title: Cold urticaria

text: The effect of FCAS on the quality of life of patients is far reaching. A survey of patients in the United States in 2008 found that "[t]o cope with their underlying disease and to try to avoid symptomatic, painful, flares patients reported limiting their work, school, family, and social activities. Seventy-eight percent of survey participants described an impact of the disease on their work, including absenteeism and impaired job advancement; frequently, they quit their job as a consequence of their disease".


title: Cold urticaria

text: Treatment using anakinra (Kineret) has been shown effective for FCAS, although this does mean daily injections of the immunosuppressant into an area such as the lower abdomen. The monoclonal antibody canakinumab (Ilaris) is also used.


title: Cold urticaria

text: When the body is exposed to the cold in individuals affected by the condition, hives appear and the skin in the affected area typically becomes itchy. Hives result from dilation of capillaries which allow fluid to flow out into the surrounding tissue which is the epidermis. They resolve when the body absorbs this fluid. The border of a hive is described as polycyclic, or made up of many circles, and changes as fluid leaks out and then is absorbed. Pressing on a hive causes the skin to blanch (turn pale as blood flow is interrupted), distinguishing it from a bruise or papule.


title: Cold urticaria

text: Hives may appear immediately or after a delay. Hives can last for a few minutes or a few days, and vary from person to person. Also, a burning sensation occurs. A serious reaction is most likely to occur for patients where the hives occur with less than 3 minutes of exposure (during a cold test).


title: Cold urticaria

text: The hives are a histamine reaction in response to cold stimuli, including a drastic drop in temperature, cold air, and cold water. There are many causes for cold hives, most are idiopathic (meaning they have no known cause). Some rare conditions can cause cold hives, and it can be useful to test for these conditions if the cold hives are in any way unusual.


title: Cold urticaria

text: Scientists from the USA National Institutes of Health have identified a genetic mutation in three unrelated families that causes a rare immune disorder characterized by excessive and impaired immune function: immune deficiency, autoimmunity, inflammatory skin disorders and cold-induced hives (cold urticaria).


title: Cold urticaria

text: Diagnosis is typically obtained by an allergist or other licensed practitioner performing a cold test. During the cold test, a piece of ice is placed inside a thin plastic bag and held against the forearm, typically for 3–4 minutes. A positive result is a specific looking mark of raised red hives. The hives may be the shape of the ice, or it may radiate from the contact area of the ice. However, while these techniques assist in diagnosis, they do not provide information about temperature and stimulation time thresholds at which patients will start to develop symptoms, which is essential because it can establish disease severity and monitor the effectiveness of treatment.


title: Cold urticaria

text: Management largely consists of avoiding exposures that could trigger a reaction and taking medicine to manage the reaction. The best treatment for this allergy is avoiding exposure to cold temperatures.


title: Cold urticaria

text: Anything that lowers the skin temperature (not body's core temperature) can trigger a reaction in affected people. Avoiding exposures limits the risk of a reaction. The reaction usually affects the body parts that are exposed, so cold air could trigger a reaction to exposed skin or in the breathing passages if cold air is inhaled. Risky exposures include:


title: Cold urticaria

text: The first-line therapy is symptomatic relief with second-generation H1-antihistamines. If standard dosing is ineffective, increasing dosages up to fourfold is recommended to control symptoms.


title: Cold urticaria

text: The second-generation H1-antihistamine rupatadine was found to significantly reduce the development of chronic cold urticaria symptom without an increase in adverse effects at doses of and .


title: Cold urticaria

text: Allergy medications containing antihistamines such as diphenhydramine (Benadryl), cetirizine (Zyrtec), loratadine (Claritin), cyproheptadine (Periactin), and fexofenadine (Allegra) may be taken orally to prevent and relieve some of the hives. For those who have severe anaphylactic reactions, a prescribed medicine such as doxepin, taken daily, should help to prevent and/or lessen the likelihood of a reaction and thus, anaphylaxis. The effectiveness of topical antihistamine creams against hives induced by cold temperature has not been evaluated.


title: Cold urticaria

text: Cold hives can result in a potentially serious or even fatal systemic reaction (anaphylactic shock). People with cold hives may have to carry an injectable form of epinephrine (like Epi-pen or Twinject) for use in the event of a serious reaction.


