title: Ira Aldridge

text: During Aldridge's seven-week engagement at the Royal Coburg, the young actor starred in five plays. He earned admiration from his audiences while critics emphasized Aldridge's lack of formal stage training and experience. According to modern critics Errol Hill and James Vernon Hatch, early reviews were mixed. For "The Times" he was "baker-kneed and narrow-chested with lips so shaped that it is utterly impossible for him to pronounce English"; "The Globe" found his conception of Oroonoko to be very judicious and his enunciation distinct and sonorous; and "The Drama" described him as "tall and tolerably well proportioned with a weak voice that gabbles apace." "The Times" critic also found fault with Aldridge's "copper" complexion, considering it insufficiently dark for Othello. Meanwhile, "The Athenaeum" magazine was scandalized by a black man with white actresses, and the paper "Figaro in London" sought to "drive him from the stage" because of his color.


title: Ira Aldridge

text: Aldridge performed scenes from "Othello" that impressed reviewers. One critic wrote, "In "Othello" [Aldridge] delivers the most difficult passages with a degree of correctness that surprises the beholder." He gradually progressed to larger roles; by 1825, he had top billing at London's Coburg Theatre as Oronoko in "A Slave's Revenge", soon to be followed by the role of Gambia in "The Slave," and the title role of Shakespeare's "Othello". He also played major roles in plays such as "The Castle Spectre" and "The Padlock". In search of new and suitable material, Aldridge also appeared occasionally as white European characters, for which he would be made up with greasepaint and wig. Examples of these are Captain Dirk Hatteraick and Bertram in Rev. R. C. Maturin's "Bertram", the title role in Shakespeare's "Richard III", and Shylock in "The Merchant of Venice".


title: Ira Aldridge

text: In 1828, Aldridge visited Coventry while he was largely touring the English provinces. After his acting impressed the people of the city, he was made the manager at Coventry's Theatre Royal, owned by Sir Skears Rew, and thus became the first ever African American to manage a British theatre.


title: Ira Aldridge

text: During the months when Aldridge remained in Coventry, he made various speeches about the evils of slavery. And after he left Coventry, his speeches and the impression he made, inspired the people of Coventry to go to the county hall, and petition to the Parliament, to abolish slavery.


title: Ira Aldridge

text: In 1831 Aldridge successfully played in Dublin; at several locations in southern Ireland, where he created a sensation in the small towns; as well as in Bath, England and Edinburgh, Scotland. The actor Edmund Kean praised his Othello, and since he was an African-American actor from the African Theatre, "The Times" termed him the "African Roscius", after the famed actor of ancient Rome. Aldridge used this to his benefit and expanded African references in his biography that appeared in playbills, also identifying his birthplace as "Africa" in his entry in the 1851 census.


title: Ira Aldridge

text: By at least 1833 he had added the anti-heroic role of Zanga in Edward Young's The "Revenge" to his repertoire. "The Revenge" (1721) race-flips the plot of "Othello" by showing how Zanga, a captured Moorish prince who has become the servant and confidant of the noble Don Alonzo, vengefully tricks him into believing his wife is unfaithful. Alonzo finally kills himself and Zanga exults: "Let Europe and her pallid sons go weep; / Let Afric and her hundred thrones rejoice: / Oh, my dear countrymen, look down and see / How I bestride your prostrate conqueror!" An illustrated review of this performance at the Surrey Theatre shows Aldridge triumphing over Alonzo, dressed in flowing Moorish robes, which, according to the critic, "reminds one of the portraits of Abd-el Kader". The same reviewer praised Aldridge's comic talents in the contrasting role of Mungo (in the Bickerstaffe farce "The Padlock"), describing them as a refreshing corrective, "...differing entirely from the Ethiopian absurdities we have been taught to look upon as correct portraitures; his total "abandon" is very amusing."


title: Ira Aldridge

text: In 1841, Aldridge toured towns across Lincolnshire, performing in Gainsborough, Grantham, Spilsby, and Horncastle. In 1842, Aldridge performed in Lincoln; local newspapers reported that his arrival in a travelling coach was a remarkable sight and caused a stir with inhabitants of the city. Despite the eye-catching arrival, Aldridge's performances were not well attended. In June 1844 he made appearances on stage in Exmouth (Devon, England). In 1847, he performed in Boston. Aldridge returned to Lincoln in 1849 to favourable reviews. The Lincoln Standard reported on Aldridge's performance, “his talents are first rate, and his conduct gentlemanly, strongly evidencing that mankind all have an equal capacity, if they had but the opportunity of receiving instruction.”


title: Ira Aldridge

text: In 1852, Aldridge chose Brussels in Belgium as the starting point of its first tour in continental and central Europe. He toured with successes all over Europe. He had particular success in Prussia, where he was presented to the Duchess of Saxe-Coburg-Gotha, and performed for William IV of Prussia; he also performed in Budapest. An 1858 tour took him to Serbia and to the Russian Empire, where he became acquainted with Count Fyodor Tolstoy, Mikhail Shchepkin and poet and artist Taras Shevchenko, who did his portrait in pastel.


title: Ira Aldridge

text: Now of an appropriate age, about this time, he played the title role of "King Lear" (in England) for the first time. He purchased some property in England, toured Russia again (1862), and applied for British citizenship (1863). Shortly before his death he was apparently ready to return to America to perform. It was reported that Aldridge had negotiated a 100-show-tour throughout the post-Civil War United States. In its obituary of Aldridge, "The New York Times" stated he had been booked to appear in the city's Academy of Music in September, but "Death has prevented the fulfilment of his intention".


title: Ira Aldridge

text: Soon after going to England, on 27 November 1825, Aldridge married Margaret Gill, an Englishwoman, at St George's, Bloomsbury. He recorded in his "Memoir" that she was "the natural daughter of a member of Parliament, and a man of high standing in the county of Berks", but her father was in reality a stocking-weaver from Northallerton, Yorkshire. Lindfors suggests that Aldridge "may have invented this fiction to give her an air of respectability in polite society", raising her social status to protect her from criticism for marrying a black man. Their marriage angered the pro-slavery lobby, which attempted to end Aldridge's career. The couple was married for 40 years until her death in 1864.


title: Ira Aldridge

text: Aldridge's first son, Ira Daniel, was born in May 1847. The identity of his mother is unknown, but it could not have been Margaret Aldridge, who was 49 years old and had been in ill health for years. She raised Ira Daniel as her own; they shared a loving relationship until her death. He emigrated to Australia in February 1867.


title: Ira Aldridge

text: Aldridge bought 5 Hamlet Road, in the prosperous suburbs of Upper Norwood, London, in 1861–2 shortly before becoming a naturalised British citizen in 1863. It was where his wife, Margaret, and later his second wife, Amanda, brought up his children. He named the house ‘Luranah Villa’ in memory of his mother. It now bears his English Heritage blue plaque.


title: Ira Aldridge

text: A year after Margaret's death, on April 20, 1865, Aldridge married his mistress, the self-styled Swedish countess Amanda von Brandt (1834-1915). They had four children: Irene Luranah, Ira Frederick and Amanda Aldridge, who all went on to musical careers, the two girls as opera singers. Their daughter Rachael Frederica was born shortly after Aldridge's death and died in infancy. Brandt died in 1915 and is buried at Highgate Woods, London.


title: Ira Aldridge

text: Aldridge spent most of his final years with his family in Russia and continental Europe, interspersed with occasional visits to England. He planned to return to the post-Civil-War United States. After completing a 70-city tour of France in 1867 and his French tour of Belgium (Ghent and Brussels), Aldridge died of a prolonged lung condition on 7 August 1867 while visiting Łódź, in Poland. He was buried in the city's ; 23 years passed before a proper tombstone was erected. His grave is tended by the Society of Polish Artists of Film and Theatre. A commemorative plaque was unveiled in 2014 at 175 Piotrkowska Street, where Aldridge was said to have died. The plaque was created by sculptor Marian Konieczny.


title: Ira Aldridge

text: A half-length portrait of 1826 by James Northcote shows Aldridge dressed for the role of Othello, but in a relatively undramatic portrait pose, is on display at the Manchester Art Gallery (in the Manchester section). Aldridge performed in the city many times. A blue plaque unveiled in 2007 commemorates Aldridge at 5 Hamlet Road in Upper Norwood, London. The plaque describes him as the "African Roscius".


title: Ira Aldridge

text: In 1856 Aldridge was successfully sued by actor William Stothard, who alleged Aldridge had had an affair with his wife Emma three years before, resulting in the birth of a son. (Under English law at the time the husband of an adulterous wife was entitled to sue her lover for compensation.) At a hearing on January 14 in London before Mr. Justice Erle the jury found for the plaintiff Stothard, but in view of mitigating circumstances awarded him only £2 in damages.


title: Ira Aldridge

text: Aldridge was away on tour in Ireland when the trial took place but he was heading the bill at a London theatre by the following year, indicating the scandal caused his career no lasting damage.


title: Ira Aldridge

text: Aldridge enjoyed enormous fame as a tragic actor during his lifetime, but after his death, he was soon forgotten (in Europe). The news of Ira Aldridge's death in Poland and the record of his achievement as an actor reached the American black community slowly. In African-American circles, Aldridge was a legendary figure. Many black actors viewed him as an inspirational model, so when his death was revealed, several amateur groups sought to honor his memory by adopting his name for their companies.


title: Ira Aldridge

text: Many troupes were being founded in various places around America. In the late nineteenth century Aldridge-titled troupes were established in Washington, DC, in Philadelphia, and in New Haven, their respective productions at the time being an adaptation of Kotzebue's "" by Sheridan as "Pizarro" in 1883, "School" by Thomas William Robertson in 1885, and George Melville Baker's "Comrades" in 1889.


title: Ira Aldridge

text: The most prominent troupe named for him was the Ira Aldridge Troupe in Philadelphia, founded in 1863, some 35 years after Aldridge left the US for good. The Ira Aldridge Troupe was a minstrelsy group that caricatured Irish men. The Ira Aldridge Troupe is unique in annals of minstrelsy; it was named for a Black actor who had left his homeland some 35 years before and achieved fame in Europe. Unlike most, later, Black minstrel companies, the Aldridge Troupe apparently did not do plantation material, although they were billed as a 'contraband troupe'—that is, fugitive slaves. Perhaps because of their substantially Black audience, the troupe felt no need to "put on the mask." Although much of the material the group performed was standard fare, several of the company's acts were downright subversive.


