon's other television roles include, "ITV Play of the Week" (1957, 1959, 1964, 1967), "The Avengers" (1961 and 1967), "Z-Cars" (1963, 1968), "Theatre 625" (1964–1968), "The Wednesday Play" (1968, 1969), "ITV Sunday Night Theatre" (1970, 1972), "" (1976), "The Tomorrow People" (1976), "Tales of the Unexpected" (1980, 1983), "Blott on the Landscape" (1985), "Star Cops" (1987), "Rumpole of the Bailey" (1987), "The Chronicles of Narnia" (1989). He later took part in a number of BBC Schools programmes, where he displayed a number of otherwise unexploited talents (such as singing). In 1993, he played Simplicio in the Open University video "Newton's Revolution".


title: Geoffrey Bayldon

text: In 1986, Bayldon provided the vocals on Paul Hardcastle's "The Wizard" which was also used (without the vocal) as the theme for BBC1's "Top of the Pops".


title: Geoffrey Bayldon

text: Among his later television appearances were the Five game show "Fort Boyard" (1998–2001), "Waking the Dead" (2004), "Heartbeat" (2004) and "Casualty" (2006, after previous appearances in 1991, 1997 and 2004). His final television appearances, before his retirement, were "New Tricks" (2007) and "My Family" (2010).


title: Geoffrey Bayldon

text: Bayldon died on 10 May 2017, aged 93, from undisclosed causes. He was predeceased by his partner, actor Alan Rowe, who died in 2000.


title: Little Demon (TV series)

text: Little Demon is an adult animated sitcom created by Darcy Fowler, Seth Kirschner and Kieran Valla that premiered on FXX on August 25, 2022. The series features the voices of Aubrey Plaza, Danny DeVito, and Lucy DeVito. The series is the first show produced by Atomic Cartoons aimed at an adult audience.


title: Little Demon (TV series)

text: 13 years after being impregnated by Satan, Laura and her Antichrist daughter, Chrissy, attempt to live an ordinary life in Delaware, but are constantly overwhelmed by monstrous forces, including Satan, who wants custody of Chrissy's soul.