title: Cold urticaria

text: Studies have found that omalizumab (Xolair) may be an effective and safe treatment for cold urticaria in patients who do not sufficiently respond to standard treatments.


title: What's Your Raashee?

text: What's Your Raashee? () is a 2009 Indian Hindi-language romantic comedy film written and directed by Ashutosh Gowariker. It was produced by Ronnie Screwvala and Sunita A. Gowariker. The film stars Harman Baweja and Priyanka Chopra, with Darshan Jariwala and Dilip Joshi in supporting roles. The film is based on the Gujarati novel "Kimball Ravenswood" by the playwright and novelist Madhu Rye, and follows the story of Yogesh Patel, a Gujarati NRI, who must marry in ten days to save his brother from harm; Yogesh agrees to meet twelve potential brides (all played by Chopra), one from each zodiac sign.


title: What's Your Raashee?

text: Gowariker had always aspired to make a romantic comedy and was inspired to adapt Rye's novel into a feature film after watching a play based on the same source material. Later, he bought the rights and co-wrote the screenplay with playwright Naushil Mehta. In the process, several plot changes were made for the cinematic adaptation, notably the similarity between the twelve girls, and the ending. Since Gowariker was against using prosthetics to create the twelve characters, Chopra worked on her body language and her voice to make them distinct. Principal photography was extensively done at sixty-seven locations across Mumbai, and partly in Baroda and Chicago. The soundtrack, consisting of thirteen songs, each representing an astrological sign and one compilation, was composed by newcomer Sohail Sen replacing Gowariker's frequent collaborator A.R. Rahman, with lyrics by Javed Akhtar.


title: What's Your Raashee?

text: The film's master copy was stolen from Adlabs before its release, and a few days later was recovered by the police, who found and seized several pirated copies of the film created from the master copy. The film had its world premiere at the 2009 Toronto International Film Festival and was released on 25 September 2009. With a box office gross 17 crore, it was unsuccessful and received mixed reviews, with criticism for its over three-and-a-half-hour run time and its screenplay. However, the film garnered acclaim for its soundtrack and Chopra's performance, which received a nomination for the Screen Award for Best Actress. She also became the first actress in history to portray twelve roles in one film, a feat considered for inclusion in the "Guinness World Records".


title: What's Your Raashee?

text: Deep within a quaint rural village, an elderly man receives a card in the mail from his youngest grandson, Yogesh Patel (Harman Baweja). Over in Mumbai, Yogesh's family consults an astrologer to learn if their eldest son, Jitendra "Jitu" Patel (Dilip Joshi), a debtor, will go to jail, and also give him Yogesh's birthdate to learn his future. They are astonished to hear that Yogesh will inherit a fortune if he is married on the 20th of that month; the phone rings, and the family is overjoyed to hear that Yogesh's grandfather has made him his sole heir.


title: What's Your Raashee?

text: Yogesh is successful and living in Chicago. He gets a text message from Jitu that his father Bharat (Anjan Srivastav) had a heart attack, and rushes to Mumbai. When he arrives, Yogesh learns that Jitu had lied to him about Bharat, but that Jitu owes a rich man 25 million rupees for gambling debts; if Yogesh does not marry on the 20th of the month, Jitu will go to jail. At first Yogesh is adamant he will not marry, but Jitu tells him that he also borrowed 15 million rupees from a mob boss; his parents are unaware of this. Yogesh is annoyed, but agrees to marry after the gangster threatens them. Yogesh's uncle, Devu (Darshan Jariwala), subsequently posts a matrimonial ad with Yogesh's photo, and 176 girls reply. Yogesh decides that he will meet one girl from each zodiac sign. Meanwhile, Devu's wife Kanta asks Yogesh's father to hire a detective – she suspects that Devu is cheating on her. When Bharat learns that the astrologer is also a detective, he hires him. The detective identifies Devu's mistress as a woman named Anila Kamdar.


title: What's Your Raashee?