title: Ira Aldridge

text: The Ira Aldridge Troupe appearing during the American Civil War made it "unique in the annals of minstrelsy." The "Clipper" (New York City) thought it was important enough to review; and it performed before a mixed audience, at a time when often white and black audiences were separated. Third, it was a black troupe presenting a program designed to appeal to their black audience. The Ira Aldridge Troupe performances eschewed the southern genre of old "darkies" longing for the plantation. The exclusion of southern nostalgia may have been in deference to a majority-black audience. The New York "Clipper" reported them as "A more incorrigible set of cusses we never saw; they beat our Bowery gods all to pieces."


title: Ira Aldridge

text: The troupe also created performances and songs that referred to the continuing Civil War. A ballad, "When the Cruel War is Over", became well known; it was performed by three members of the troupe—Miss S. Burton, Miss R. Clark, and Mr. C. Nixon. The song sold over a million copies of sheet music and was one of the most popular sentimental songs of the Civil War. The song describes a soldier's farewell to his lady, the wounds he receives in battle, and his dying request for a last caress. The song, highly popular with white minstrel groups, was an example of the change in white minstrelsy that had been occurring at this time.


title: Ira Aldridge

text: Another popular production was a farce called "The Irishman and the Stranger", with a Mr. Brown playing a character called Pat O'Callahan and a Mr. Jones playing the Stranger. This farce displayed black actors in white face speaking in a "nigger accent". The "Clipper" reporter referred to the performance as a "truly laughable affair, the 'Irish nagur' mixing up a rich Irish brogue promiscuously with the sweet nigger accent". Perhaps the Aldridge Troupe's audience got its biggest satisfaction, however, from the role reversal inherent in the piece: since the beginning of minstrelsy, minstrels of Irish heritage, such as Dan Bryant and Richard Hooley, had been caricaturing Black men—now it was the turn of Black men to caricature the Irish.


title: Ira Aldridge

text: The history of minstrelsy also shows the cross-cultural influences, with Whites adopting elements of Black culture. The Ira Aldridge Troupe tried to pirate that piracy, and, in collaboration with its audience, turn minstrelsy to its own ends.


title: Ira Aldridge

text: "The Black Doctor," originally written in French by Auguste Anicet-Bourgeois, was adapted by Aldridge for the English stage. "The Black Doctor" is a romantic play about Fabian, a bi-racial physician, and his patient Pauline, the daughter of a French aristocrat. The couple falls in love and marries in secret. Although the play depicts racial and family conflict, and ends with Fabian's death, Aldridge was said to portray his title character with dignity.


title: Princess Augusta of Great Britain

text: Princess Augusta Frederica of Great Britain (31 July 1737 – 23 March 1813) was a British princess, granddaughter of George II and the only elder sibling of George III. She was Duchess of Brunswick-Lüneburg and Princess of Brunswick-Wolfenbüttel by marriage to Charles William Ferdinand, Duke of Brunswick. Her daughter Caroline was the spouse of George IV.


title: Princess Augusta of Great Britain

text: Princess Augusta was born at St. James's Palace. As she was the first born child of Frederick, Prince of Wales and the first born grandchild of George II of Great Britain and Caroline of Ansbach, Augusta was second in line for the throne of Great Britain, which changed a year later in 1738, when her brother Prince George (later George III of Great Britain) was born.


title: Princess Augusta of Great Britain

text: Fifty days later, she was christened at St. James's Palace by the Archbishop of Canterbury. Her godparents were her paternal grandfather, the King (represented by his Lord Chamberlain, the Duke of Grafton), and her grandmothers, Queen Caroline and the Dowager Duchess of Saxe-Gotha (both represented by proxies).


title: Princess Augusta of Great Britain

text: Her third birthday was celebrated by the first public performance of "Rule, Britannia!" at Cliveden in Buckinghamshire.


title: Princess Augusta of Great Britain

text: Augusta was given a careful education. She was not described as a rare beauty, having a loose mouth and long face.


title: Princess Augusta of Great Britain

text: In 1761–62, a marriage was discussed between Augusta and her second cousin, Charles William Ferdinand, Duke of Brunswick-Wolfenbüttel. The negotiations were delayed because her mother disliked the House of Brunswick. This obstacle was overcome by a reason described by Horace Walpole: "Lady Augusta was lively, and much inclined to meddle in the private politics of the Court. As none of her [The [Dowager] Princess [of Wales]'s] children but the King, had, or had reason to have, much affection for their mother, she justly apprehended Lady Augusta instilling their disgust on to the Queen. She could not forbid her daughter's frequent visits at Buckingham House, but to prevent ill consequence of them, she often accompanied her thither. This, however, was an attendance and a constraint the Princess of Wales could not support. Her exceeding indolence, her more excessive love of privacy, and the subjection of being frequently with the Queen, whose higher rank was a never ceasing mortification, all concurred to make her resolve, at any rate, to deliver herself of her daughter. To obtain this end, the profusion of favours to the hated House of Brunswick was not though too much. The Hereditary Prince was prevailed to accept Lady Augusta's hand, with four-score thousand pounds, an annuity of £5,000 a year on Ireland, and three thousand a year on Hanover."


title: Princess Augusta of Great Britain

text: On 16 January 1764, Augusta married Charles William Ferdinand at the Chapel Royal of St James's Palace. The wedding was followed by a state dinner at Leicester House, congratulations from the Houses of Parliament, a ball given by the Queen, and an opera performance at Covent Garden. The couple departed from Harwich on the 26th.


title: Princess Augusta of Great Britain

text: The Duchess never fully adapted to life in Brunswick. She always viewed Great Britain in very high regard all her life and disregarded anything "east of the Rhine". This attitude did not change with time, and twenty five years after her marriage, she was described as: "wholly English in her tastes, her principles and her manners, to the point that her almost cynical independence makes, with the etiquette of the German courts, the most singular contrast I know".


title: Princess Augusta of Great Britain

text: After her first pregnancy in 1764, she returned to Great Britain in the company of her husband to give birth to her second child. During their visit in England, it was noted that the couple was cheered on by crowds every time they showed themselves in public. This, reportedly, exposed them to suspicion at court. During their visit, her sister-in-law Queen Charlotte apparently refused them some honours at court, such as military salutes. This attracted negative publicity toward the hosting royal couple. During the negotiations thirty years later for the marriage of her daughter to the Prince of Wales, Augusta commented to the British negotiator, Lord Malmesbury, that Queen Charlotte disliked both her and her mother because of jealousy dating from the visit of 1764.


title: Princess Augusta of Great Britain

text: Augusta saw the court of her mother-in-law as boring and dull, especially during the summer months when her husband was absent at camp. A summer retreat was built for her in the southern part of Braunschweig where she could spend time away from court, built by Carl Christoph Wilhelm Fleischer and called "Schloss Richmond" to remind her of England. In her retreat, Augusta amused herself spending her days eating heavy luncheons, gossiping and playing cards with her favourites, often receiving English guests.


title: Princess Augusta of Great Britain

text: Their marriage was arranged for dynastic purposes. However, Augusta thought Charles to be very handsome and was initially pleased with him. Shortly after the birth of her first daughter, she wrote: "No two people live better together than we do, and I would go through fire and water for him", and it was noted that she seemed to be unaware of his flirtations in London.


title: Princess Augusta of Great Britain

text: In 1771–72, Augusta visited England on her mother's invitation. On this occasion, she was involved in another conflict with her sister-in-law Queen Charlotte. She was not allowed to live at Carlton House or St. James Palace despite the fact that it was empty at the time, but was forced to live in a small house on Pall Mall. The queen disagreed with her about etiquette, and refused to let her see her brother the king alone. According to Mr. Walpole, the reason was jealousy on the part of the queen. She attended her mother's deathbed during her second visit to England, and upon her return to Brunswick, extended her period of mourning, which eventually led to her retirement from participation in court life.


title: Princess Augusta of Great Britain

text: When her sister, Queen Caroline Matilda of Denmark, was convicted of adultery and exiled near Brunswick in Celle, Augusta would regularly visit her for weeks on end, much to the disapproval of her husband and parents-in-law .


title: Princess Augusta of Great Britain

text: In 1777, Augusta announced to her husband that she would retire from court life to oversee the upbringing of their children and perform religious studies under the Bishop of Fürstenberg. The reason was her disapproval of the relationship between Charles and Louise Hertefeld whom he, in contrast to his previous mistress Maria Antonia Branconi, had installed as his official royal mistress at the Brunswick court.


title: Princess Augusta of Great Britain

text: In 1780, Charles succeeded his father as sovereign Duke of Brunswick, and Augusta thus became Duchess consort.


title: Princess Augusta of Great Britain

text: Of Augusta's four sons, the eldest three were born with handicaps. The Swedish Princess Hedwig Elizabeth Charlotte described her, as well as her family, at the time of a visit in August, 1799: Our cousin, the Duke, arrived immediately the next morning. As a noted military man he has won many victories, he is witty, literal and a pleasant acquaintance, but ceremonial beyond description. He is said to be quite strict, but a good father of the nation who attends to the needs of his people. After he left us, I visited the Dowager Duchess, the aunt of my consort. She is an agreeable, highly educated and well respected lady, but by now so old that she has almost lost her memory. From her I continued to the Duchess, sister to the King of England and a typical English woman. She looked very simple, like a vicar's wife, has I am sure many admirable qualities and are very respectable, but completely lacks manners. She makes the strangest questions without considering how difficult and unpleasant they can be. Both the Hereditary Princess as well as Princess Augusta — sister of the sovereign Duke — came to her while I was there. The former is delightful, mild, lovable, witty and clever, not a beauty but still very pretty. In addition, she is said to be admirably kind to her boring consort. The Princess Augusta is full of wit and energy and very amusing. [...]


title: Princess Augusta of Great Britain

text: The Duchess and the Princesses followed me to Richmond, the country villa of the Duchess a bit outside of town. It was small and pretty with a beautiful little park, all in an English style. As she had the residence constructed herself, it amuses her to show it to others. [...]


title: Princess Augusta of Great Britain

text: The sons of the Ducal couple are somewhat peculiar. The Hereditary Prince, chubby and fat, almost blind, strange and odd — if not to say an imbecile — attempts to imitate his father but only makes himself artificial and unpleasant. He talks continually, does not know what he says and is in all aspects unbearable. He is accommodating but a poor thing, loves his consort to the point of worship and is completely governed by her. The other son, Prince Georg, is the most ridiculous person imaginable, and so silly that he can never be left alone but is always accompanied by a courtier. The third son is also described as an original. I never saw him, as he served with his regiment. The fourth one is the only normal one, but also torments his parents by his immoral behavior.


title: Princess Augusta of Great Britain

text: In 1806, when Prussia declared war on France, her husband, the Prince of Brunswick-Wolfenbuttel, 71 at the time, was appointed commander-in-chief of the Prussian army. On 14 October of that year, at the Battle of Jena, Napoleon defeated the Prussian army; and on the same day, at the Battle of Auerstadt, the Prince was seriously wounded, dying a few days later. Augusta, with the Hereditary Prince and Hereditary Princess, fled to Altona, where they were present at her dying spouse's side. Because of the advancing French army, they were advised by the British ambassador to flee, and they left shortly before the death of the Prince.


title: Princess Augusta of Great Britain

text: They were invited to Sweden by the Hereditary Princess's brother-in-law King Gustav IV Adolf of Sweden. However, Augusta preferred to stay at the Duchy of Augustenborg, where her nephew-in-law was sovereign. She remained there with her niece, the Duchess of Augustenborg (daughter of her sister the late Queen Caroline Mathilde of Denmark), until her brother George III of the United Kingdom finally relented in September 1807, and allowed Augusta to come to London. There she resided at Montagu House, at Blackheath in Greenwich, with her daughter, the Princess of Wales, but soon Augusta fell out with her, and purchased the house next door, Brunswick House. Augusta lived out her days there and died in 1813 aged 75.


title: Princess Augusta of Great Britain

text: Augusta was granted use of the arms of the kingdom, differenced by a "label argent of five points, the centre bearing a cross gules, the other points each bearing a rose gules".


title: Bushcraft

text: Bushcraft is the use and practice of skills, thereby acquiring and developing knowledge and understanding, in order to survive and thrive in a natural environment.


title: Bushcraft

text: Bushcraft skills provide for the basic physiological necessities for human life: food (through foraging, tracking, hunting, trapping, fishing), water sourcing and purification, shelter-building, and firecraft. These may be supplemented with expertise in twine-making, knots and lashings, wood-carving, campcraft, medicine/health, natural navigation, and tool and weapon making.


title: Bushcraft

text: Bushcraft includes the knowledge to handle certain tools such as bushcraft knives and axes. A bushcrafter can use these tools to create many different types of constructions, from dugout canoes to a-frame shelters. There are various types of shelters to construct or use in the wilderness. The first is a purpose-built shelter like a tent. Another example is an improvised shelter, like using a large tarp or blanket as a tent. Indigenous shelters include a snow cave or bark lean-to. Lastly, natural shelters include caves, underneath a tree, or within thickets.


title: Bushcraft

text: Bushcraft includes the knowledge to tie different knots for different purposes. These knots include the reef knot, figure 8 loop, improved clinch knot, clove hitch, and snare noose. The reef knot is also referred to as a square knot. It is good for bundling items together because you can tension the rope during the first part of the knot tying. Tying bondages together like a sling is a common use. The figure 8 loop is a strong knot because it forms a loop that will not draw tight. You can use a figure 8 loop at the end of a fishing line to tie on a hook or lure. This knot is also useful to hold loads or to lift or drag items. The improved clinch knot is often used to attach a hook to a line or to attach an anchor to rope, or fore tying up to a pole or tree. The clove hitch can be used when creating a raft or to attach a shelter to a tree. It is commonly used to start a lashing, binding one thing to another such as a shelter frame. The snare noose use is commonly used to catch animals. The snare consists of a noose attached to an anchor point like a shrub. As the animal moves through the noose, the line will tighten around its neck.


title: Bushcraft

text: The term bushcraft was popularized in the Southern Hemisphere by Les Hiddins (the Bush Tucker Man) as well as in the Northern Hemisphere by Mors Kochanski and more recently gained considerable currency in the United Kingdom due to the popularity of Ray Mears and his bushcraft and survival television programs. The origin of the phrase "bushcraft" comes from skills used in the Australian bush. Often the phrases "wilderness skills" or "woodcraft" are used as they describe skills used all over the world.


title: Bushcraft

text: The "Oxford English Dictionary" definition of bushcraft is "skill in matters pertaining to life in the bush".


title: Bushcraft

text: The word has been used in its current sense in Australia and South Africa at least as far back as the 1800s. Bush in this sense is probably a direct adoption of the Dutch 'bosch', (now 'bos') originally used in Dutch colonies for woodland and country covered with natural wood, but extended to usage in British colonies, applied to the uncleared or un-farmed districts, still in a state of nature. Later this was used by extension for the country as opposed to the town. In Southern Africa, they get Bushman from the Dutch 'boschjesman' applied by the Dutch colonists to the natives living in the bush. In North America, where there was also considerable colonisation by the Dutch, they have the word 'bushwacker' which is close to the Dutch 'bosch-wachter' (now 'boswachter') meaning 'forest-keeper' or 'forest ranger'.


title: Bushcraft

text: The word bushcraft was registered with the U.S. Patent and Trademark Office as a trademark by Bushcraft USA LLC on November 12, 2013, as a service mark, for "Providing an on-line forum for bushcraft," and "Providing on-line forums for transmission of messages among computer users concerning bushcraft" (Ser. No. 85690815). This led to some concern about the validity of the mark among Internet users who asserted there were senior uses of the mark in a more general context such as Mors Kochanski as early as 1981, however no formal opposition was ever filed, nor any assertion of continuous use in commerce as the mark related to Internet forums. As of 2021, Bushcraft USA has not publicly enforced its mark against other Internet forums using the term.


title: Bushcraft

text: Canadian wilderness instructor Mors Kochanski published the "Northern Bushcraft" book in 1981 and an expanded edition of the book in 1988. He has stated on numerous occasions that book title was an explicit reference to Graves' work.


title: Bushcraft

text: The term has enjoyed a recent popularity largely thanks to Ray Mears, Cody Lundin, Les Hiddins, Les Stroud, Dave Canterbury and Mors Kochanski and their television programs.


title: Do It to It

text: "Do It to It" is the lead single from American girl group Cherish's 2006 debut album, "Unappreciated". "Do It to It" features rap/hip hop artist Sean P. The song peaked at number 12 on the "Billboard" Hot 100 during its 16th week on the chart. It also reached number 15 on the "Billboard" Hot Digital Songs chart and number 8 on the Hot 100 Airplay chart. It had strong video play on BET and reached number 2 on "106 & Park". The song played for the limit of 65 days on the countdown and was eventually retired. It was the only video to be retired that year that did not reach number one.


title: Do It to It

text: The song moves at a tempo of 74 beats per minute in the key of G harmonic minor, and follows the chord progression of G–Cm–Cm–G.


title: Do It to It

text: "Do It to It" debuted at number 86 on US "Billboard" Hot 100 for the week of May 20, 2006. It peaked at number 12 for the week of September 2, 2006. It stayed on the chart for twenty-one weeks.


title: Do It to It

text: The video begins with the girls' father forbidding them to party, have boys over, or stay up late while their parents are out of town. After he leaves, Farrah turns to the camera and says: "Y'all know it's on, right?". The girls then begin a dance routine in front of a silver background spliced with a wild party being hosted at their house. The next day, the parents return to find the party mess and a boy wandering around the house, leaving the girls sighing at being caught.


title: Do It to It

text: The video was shot in Atlanta, Georgia and was directed by Benny Boom. J-Nicks, Jazze Pha, & D-Roc of the Ying Yang Twins made cameo appearances.


title: Do It to It

text: MTV censored the word "kryptonite" from its airings of the video, as in the United States, that word is slang for marijuana.


title: Do It to It

text: A remix of the song (Rap Remix) exists, featuring artists Yung Joc, Jody Breeze, Chingy and Fabo. This version also references some songs by artists, like Yung Joc's "It's Goin' Down" and Fabo from D4L's "Laffy Taffy".


title: Do It to It

text: A tech house rework by Orlando-based DJ and producer Acraze (Charlie Duncker), credited to "Acraze featuring Cherish", was released on August 20, 2021. In the United States, it reached number three on the "Billboard" Hot Dance/Electronic Songs chart, and in Australia, it reached number 13 on the ARIA Club Tracks chart. On November 12, the track (as issued by Thrive Music) entered the top 40 of the UK Singles Chart for the first time, arriving at number 36 (up from number 60). On the Official Charts of January 7, 2022, "Do It to It" reached to UK Top 10 for the first time when it climbed up from number 43 to number 9 in its tenth week on the chart and reached the Irish Top 3. After dropping as low as number 68 on the UK singles chart, the song re-entered UK Top 40 (on the chart week-ending March 10, 2022) after the release of the official video.


title: Do It to It

text: Zedd created a mashup of this version mixed with the soundtrack to Squid Game which he played at EDC 2021 and subsequently released to streaming platforms.


title: Li–Fraumeni syndrome

text: Li–Fraumeni syndrome is a rare, autosomal dominant, hereditary disorder that predisposes carriers to cancer development. It was named after two American physicians, Frederick Pei Li and Joseph F. Fraumeni, Jr., who first recognized the syndrome after reviewing the medical records and death certificates of 648 childhood rhabdomyosarcoma patients. This syndrome is also known as the sarcoma, breast, leukaemia and adrenal gland (SBLA) syndrome.


title: Li–Fraumeni syndrome

text: The syndrome is linked to germline mutations of the p53 tumor suppressor gene, which encodes a transcription factor (p53) that normally regulates the cell cycle and prevents genomic mutations. The mutations can be inherited, or can arise from mutations early in embryogenesis, or in one of the parent's germ cells.


title: Li–Fraumeni syndrome

text: Li–Fraumeni syndrome is characterized by early onset of cancer, a wide variety of types of cancers, and development of multiple cancers throughout one's life.


title: Li–Fraumeni syndrome

text: Another variant of Li–Fraumeni that remains somewhat controversial, is a mutation of the "CHEK2" (or "CHK2") gene. "CHK2" is also a tumor suppressor gene; it regulates the action of p53 and is activated by ATM, which detects DNA damage, and in this way, DNA damage information can be conveyed to p53 to indirectly arrest the cell cycle at that point for DNA repair to be able to take place or to cause apoptosis (programmed cell death).


title: Li–Fraumeni syndrome

text: Families who do not conform to the criteria of classical Li–Fraumeni syndrome have been termed "LFS-like". LFS-like individuals generally do not have any detectable p53 mutations, and tend to be diagnosed on either the Birch or Eeles criteria.


title: Li–Fraumeni syndrome

text: A third locus has been mapped to the long arm of chromosome 1 (1q23), but no gene has yet been identified.


title: Li–Fraumeni syndrome

text: The classical LFS malignancies—sarcoma, cancers of the breast, brain, and adrenal glands—comprise about 80% of all cancers that occur in this syndrome.


title: Li–Fraumeni syndrome

text: The risk of developing any invasive cancer (excluding skin cancer) is about 50% by age 30 (1% in the general population) and is 90% by age 70. Early-onset breast cancer accounts for 25% of all the cancers in this syndrome. This is followed by soft-tissue sarcomas (20%), bone sarcoma (15%), and brain tumors—especially glioblastomas—(13%). Other tumours seen in this syndrome include leukemia, lymphoma, and adrenocortical carcinoma.


title: Li–Fraumeni syndrome

text: About 90% of females with LFS develop breast cancer by age 60 years; the majority of these occur before age 45 years. Females with this syndrome have almost a 100% lifetime risk of developing cancer. This compares with 73% for affected males. The difference may be due to much smaller breast tissue in males and increased estrogen levels in females.


title: Li–Fraumeni syndrome

text: The risks of sarcoma, female breast cancer, and haematopoietic malignancies in mutation carriers are more than 100 times greater than those seen in the general population.


title: Li–Fraumeni syndrome

text: Other tumours reported in this syndrome, but not yet proved to be linked with it, include melanoma, Wilms' and other kidney tumors, hepatocellular carcinoma, gonadal germ cell, pancreatic, gastric, choroid plexus, colorectal, and prostate cancers.


title: Li–Fraumeni syndrome

text: Around 80% of children with adrenocortical carcinoma and 2–10% of childhood brain tumors have p53 mutations. About 2–3% of osteosarcomas, 9% of rhabdomyosarcomas, and 7–20% of patients with multiple primary tumours have p53 mutations.


title: Li–Fraumeni syndrome

text: Although most cases of this syndrome have early onset of cancer, cases have also been reported later in life.


title: Li–Fraumeni syndrome

text: Genetic counseling and genetic testing are used to confirm that somebody has this gene mutation. Once such a person is identified, early and regular screenings for cancer are recommended for them as people with Li–Fraumeni are likely to develop another primary malignancy at a future time (57% within 30 years of diagnosis).


title: Li–Fraumeni syndrome

text: A 2015 revision of the traditional Chompret criteria for screening has been proposed—a proband who has:


title: Li–Fraumeni syndrome

text: Li–Fraumeni syndrome (LFS) is rare; as of 2011, cases had been reported in more than 500 families. The syndrome was discovered using an epidemiological approach. Li and Fraumeni identified four families in which siblings or cousins of rhabdomyosarcoma patients had a childhood sarcoma, which suggested a familial cancer syndrome. Identification of "TP53"s the gene affected by mutation was suggested by the same approach. Over half of the cancers in LFS families had been previously associated with inactivating mutations of the p53 gene and in one primary research study, DNA sequencing in samples taken from five Li–Fraumeni syndrome families showed autosomal dominant inheritance of a mutated "TP53" gene.


title: Rubus idaeus

text: Rubus idaeus (raspberry, also called red raspberry or occasionally European red raspberry to distinguish it from other raspberry species) is a red-fruited species of "Rubus" native to Europe and northern Asia and commonly cultivated in other temperate regions.


title: Rubus idaeus

text: A closely related plant in North America, sometimes regarded as the variety "Rubus idaeus" var. "strigosus", is more commonly treated as a distinct species, "Rubus strigosus" (American red raspberry), as is done here. Red-fruited cultivated raspberries, even in North America, are generally "Rubus idaeus" or horticultural derivatives of hybrids of "R. idaeus" and "R. strigosus;" these plants are all addressed in the present article.


title: Rubus idaeus

text: Plants of "Rubus idaeus" are generally perennials, which bear biennial stems ("canes") from a perennial root system. In its first year, a new, unbranched stem ("primocane") grows vigorously to its full height of 1.5–2.5 m (5.0–8.3 feet), bearing large pinnately compound leaves with five or seven leaflets, but usually no flowers. In its second year (as a "floricane"), a stem does not grow taller, but produces several side shoots, which bear smaller leaves with three or five leaflets. The flowers are produced in late spring on short racemes on the tips of these side shoots, each flower about 1 cm (0.4 inches) diameter with five white petals. The fruit is red, edible, and sweet but tart-flavoured, produced in summer or early autumn; in botanical terminology, it is not a berry at all, but an aggregate fruit of numerous drupelets around a central core. In raspberries (various species of "Rubus" subgenus "Idaeobatus"), the drupelets separate from the core when picked, leaving a hollow fruit, whereas in blackberries and most other species of "Rubus," the drupelets stay attached to the core.


title: Rubus idaeus

text: As a wild plant, "R. idaeus" typically grows in forests, forming open stands under a tree canopy, and denser stands in clearings. In the south of its range (southern Europe and central Asia), it occurs only at high altitudes in mountains. The species name "idaeus" refers to its occurrence on Mount Ida near Troy in northwest Turkey, where the ancient Greeks were most familiar with it.


title: Rubus idaeus

text: "R. idaeus" is grown primarily for its fruits, but occasionally for its leaves, roots, or other parts.


title: Rubus idaeus

text: The fruit of "R. idaeus" is an important food crop, though most modern commercial raspberry cultivars derive from hybrids between "R. idaeus" and "R. strigosus". The fruits of wild plants have a sweet taste and are very aromatic.


title: Rubus idaeus

text: Red raspberries contains 31 μg/100 g of folate. Red raspberries have antioxidant effects that play a minor role in the killing of stomach and colon cancer cells.


title: Rubus idaeus

text: Young roots of "Rubus idaeus" prevented kidney stone formation in a mouse model of hyperoxaluria. Tiliroside from raspberry is a potent tyrosinase inhibitor and might be used as a skin-whitening agent and pigmentation medicine.


title: Rubus idaeus

text: Vitamin C and phenolics are present in red raspberries. Most notably, the anthocyanins cyanidin-3-sophoroside, cyanidin-3-(2(G)-glucosylrutinoside) and cyanidin-3-glucoside, the two ellagitannins sanguiin H-6 and lambertianin C are present together with trace levels of flavonols, ellagic acid and hydroxycinnamate.


title: Rubus idaeus

text: Polyphenolic compounds from raspberry seeds have antioxidant effects in vitro, but have no proven antioxidant effect in humans. Raspberry ketones are derived from various fruits and plants, not raspberries, and are marketed as having weight loss benefits. There is no clinical evidence for this effect in humans.


title: Metagaming (role-playing games)

text: Metagaming is a term used in role-playing games, which describes a player's use of real-life knowledge concerning the state of the game to determine their character's actions, when said character has no relevant knowledge or awareness under the circumstances. This can refer to plot information in the game such as secrets or events occurring away from the character, as well as facets of the game's mechanics such as abstract statistics or the precise limits of abilities. Metagaming is an example of "breaking character", as the character is making decisions based on information they could not know and thus would not make in reality.


title: Metagaming (role-playing games)

text: Metagaming is considered unsporting or cheating in a competitive gaming context, and is generally poorly received as it subverts the emphasis of accurate character depiction based on in-game experiences and back-story that defines role-playing games. Outside of role-playing, metagaming simply refers to players using knowledge or understanding of external factors (such as community trends or coincidental events) to gain an advantage in competition.


title: Metagaming (role-playing games)

text: More broadly, metagaming can refer any or all aspects of play that occur outside of a given game's fictional setting. This most prominently includes any discussion among players and/or the game's master about the game's events and contents. The practice metagaming is often frowned upon in many role-playing communities, as it upsets the suspension of disbelief and affects game balance. However, some narrativist indie role-playing games deliberately support metagaming and encourage shared storytelling among players. It can be contrasted with live action roleplaying games with a more cinematic style, where the use of metagame references to specific books and films, either before the game or during play, prompts the players as to the atmosphere the organisers are aiming to create.


title: Edwin Epps

text: Edwin Epps was a slaveholder on a cotton plantation in Avoyelles Parish, Louisiana. He was the third and longest enslaver of Solomon Northup, who was kidnapped in Washington, D.C. in 1841 and forced into slavery. On January 3, 1853, Northup left Epps's property and returned to his family in New York.


title: Edwin Epps

text: Edwin Epps was born in North Carolina around 1808. By 1843, he married Mary Elvira Robert, with whom he had children: John (b. ca. 1843), Edwin (b. ca. 1846), Robert (b. ca. 1849), Virginia (b. ca. 1851), Mary (b. ca 1853), Wilbur (b. ca. 1855), and Massa (b. ca. 1858). The eldest, John was not living with the family in 1860.


title: Edwin Epps

text: Epps was an overseer on the Oakland Plantation (now the site of Louisiana State University of Alexandria). When Archy P. Williams, the plantation's owner, was unable to pay Epps, he transferred eight slaves and some money for lost wages. Epps then purchased 325.5 acres in Holmesville, Avoyelles Parish, Louisiana. The eight enslaved people included a family of five, a single man, and a woman named Patsey who came from a single plantation in Williamsburg County, South Carolina.


title: Edwin Epps

text: He settled in Avoyelles Parish, Louisiana in the mid-1840s. At that time it was frontier land opened up through the Louisiana Purchase, where he and other planters made money growing cotton through the efforts of enslaved people. Epps initially leased land from his wife's paternal uncle and later purchased his own farm. The former overseer never attained the status of the planter class, who would have had more land and more than 50 enslaved workers. He had a violent temper and was an alcoholic, who went on two-week long "sprees" in which he might enjoy dancing with or whipping his servants.


title: Edwin Epps

text: He also owned Solomon Northup, who had been given the slave name "Platt" after he had been kidnapped into slavery. Northup wrote the story in the memoir entitled "Twelve Years a Slave". Northup and a Canadian carpenter Samuel Bass worked together on the modest plantation, Edwin Epps House. Bass wrote letters to Northup's friends in New York, which led to his being freed.


title: Edwin Epps

text: Women on Epps's property worked as hard as the men. They cleared land, built roads, plowed, and performed other forms of hard labor. They were also responsible for work in the barn, house, and the laundry. Both men and women were beaten and whipped. Northup, with the position of overseer, was expected to mete out whippings to other enslaved people. An enslaved woman Celeste resisted being whipped by hiding out in the swamp for three months. Patsey, who left the farm to get a small bar of soap from a neighboring plantation, was beaten brutally. She had been denied the use of soap by Epps's wife Mary, who was jealous of Patsey, who was raped by Epps. He was violent in his treatment of Patsey, inflicting "life-threatening whippings" on her.


title: Edwin Epps

text: In 1850, Epps owned six enslaved men and two women from the ages of 11 to 40. In 1860, Epps owned eight enslaved men and four women from the ages of 15 to 65.


title: Edwin Epps

text: Mary ensured that the enslaved women on their property knew that she was their superior. She was particularly incensed that her husband raped Patsey. She was dogged in her intention to have Patsey sold away from them.


title: Cecelia Ahern

text: Cecelia Ahern (born 30 September 1981) is an Irish novelist, known for her works like "PS, I Love You"; "Where Rainbows End"; and "If You Could See Me Now". Born in Dublin, Ahern is now published in nearly fifty countries, and has sold over 25 million copies of her novels worldwide. Two of her books have been adapted as major motion films. The short story collection "Roar" has been adapted as a series for AppleTV+.


title: Cecelia Ahern

text: She and her books have won numerous awards, including the Irish Book Award for Popular Fiction for "The Year I Met You". She has published several novels and contributed a number of short stories to various anthologies. Ahern also created and produced the ABC comedy "Samantha Who?" starring Christina Applegate.


title: Cecelia Ahern

text: Ahern is the daughter of former Taoiseach (prime minister) of Ireland, Bertie Ahern and Miriam Ahern. Her older sister, Georgina Ahern, is married to Nicky Byrne of Irish pop group Westlife. In 2000, Ahern was part of the Irish pop group Shimma, who finished third in the Irish national final for the Eurovision Song Contest.


title: Cecelia Ahern

text: Before starting her writing and producing career, she obtained a degree in journalism and media communications from Griffith College Dublin, but withdrew from a master's degree course to pursue her writing career.


title: Cecelia Ahern

text: Ahern married David Keoghan in 2010. They have two children: a daughter born in December 2009, and a son born in July 2012. As of 2015, they reside in Malahide in North County Dublin. She had COVID-19 in early 2022, describing it as "kind of mild. I was lucky".


title: Cecelia Ahern

text: In 2002, when Ahern was twenty-one, she wrote her first novel, "PS, I Love You". Published in 2004, it was the number 1 bestseller in Ireland (for 19 weeks), the United Kingdom, U.S., Germany and the Netherlands. It is sold in over forty countries. The book was adapted as a motion picture directed by Richard LaGravenese and starring Hilary Swank and Gerard Butler. It was released in the United States on 21 December 2007.


title: Cecelia Ahern

text: Her second book, "Where Rainbows End" (U.S. "Love, Rosie"), also reached number 1 in Ireland and the UK, and won the in 2005. It was adapted as a motion picture titled "Love, Rosie" which was released in 2014, directed by Christian Ditter and starring Lily Collins and Sam Claflin.


title: Cecelia Ahern

text: She has contributed to charity books with the royalties from short stories such as "Irish Girls are Back in Town" and "Ladies' Night".


title: Cecelia Ahern

text: Cecelia was the co-creator and producer of the ABC comedy "Samantha Who?" starring Christina Applegate, Jean Smart, Jennifer Esposito, Barry Watson, Kevin Dunn, Melissa McCarthy and Tim Russ.


title: Cecelia Ahern

text: Her book "The Gift" was published just before Christmas 2008 in the UK. Her following book, "The Book of Tomorrow", was published on 1 October 2009. In 2016, Cecelia released "Flawed", her first book for young adults, and "Lyrebird".


title: Cecelia Ahern

text: Cecelia was nominated for Best Newcomer 2004/5 at the British Book Awards for her debut novel "PS, I Love You". She won the 2005 Irish Post Award for Literature and a 2005 Corine Literature Prize for her second book "Where Rainbows End", (Für immer vielleicht) which was voted for by German readers. In 2006, she was long-listed for the IMPAC award for "PS I Love You". "Cosmopolitan US" honoured her with a Fun Fearless Fiction Award 2007 for "If You Could See Me Now". Irish "Tatler" awarded her Writer of the Year at the Woman of the Year awards in 2009. Cecelia's fifth novel "Thanks for the Memories" was nominated for Most Popular Book in the British Book Awards 2008. Cecelia was voted Author of Year in the "UK Glamour" Women of the Year Awards in 2008.


title: How to Steal a Million

text: How to Steal a Million is a 1966 American heist comedy film directed by William Wyler and starring Audrey Hepburn, Peter O'Toole, Eli Wallach, Hugh Griffith, and Charles Boyer. The film is set and was filmed in France, though the characters speak entirely in English. Hepburn's clothes were designed by Givenchy.


title: How to Steal a Million

text: Prominent Paris art collector Charles Bonnet forges and sells famous artists' paintings. His disapproving daughter, Nicole, constantly fears that he will be caught. Late one night at their mansion, Nicole encounters a burglar, Simon Dermott, holding her father's forged "Van Gogh". She threatens him with an antique gun that accidentally fires, slightly wounding his arm. Wanting to avoid an investigation that would uncover her father's fake masterpieces, Nicole does not contact the police, and instead takes the charming Simon to his posh hotel, driving him in his expensive sports car.


title: How to Steal a Million

text: For an important exhibition in Paris, Charles is lending to the Kléber-Lafayette Museum his renowned "Cellini" Venus statuette that was actually sculpted by his father. Charles has never sold it because scientific testing would reveal that the "million-dollar" artwork is fake, and his entire collection would then be suspected. Charles signs the museum's standard insurance policy, then learns it includes his consent to just such a forensic examination. But withdrawing the Venus from the exhibition would also raise suspicions. Desperate to protect her father, Nicole seeks Simon and asks him to steal the Venus before the examination. Unknown to Nicole, Simon is actually an expert consultant and investigator hired by major art galleries to enhance security and detect forgeries. He was investigating Charles' art collection when Nicole first encountered him. He agrees to help Nicole, though he initially believes that it is impossible to steal the Venus in any case.


title: How to Steal a Million

text: American tycoon Davis Leland, an avid art collector, becomes obsessed with owning the Venus. He meets Nicole solely to purchase the statue, but instantly falls in love with her. At their second meeting, he proposes marriage, but Nicole must rush off to the museum for the "heist", so she accepts his ring.


title: How to Steal a Million

text: Nicole and Simon hide in a utility closet until closing time. After observing the guards' routine, Simon repeatedly sets off the security alarm until the "faulty" system is finally disabled. Simon notices Nicole's resemblance to the Venus, and she admits that her grandfather sculpted the statuette and that her grandmother was the model. Simon steals the Venus, and Nicole, disguised as a cleaning woman, hides it in a bucket. When the Venus is discovered missing, they escape in the ensuing chaos.


title: How to Steal a Million

text: Following the robbery, Leland seeks to acquire the Venus by any means. Simon connives to "sell" it to him on condition that it never be displayed to anyone and that he never contact the Bonnet family again; Leland should expect to eventually be asked for payment. Simon secretly adds Nicole's engagement ring to the package.


title: How to Steal a Million

text: Nicole meets Simon to celebrate their success. Simon says the Cellini Venus was his first heist too, reveals his true occupation of exposing forgeries, and declares his love for Nicole. He then meets Charles and assures him that the statue will be safely out of the country. Charles is so relieved that he is only momentarily disappointed when Simon says that the purchase price was zero dollars (and because the statuette was never authenticated, there is no insurance). Simon tells Charles that one of them must retire, and Charles agrees to give up forgery.


title: How to Steal a Million

text: As Nicole and Simon prepare to elope, a collector who had earlier admired Charles's new "Van Gogh" arrives at the Bonnet residence and is warmly welcomed by the wily forger. Nicole says the man is a "cousin". Simon admires her newfound flair for lying.


title: How to Steal a Million

text: In a "New York Times" review, critic Bosley Crowther called the plot "preposterous" but added: "It is still a delightful lot of flummery while it is going on, especially the major, central business of burglarizing the museum".


title: How to Steal a Million

text: According to Fox records, the film needed to earn $12 million in rentals to break even and made $10.45 million, meaning it made a loss.


title: Kevin Eubanks

text: Kevin Tyrone Eubanks (born November 15, 1957) is an American jazz and fusion guitarist and composer. He was the leader of The Tonight Show Band with host Jay Leno from 1995 to 2010. He also led the Primetime Band on the short lived "The Jay Leno Show".


title: Kevin Eubanks

text: Eubanks was born into a musical family. His older brother, Robin Eubanks, is a trombonist, and his younger brother Duane Eubanks is a trumpeter. As an elementary school student, Eubanks was trained in violin, trumpet, and piano at the Settlement Music School (in Philadelphia). He later attended Berklee College of Music (in Boston, Massachusetts).


title: Kevin Eubanks

text: Eubanks is a pescetarian and maintains a diet of fresh fruits, vegetables, grains, egg whites, and fish.


title: Kevin Eubanks

text: After Eubanks moved to New York, he began performing with noted jazzmen such as Art Blakey (1980–81), Roy Haynes, Slide Hampton and Sam Rivers. Like his brother Robin, he has played on record with double bassist Dave Holland.


title: Kevin Eubanks

text: In 1983, while continuing to perform with others, he formed his own quartet, playing gigs in Jordan, Pakistan, and India on a tour sponsored by the U.S. State Department.


title: Kevin Eubanks

text: In 2020, Eubanks appeared as a guest on the "Studio 60 on the Sunset Strip" marathon fundraiser episode of "The George Lucas Talk Show". In the fall of 2021, Eubanks returned to working with Leno, as a sidekick on a revival of the TV game show "You Bet Your Life".


title: Kevin Eubanks

text: His first recording as a leader, "Guitarist", was released on the Elektra label when Eubanks was 25 years old. It led to a seven-album contract with the GRP label and four albums for Blue Note. In total, Eubanks has appeared on over 100 albums. In 2001, he founded the label Insoul Music on which he has released six albums.


title: Kevin Eubanks

text: Eubanks has taught at the Banff School of Fine Arts in Canada, at Rutgers University, and at the Charlie Parker School in Perugia, Italy. In 2005, Eubanks received an honorary doctorate degree from his alma mater, Berklee College of Music. He has served as an active member of the Artistic Advisory Panel of the BMI Foundation since 1999.


title: Kevin Eubanks

text: In 1992, Eubanks moved to the West Coast to play guitar in The Tonight Show Band. He composed "Kevin's Country," the closing theme music for "The Tonight Show with Jay Leno". In 1995, he replaced Branford Marsalis as leader of the band.


title: Kevin Eubanks

text: When NBC moved Leno's show from late night to prime time, Eubanks moved with the band to continue conducting music for the short-lived "The Jay Leno Show". Eubanks appeared on the new show as The Primetime Band.


title: Kevin Eubanks

text: On April 12, 2010, Eubanks announced on the show that he would be leaving "The Tonight Show" following its 18th season. His last show was on Friday, May 28, 2010. He indicated in an interview with "The Philadelphia Inquirer" that he wanted to concentrate on music, adding that his leaving was not provoked by any problems with Leno or NBC. Following his departure from "The Tonight Show", he began touring with bandmate Marvin "Smitty" Smith on drums, Bill Pierce on saxophone, and Rene Camacho on bass.


title: Thrombophlebitis

text: Thrombophlebitis is a phlebitis (inflammation of a vein) related to a thrombus (blood clot). When it occurs repeatedly in different locations, it is known as thrombophlebitis migrans (migratory thrombophlebitis).


title: Thrombophlebitis

text: The following symptoms or signs are often associated with thrombophlebitis, although thrombophlebitis is not restricted to the veins of the legs.


title: Thrombophlebitis

text: In terms of complications, one of the most serious occurs when the superficial blood clot is associated with a deep vein thrombosis; this can then dislodge, traveling through the heart and occluding the dense capillary network of the lungs This is a pulmonary embolism which can be life-threatening.


title: Thrombophlebitis

text: Thrombophlebitis causes include disorders related to increased tendency for blood clotting and reduced speed of blood in the veins such as prolonged immobility; prolonged traveling (sitting) may promote a blood clot leading to thrombophlebitis but this occurs relatively less. High estrogen states such as pregnancy, estrogen replacement therapy, or oral contraceptives are associated with an increased risk of thrombophlebitis.


title: Thrombophlebitis

text: Specific disorders associated with thrombophlebitis include superficial thrombophlebitis which affects veins near the skin surface, deep vein thrombosis which affects deeper veins, and pulmonary embolism.


title: Thrombophlebitis

text: Those with familial clotting disorders such as protein S deficiency, protein C deficiency, or factor V Leiden are also at increased risk of thrombophlebitis. Thrombophlebitis can be found in people with vasculitis including Behçet's disease. Thrombophlebitis migrans can be a sign of malignancy – Trousseau sign of malignancy.


title: Thrombophlebitis

text: The diagnosis for thrombophlebitis is primarily based on the appearance of the affected area. Frequent checks of the pulse, blood pressure, and temperature may be required. If the cause is not readily identifiable, tests may be performed to determine the cause, including the following:


title: Thrombophlebitis

text: Prevention consists of walking, drinking fluids and if currently hospitalized, changing of IV lines. Walking is especially suggested after a long period seated, particularly when one travels.


title: Thrombophlebitis

text: In terms of treatment for this condition the individual may be advised to do the following: "raise" the affected area to decrease swelling, and relieve pressure off of the affected area so it will encounter less pain. In certain circumstances drainage of the clot might be an option. In general, treatment may include the following:


title: Thrombophlebitis

text: Thrombophlebitis occurs almost equally between women and men, though males do have a slightly higher possibility. The average age of developing thrombophlebitis, based on analyzed incidents, is 54 for men and 58 for women.


title: Cercis siliquastrum

text: Cercis siliquastrum, commonly known as the Judas tree or Judas-tree, is a small deciduous tree in the flowering plant family Fabaceae which is noted for its prolific display of deep pink flowers in spring. It is native to Southern Europe and Western Asia.


title: Cercis siliquastrum

text: The deep pink flowers are produced on year-old or older growth, including the trunk, in spring. Also, the flowers display a blossom with five free petals and fused sepals. This flower shape is typical of the pea family (Fabaceae). The leaves appear shortly after the first flowers emerge. These are cordate with a blunt apex, which occasionally has a shallow notch at the tip. The tree produces long flat pods that hang vertically. The flowers are edible and reportedly have a sweet-acid taste.


title: Cercis siliquastrum

text: The species was first described by Linnaeus in 1753 and he gave it the specific epithet of "siliquastrum" which is derived from the Latin word "siliqua", meaning "pod". The generic name comes from the Greek "kerkis", a "shuttle", which refers to the resemblance shown to this weaver's tool by the flat, woody seedpods.


title: Cercis siliquastrum

text: The flowers are pollinated by bees, attracted by nectar. Pollen from the protruding stamens is deposited on the bee's body and carried to another flower's stigma.


title: Cercis siliquastrum

text: British journalist Francis McCullagh reported seeing "innumerable" flowering specimens of this tree in Yildiz Park in Istanbul in April 1909.


title: Cercis siliquastrum

text: The cultivar 'Bodnant' has gained the Royal Horticultural Society's Award of Garden Merit. (confirmed 2017).


title: Cercis siliquastrum

text: The tree is susceptible to leafhoppers, scale insects and psyllids (specifically "Cacopsylla pulchella") as well as diseases including canker, coral spot and verticillium wilt.


title: Cercis siliquastrum

text: There is a myth that Judas Iscariot hanged himself from a tree of this species, causing its white flowers to turn red. This belief is related to the common name "Judas tree", which is possibly a corrupted derivation from the French common name, "Arbre de Judée", meaning "tree of Judea", referring to the hilly regions of that country where the tree used to be common. Another possible source for the vernacular name is the fact that the flowers and seedpods can dangle direct from the trunk in a way reminiscent of Judas's possible method of suicide.


title: Cercis siliquastrum

text: A sermon illustration on the deadly effects of succumbing to temptation refers to a false idea that the Judas tree killed bees drawn to it: "Dr. Cuyler forcibly illustrates this by reference to the Judas tree. The blossoms appear before the leaves, and they are of a brilliant crimson. The flaming beauty of the flowers attracts innumerable insects; and the wandering bee is drawn after it to gather honey. But every bee which alights upon the blossom, imbibes a fatal opiate, and drops dead from among the crimson flowers to the earth."


title: Linguistic prescription

text: Linguistic prescription, or prescriptive grammar, is the establishment of rules defining preferred usage of language. These rules may address such linguistic aspects as spelling, pronunciation, vocabulary, syntax, and semantics. Sometimes informed by linguistic purism, such normative practices often suggest that some usages are incorrect, inconsistent, illogical, lack communicative effect, or are of low aesthetic value, even in cases where such usage is more common than the prescribed usage. They may also include judgments on socially proper and politically correct language use.


title: Linguistic prescription

text: Linguistic prescriptivism may aim to establish a standard language, teach what a particular society or sector of a society perceives as a correct or proper form, or advise on effective and stylistically felicitous communication. If usage preferences are conservative, prescription might appear resistant to language change; if radical, it may produce neologisms.


title: Linguistic prescription

text: Prescriptive approaches to language are often contrasted with the descriptive approach, employed in academic linguistics, which observes and records how language is actually used without any judgment. The basis of linguistic research is text (corpus) analysis and field study, both of which are descriptive activities. Description may also include researchers' observations of their own language usage. In the Eastern European linguistic tradition, the discipline dealing with standard language cultivation and prescription is known as "language culture" or "speech culture".


title: Linguistic prescription

text: Despite being apparent opposites, prescriptive and descriptive approaches have a certain degree of conceptual overlap as comprehensive descriptive accounts must take into account and record existing speaker preferences, and a prior understanding of how language is actually used is necessary for prescription to be effective. Since the mid-20th century some dictionaries and style guides, which are prescriptive works by nature, have increasingly integrated descriptive material and approaches. Examples of guides updated to add more descriptive material include "Webster's Third New International Dictionary" (1961) and the third edition "Garner's Modern English Usage" (2009) in English, or the "Nouveau Petit Robert" (1993) in French. A partially descriptive approach can be especially useful when approaching topics of ongoing conflict between authorities, or in different dialects, disciplines, styles, or registers. Other guides, such as "The Chicago Manual of Style", are designed to impose a single style and thus remain primarily prescriptive ().


title: Linguistic prescription

text: Some authors define "prescriptivism" as the concept where a certain language variety is promoted as linguistically superior to others, thus recognizing the standard language ideology as a constitutive element of prescriptivism or even identifying prescriptivism with this system of views. Others, however, use this term in relation to any attempts to recommend or mandate a particular way of language usage (in a specific context or register), without, however, implying that these practices must involve propagating the standard language ideology. According to another understanding, the prescriptive attitude is an approach to norm-formulating and codification that involves imposing arbitrary rulings upon a speech community, as opposed to more liberal approaches that draw heavily from descriptive surveys; in a wider sense, however, the latter also constitute a form of prescriptivism.


title: Linguistic prescription

text: Mate Kapović makes a distinction between "prescription" and "prescriptivism", defining the former as "process of codification of a certain variety of language for some sort of official use", and the latter as "an unscientific tendency to mystify linguistic prescription".


title: Linguistic prescription

text: Linguistic prescription is a part of a language standardization process. The chief aim of linguistic prescription is to specify socially preferred language forms (either generally, as in Standard English, or in style and register) in a way that is easily taught and learned. Prescription may apply to most aspects of language, including spelling, pronunciation, vocabulary, syntax, and semantics.


title: Linguistic prescription

text: Prescription is useful for facilitating inter-regional communication, allowing speakers of divergent dialects to understand a standardized idiom used in broadcasting, for example, more readily than each other's dialects. While such a lingua franca may evolve by itself, the tendency to formally codify and normalize it is widespread in most parts of the world. Foreign language instruction is also considered a form of prescription, since it involves instructing learners how to speak, based on usage documentation laid down by others.


title: Linguistic prescription

text: Linguistic prescription may also be used to advance a social or political ideology. Throughout history, prescription has been created around high-class language, and therefore it degeneralizes lower-class language. This has led to many justifications of classism, as the lower-class can easily be portrayed to be incoherent and improper if they do not speak the standard language. This also corresponds to the use of prescription for racism, as dialects spoken by what is seen as the superior race are usually standardized in countries with prominent racism. A good example of this is the demeaning of AAVE in the United States, as the idea that the "lower race" speaks improperly is propagated by people with an opposing ideology. Later, during the second half of the 20th century, efforts driven by various advocacy groups had considerable influence on language use under the broad banner of "political correctness", to promote special rules for anti-sexist, anti-racist, or generically anti-discriminatory language (e.g. "people-first language" as advocated by disability rights organizations).


title: Linguistic prescription

text: Prescription presupposes authorities whose judgments may come to be followed by many other speakers and writers. For English, these authorities tend to be books. H. W. Fowler's "Modern English Usage" was widely taken as an authority for British English for much of the 20th century; Strunk and White's "The Elements of Style" has done similarly for American English. The "Duden" grammar (first edition 1880) has a similar status for German.


title: Linguistic prescription

text: Although lexicographers often see their work as purely descriptive, dictionaries are widely regarded as prescriptive authorities. Books such as Lynne Truss's "Eats, Shoots & Leaves" (2003), which argues for stricter adherence to prescriptive punctuation rules, also seek to exert an influence.


title: Linguistic prescription

text: Linguistic prescription is imposed by regulation in some places. The "French Academy" in Paris is the national body in France whose recommendations about the French language are often followed in the French-speaking world (francophonie), though not legally enforceable. In Germany and the Netherlands, recent spelling and punctuation reforms, such as the German orthographic reform of 1996, were devised by teams of linguists commissioned by the respective governments and then implemented by statutes, some met with widespread dissent.


title: Linguistic prescription

text: Other kinds of authorities exist in specific settings, most commonly in the form of style guidebooks (also called style guides, manuals of style, style books, or style sheets). Style guides vary in form, and may be alphabetical usage dictionaries, comprehensive manuals divided into numerous subsection by the facet of language, or very compact works insistent upon only a few matters of particular importance to the publisher. Some aim to be comprehensive only for a specific field, deferring to more general-audience guides on matters that are not particular to the discipline in question. There are different types of style guides, by purpose and audience. Because the genres of writing and the audiences of each manual are different, style manuals often conflict with each other, even within the same vernacular of English.


title: Linguistic prescription

text: Many publishers have established an internal house style specifying preferred spellings and grammatical forms, such as serial commas, how to write acronyms, and various awkward expressions to avoid. Most of these are internal documentation for the publisher's staff, though various newspapers, universities, and other organizations have made theirs available for public inspection, and sometimes even sell them as books, e.g. "The New York Times Manual of Style and Usage" and "The Economist Style Guide".


title: Linguistic prescription

text: In a few cases, an entire publishing sector complies with a publication that originated as a house style manual, such as "The Chicago Manual of Style" and "New Hart's Rules" in non-fiction book publishing in the United States and the United Kingdom, respectively, and "The Associated Press Stylebook" in American news style. Others are by self-appointed advocates whose rules are propagated in the popular press, as in "proper Cantonese pronunciation". The aforementioned Fowler, and Strunk & White, were among the self-appointed, as are some modern authors of style works, like Bryan A. Garner and his "Modern English Usage" (formerly "Modern American Usage").


title: Linguistic prescription

text: Various style guides are used for academic papers and professional journals and have become "de facto" standards in particular fields, though the bulk of their material pertains to formatting of source citations (in mutually conflicting ways). Some examples are those issued by the American Medical Association, the Modern Language Association, and the Modern Humanities Research Association; there are many others. "Scientific Style and Format", by the Council of Science Editors, seeks to normalize style in scientific journal publishing, based where possible on standards issued by bodies like the International Standards Organization.


title: Linguistic prescription

text: None of these works have any sort of legal or regulatory authority (though some governments produce their own house style books for internal use). They still have authority in the sense that a student may be marked down for failure to follow a specified style manual; a professional publisher may enforce compliance; a publication may require its employees to use house style as a matter of on-the-job competence. A well-respected style guide, and usually one intended for a general audience, may also have the kind of authority that a dictionary does consult as a reference work to satisfy personal curiosity or settle an argument.


title: Linguistic prescription

text: Historically, linguistic prescriptivism originates in a standard language when a society establishes social stratification and a socio-economic hierarchy. The spoken and written language usages of the authorities (state, military, church) is preserved as the standard language. Departures from this standard language may jeopardize social success (see social class). Sometimes, archaisms and honorific stylizations may be deliberately introduced or preserved to distinguish the prestige form of the language from contemporary colloquial language. Likewise, the style of language used in ritual also differs from everyday speech. Special ceremonial languages known only to a select few spiritual leaders are found throughout the world; Liturgical Latin has served a similar function for centuries.


title: Linguistic prescription

text: When a culture develops a writing system, orthographic rules for the consistent transcription of culturally important transactions (laws, scriptures, contracts, poetry, etc.) allow a large number of discussants to understand written conversations easily, and across multiple generations.


title: Linguistic prescription

text: Early historical trends in literacy and alphabetization were closely tied to the influence of various religious institutions. Western Christianity propagated the Latin alphabet. Eastern Orthodoxy spread the Greek and Cyrillic alphabets. Judaism used the Hebrew alphabet, and Islam the Arabic script. Hinduism used the Devanagari script. In certain traditions, strict adherence to prescribed spellings and pronunciations was and remains of great spiritual importance. Islamic naming conventions and greetings are notable examples of the linguistic prescription being a prerequisite to spiritual righteousness. Another commonly cited example of prescriptive language usage closely associated with social propriety is the system of Japanese honorific speech.


title: Linguistic prescription

text: Most, if not all, widely spoken languages demonstrate some degree of social codification in how they conform to prescriptive rules. Linguistic prestige is a central research topic within sociolinguistics. Notions of linguistic prestige apply to different dialects of the same language and also to separate, distinct languages in multilingual regions. Prestige level disparity often leads to "diglossia": speakers in certain social contexts consciously choose a prestige language or dialect over a less prestigious one, even if it is their native tongue.


title: Linguistic prescription

text: Government bureaucracy tends toward prescriptivism as a means of enforcing functional continuity. Such prescriptivism dates from ancient Egypt, where bureaucrats preserved the spelling of the Middle Kingdom of Egypt into the Ptolemaic period through the standard usage of Egyptian hieroglyphics.


title: Linguistic prescription

text: From the earliest attempts at prescription in classical times grammarians have based their norms on observed prestige use of language. Modern prescriptivist textbooks draw heavily on descriptive linguistic analysis.


title: Linguistic prescription

text: The prescription may privilege some existing forms over others for the sake of maximizing clarity and precision in language use. Others are subjective judgments of what constitutes good taste. Some reflect the promotion of one class or region within a language community over another, which can become politically controversial.


title: Linguistic prescription

text: Prescription can also reflect ethical considerations, as in prohibiting swear words. Words referring to elements of sexuality or toilet hygiene may be regarded as obscene. Blasphemies against religion may be forbidden. In the 21st century, political correctness objects to the use of words perceived as offensive.


title: Linguistic prescription

text: Some elements of prescription in English are sometimes thought to have been based on the norms of Latin grammar. Robert Lowth is frequently cited as having done so, but he specifically objected to "forcing the English under the rules of a foreign Language".


title: Linguistic prescription

text: Prescriptivism is often subject to criticism. Many linguists, such as Geoffrey Pullum and other posters to Language Log, are highly skeptical of the quality of advice given in many usage guides, including highly regarded books like Strunk and White's "The Elements of Style". In particular, linguists point out that popular books on English usage written by journalists or novelists (e.g. Simon Heffer's "Strictly English: The Correct Way to Write ... and Why It Matters") often make basic errors in linguistic analysis.


title: Linguistic prescription

text: A frequent criticism is that prescription has a tendency to favor the language of one particular area or social class over others, and thus militates against linguistic diversity. Frequently, a standard dialect is associated with the upper class, for example Great Britain's Received Pronunciation (RP). RP has now lost much of its status as the Anglophone standard, and other standards are now alternative systems for English as a foreign language. Although these have a more democratic base, they still exclude the vast majority of the English-speaking world: speakers of Scottish English, Hiberno-English, Appalachian English, Australian English, Indian English, Nigerian English or African-American English may feel the standard is arbitrarily selected or slanted against them. Therefore, prescription has political consequences; indeed, it can be—and has been—used consciously as a political tool.


title: Linguistic prescription

text: A second issue with prescriptivism is that it tends to explicitly devalue non-standard dialects. It has been argued that prescription, apart from formulating standard language norms, often attempts to influence speakers to apply the proposed linguistic devices invariably, without considering the existence of different varieties and registers of language. While some linguists approve the practical role of language standardization in modern nation states, certain models of prescriptive codification have been criticized for going far beyond mere norm-setting, i.e. by promoting the sanctioned language variety as the only legitimate means of communication and presenting it as the only valid baseline of correctness, while stigmatizing non-standard usages as "mistakes". Such practices have been said to contribute to perpetuating the belief that non-codified forms of language are innately inferior, creating social stigma and discrimination toward their speakers. In contrast, modern linguists would generally hold that all forms of language, including both vernacular dialects and different realizations of a standardized variety, are scientifically equal as instruments of communication, even if deemed socially inappropriate for certain situational contexts. Resulting in standard language ideology, normative practices might also give rise to the conviction that explicit formal instruction is an essential prerequisite for acquiring proper command of one's native language, thus creating a massive feeling of linguistic insecurity. Propagating such language attitudes is characteristic of the prescriptivists in Eastern Europe, where normativist ideas of correctness can be found even among professional linguists.


title: Linguistic prescription

text: Another serious issue with prescription is that prescriptive rules quickly become entrenched and it is difficult to change them when the language changes. Thus, there is a tendency for prescription to lag behind the vernacular language. In 1834, an anonymous writer advised against the split infinitive, reasoning that the construction was not a frequent feature of English as he knew it. Today the construction is in everyday use and generally considered standard usage, yet the old prohibition can still be heard.


title: Linguistic prescription

text: A further problem is a challenge of specifying understandable criteria. Although prescribing authorizations may have clear ideas about why they make a particular choice, and their choices are seldom entirely arbitrary, there exists no linguistically sustainable metric for ascertaining which forms of language should be considered standard or otherwise preferable. Judgments that seek to resolve ambiguity or increase the ability of the language to make subtle distinctions are easier to defend. Judgments based on the subjective associations of a word are more problematic.


title: Linguistic prescription

text: Finally, there is the problem of inappropriate dogmatism. Although competent authorities tend to make careful statements, popular pronouncements on language are apt to condemn. Thus, wise prescriptive advice identifying a form as colloquial or non-standard and suggesting that it be used with caution in some contexts may – when taken up in the classroom – become converted into a ruling that the dispreferred form is automatically unacceptable in all circumstances, a view academic linguists reject. (Linguists may accept that a construction is ungrammatical or incorrect in relation to a certain lect if it does not conform to its inherent rules, but they would not consider it absolutely wrong simply because it diverges from the norms of a prestige variety.) A classic example from 18th-century England is Robert Lowth's tentative suggestion that preposition stranding in relative clauses sounds colloquial. This blossomed into a grammatical rule that a sentence should never end with a preposition. Such dogmatism has often caused resentment.


title: Linguistic prescription

text: For these reasons, some writers argue that linguistic prescription is foolish or futile. Samuel Johnson commented on the tendency of some prescription to resist language change:


title: Brad Leone

text: Brad Samuel Leone (born May 16, 1985) is an American chef and YouTube personality. He is known for his appearances in videos produced by "Bon Appétit" for its YouTube channel, most notably as the host of "It's Alive with Brad" and its spinoff series "It's Alive: Goin' Places".


title: Brad Leone

text: Leone was born on May 16, 1985 in northern New Jersey, near Mountain Creek. He has described his professional background as being "kind of all over the place", having worked a variety of jobs both in and outside the food service industry, including as a caterer, a delicatessen worker, a kitchen chef for multiple restaurants, a glazier, and a carpenter. At 26, Leone moved to Brooklyn, New York, where he studied at the Institute of Culinary Education. Leone developed an interest in fermentation after being given a SCOBY.


title: Brad Leone

text: After graduating, Leone was hired as an intern at "Bon Appétit" as a test kitchen assistant, a role which required him to perform "all the shopping, all the cleaning and certainly all the dishes", leading him to describe his position as "a glorified dishwashing job". He was later offered a full-time position at the magazine, eventually working his way up to Test Kitchen Manager.


title: Brad Leone

text: In 2016, amid an effort by "Bon Appétit" to increase its YouTube presence, creative director Alex Grossman conceived of a web series that would follow Leone in the magazine's test kitchen. The first video, which followed Leone making kombucha, was shot and subsequently shelved for eight months before camera operator Vincent Cross convinced the magazine to post the video. The video, which would become the first episode of "It's Alive with Brad", debuted on October 21, 2016 and now has over 3 million views.


title: Brad Leone

text: "It's Alive with Brad" developed into a regular series that follows Leone as he creates food with microbial food cultures, though later episodes additionally focus on more general recipes and on-location activities. The series stars Leone and is filmed, produced, and edited by Matt Hunziker. Cross previously filmed and produced the show until he left for Binging with Babish in February 2019. "It's Alive" has been praised for its comedic editing and for Leone's laid-back cooking style, having been described as "part cooking show, part travel show, part "Pop-Up Video" and part continuous blooper reel". The loose and personality-driven style of "It's Alive", along with "Gourmet Makes" starring Claire Saffitz, are noted as contrasting the "curated [and] posh" brand of "Bon Appétit" and were described by "Forbes" as having "changed the way Condé Nast approaches online video".


title: Brad Leone

text: In late 2018, Leone transitioned roles at "Bon Appétit", moving out of his role as Test Kitchen Manager to focus exclusively on creating videos. An "It's Alive" spin-off series, "It's Alive: Goin' Places", was launched in 2019 on "Bon Appétit"'s dedicated streaming channel; the first season follows Leone in Central Texas, while the second season follows Leone in Hawaii. That same year, Leone was nominated at the 11th Shorty Awards in the category "Best in Food" for his work on "It's Alive". Brad also appears in other "Bon Appétit" series, like "Making Perfect" and "Test Kitchen Talks."


title: Brad Leone

text: Leone, his partner Peggy, and their two sons resided in New Jersey until early 2021 when they moved to Connecticut.


title: Denzil Smith

text: Denzil Leonard Smith (born 6 November 1960) is an Indian film and stage actor and producer. Born to Anglo-Indian parents in Mumbai, he is known for his stage and screen roles as a character actor. Smith has acted in over 50 plays and 60 films.


title: Denzil Smith

text: His film credits include "Tenet" (2020), "Viceroy's House" (2017), "Brahman Naman" (2016), "The Second Best Exotic Marigold Hotel" (2015), "The Lunchbox" (2013), "The Best Exotic Marigold Hotel" (2011), "Frozen" (2007) and "Paap" (2003).


title: Denzil Smith

text: His notable television roles include Netflix's "Delhi Crime" (2019), ITV's "Beecham House" (2019), Amazon Prime's sitcom "Mind the Malhotras" (2019) and "P.O.W.- Bandi Yuddh Ke" (2016-2017) on Star Plus.


title: Denzil Smith

text: He has a long-standing association with both Motley Productions for "Waiting for Godot" and "The Caine Mutiny Court-Martial", and PrimeTime Theatre for "Guahar", "" and "Sammy." Notable international productions include "Merchants of Bollywood" (2007-2010) and "Life of Buddha" (2014).


title: Denzil Smith

text: Smith was born into an Anglo-Indian family in Mumbai, Maharashtra to Benjamin John Smith and Kathleen (Katsy) Maude Shepherd. He has an older sister Cheryl Roy-Smith, and younger brother Lionel Smith. Smith’s father was a civil servant with the Government of India, and possessed a deep love for music and the arts. It was through him that Denzil was first exposed to music and theatre.


title: Denzil Smith

text: Smith's father played the accordion, piano, violin and ukulele. A talented singer, Benjamin was granted a leave of absence to represent India as part of the classical cappella Paranjoti Academy Choir for an extended tour of Europe in the 1960s. His father died suddenly when Smith was 11.


title: Denzil Smith

text: Smith completed his schooling at St Andrews in Bandra, and studied English literature at the University of Mumbai.


title: Denzil Smith

text: Smith began his professional career as a film executive under Indian adman and actor, Alyque Padamsee, who was then CEO of the advertising agency Lintas. In 1988, Smith quit his corporate career to focus on stage acting. He trained in voice at the National Centre for the Performing Arts, Mumbai, and was guided by Dr. Ashok Ranade and Pratap Sharma.


title: Denzil Smith

text: A pivotal play early in his theatrical career was Pearl Padamsee’s "Les Liaisons Dangereuse" where he first worked with Naseeruddin Shah and Ratna Pathak. Shortly after this play, he became a member of Shah’s Motley Productions – a theatre group formed by Naseeruddin Shah, Tom Alter and Benjamin Gilani. Smith played the role of Lucky in Samuel Beckett's "Waiting for Godot" with Shah, Gilani, and Kenneth Desai. He then went on to do Herman Wouk's "The Caine Mutiny Court-Martial", Beckett’s "Endgame", "The Odd Couple" and several other productions. Smith then worked with Satyadev Dubey in Hindi productions such as "Sambogh Se Sanyas Tak".


title: Denzil Smith

text: By 1998, he also began working extensively with Lilette Dubey’s PrimeTime Theatre in productions such as "On a Muggy Night in Mumbai", "Zenkatha", "Sammy", "August: Osage County" and "Gauhar" about the life of Gauhar Jaan. These plays toured both India and various cities in North America, UK and Europe, South-East Asia and Australia.


title: Denzil Smith

text: Smith also played key roles in numerous other productions such as Jawaharlal Nehru in "Letters to a Daughter from Prison" (directed by Vijaya Mehta and based on the 1984 publication of Nehru's letters), Jesus in "Jesus Christ Superstar" in Toronto, Canada, Vali and Vibishan in "The Legend of Ram", Judge Brack in "Hedda Gabler", and the solo performer in four monologues written and directed by Zubin Driver in "Mumbai vs Mumbai".


title: Denzil Smith

text: In 2007, Smith joined All Star Artists for the Broadway style musical production "The Merchants of Bollywood" – written and directed by Toby Gough and choreographed by Vaibhavi Merchant – in the lead role of the grandfather, Shantilal, and then later a double role that of "a splendidly-mustachioed narrator" and the sleazy Bollywood director Tony Bakshi. There were 600 shows between 2007 and 2009 in the UK, Europe and Malaysia. and he reprised his role for a run in the UK and Lebanon in 2016. In 2017, Smith re-joined director Toby Gough, choreographer Shruti Merchant and team as the voice of Raj Pakoda in the light-hearted dance musical Taj Express.


title: Denzil Smith

text: In 2020, along with Sonali Kulkarni and Shernaz Patel, he led the cast in the role of Superintendent Daniel D'Mello in the classic Whodunnit "The Mirror Crack'd" by Agatha Christie, adapted by Rachel Wagstaff in an Indian version by Ayeesha Menon, directed by the British director Melly Still and produced by international theatre producer Pádraig Cusack, staged at the Jamshed Bhabha Theatre at the National Centre for the Performing Arts (India) in Mumbai.


title: Denzil Smith

text: In addition to his acting career, Smith also regularly curates theatre programming at Celebrate Bandra.


title: Denzil Smith

text: Smith has worked in a range of independent, Bollywood and international film productions. One of Smith’s early films was "Mango Soufflé" (2002), an adaptation of Mahesh Dattani’s successful English stage play "On a Muggy Night in Mumbai", which was centered around the lives of gay men in Mumbai. The film starring Atul Kulkarni, Rinkie Khanna, Heeba Shah and Ankur Vikal, was promoted as "first gay male film from India."


title: Denzil Smith

text: He is known for roles such as the Tibetan monk Lama Norbu in "Paap" (2003), directed by Pooja Bhatt and starring John Abraham, and as Tenzing in the film "Frozen" (2007), based in Leh and Ladakh. Among the many independent films he has worked in are "Shobhayatra" (2004), where he played Jawaharlal Nehru, "The Memsahib" (2006), "Mumbai Salsa" (2007), "Chase" (2010), "Lamhaa" (2010), "Impatient Vivek" (2011), "Tripura" (2011), Ajita Suchitra Veera's "Ballad of Rustom" (2012), "John Day" (2013), and "Dad... Hold My Hand!" (2015). In 2017, Smith played the role of the Principal in the Marathi film "Manjha" (2017), directed by Jatin Wagle. Recent films include Ritesh Batra's "Photograph", which premiered at Sundance Film Festival in February 2019.


title: Denzil Smith

text: He's also been featured in many Bollywood films such as "Ek Ajnabee" (2005) with Arjun Rampal, Amitabh Bachchan and Parizaad Zorabian, "Zid" (2014) and "Bombay Velvet" (2015) directed by Anurag Kashyap with Anushka Sharma and Ranbir Kapoor, Kabir Khan's "Phantom" (2015) with Saif Ali Khan and Katrina Kaif. Smith appeared in the crime drama Baazaar (2018), as the Manipuri militant leader in Disney's "Jagga Jasoos" (2018), the emergency period action film "Baadshaho" (2017), comedy "Happy Phirr Bhag Jayegi" (2018) and as a detective in the mystery thriller "Badla" directed by Sujoy Ghosh and starring Amitabh Bachchan and Taapsee Pannu. Upcoming work includes Bell Bottom (2021 film) with Akshay Kumar, which was filmed in Scotland under COVID restrictions and Penthouse with Bobby Deol.


title: Denzil Smith

text: Smith has featured in several international productions that have achieved both critical and commercial success – "One Night with the King" (2007) with Omar Sharif and Peter O’Toole, "The Lunchbox" (2013) with Irrfan Khan, "The Best Exotic Marigold Hotel" (2011) and "The Second Best Exotic Marigold Hotel" (2015) with Judi Dench, Maggie Smith, Dev Patel, Bill Nighy and directed by John Madden and "Brahman Naman" (2016), a Netflix original release sex comedy, directed by Qaushiq Mukherjee, written by Naman Ramachandran with Shashank Arora.


title: Denzil Smith

text: Smith's most prominent international films include Christopher Nolan's Tenet with John David Washington and Robert Pattinson, where Smith plays Sanjay Singh husband of arms dealer played by Dimple Kapadia and Gurinder Chadha's "Viceroy's House" on India's partition in 1947 in which he plays the role of Muhammad Ali Jinnah.