text: After Yogesh has met most of the girls, one of them, Sanjana (Priyanka Chopra), asks to talk to him privately. She says to him that a boy has agreed to marry her, but she is reluctant. She asks Yogesh to give her time to decide what to do about her boyfriend. He agrees, telling her about his problems with Jitu. Sanjana, touched that Yogesh will help her despite his own problems, hugs him. Devu walks in, and thinks he has interrupted them; Sanjana chases him, trying to explain. Tailing Devu, the detective is unaware that he had been with Anila at a hotel and sees him with Sanjana. Sanjana shows Devu a picture; when he says something supposedly demeaning, she becomes angry and tries to leave. Devu stops her, holding her while she cries before they leave in his car. The detective convinces Yogesh and his father that Devu is having an affair with Sanjana. Anila then comes downstairs, looking for Devu. Yogesh shows her the photos, telling her that Devu and Sanjana went to Khandala, a hill station near Mumbai. The detective tells Kanta this story, and they find Devu at a hotel with Sanjana. Devu thinks Yogesh betrayed him, and Yogesh thinks Devu is having an affair with Sanjana.


title: What's Your Raashee?

text: After seeing the last girl, Yogesh's mother Shakuntala beseeches him to choose with his heart instead of his mind. Yogesh sees all of the girls in a dream, and in the morning decides who he will marry. He goes to Rajni's office because she offered a 50-million-rupee dowry, and is relieved to discover that she is marrying someone else. Yogesh goes to Devu's house to tell him he wants to marry Vishakha, but Devu calls her and rejects her. He says there is no need for Yogesh to marry her; he knows about Jitu's debt, and says he will choose Yogesh's bride himself.


title: What's Your Raashee?

text: Yogesh is impatient, but Devu keeps the bride a secret. When she enters, Yogesh cannot tell who she is. When the ceremony ends, Devu welcomes the father of the bride: Sanjana's father. Yogesh is stunned when his grandfather brings the money to pay Jitu's debts. He asks Devu how he arranged the marriage; Devu explains that when Sanjana followed him and showed him a picture of her boyfriend, he remembered seeing the boyfriend kissing another woman in Khandala. He brought Sanjana to a hotel in Khandala to confront her boyfriend. Sanjana told him she would marry Yogesh, having realised that she loves him. The film ends with the marriage attendants asking Sanjana's astrological sign. Sanjana asks Yogesh what her "raashee" is, to which he says he does not know, and smiles.


title: What's Your Raashee?

text: Ashutosh Gowariker had always aspired to make a comedy; however, after making the historical drama "Jodhaa Akbar" (2008), he wanted to make a "frothy" romance or "something non-historical, light and fun". He had always wanted to make a romantic comedy along the lines of "It's a Wonderful Life" (1946), "Roman Holiday" (1953), "Chupke Chupke" (1975), "Baaton Baaton Mein" (1979), or "When Harry Met Sally..." (1989). Gowariker wanted to do a film that would require less research compared to his previous films as he felt he did not have "to go into historical details. But a good comedy is a challenge of its own. The process of arriving at the humour is extremely difficult."


title: What's Your Raashee?

text: After watching the play "A Suitable Bride" based on Madhu Rye's Gujarati novel "Kimball Ravenswood", Gowariker decided to adapt it into a film. He read the source material to learn more about it and then bought the novel's film rights. In an interview, Rye revealed that he did not agree with Gowariker's description of the novel as a "frothy romance". Rye said that the novel can be considered a cunningly crafted sex thriller driven by devilish characters while also being both a "side-splitting tingly comic" story as well as "a profound study of human nature." Gowariker co-wrote the screenplay with playwright Naushil Mehta. When asked if he was worried that the writers would make drastic changes in the adaptation, Rye replied: "I hope they do." Due to the length of the novel, several changes were made with Rye's permission.


title: What's Your Raashee?

text: The ending was altered by the writers; the protagonist chooses a completely different girl in the film than the one he selects in the novel. Rye was concerned about the reactions of viewers who had read the novel, and it took Gowariker a while to convince him to agree. The writers were highly impressed and relieved by the characters' fine detailing in the novel, adding: "The written matter was very strong and we had to just get a few layers on that." While writing the screenplay, Mehta and Gowariker decided to have one song for each zodiac sign to bring out the personality of each sign and its related girl. They had to write each character with different nuances. The title of the film is taken from a fictional book, "What's Your Raashee?", about the compatibility between the sun signs, which the protagonist reads in the film.


title: What's Your Raashee?

text: The casting of the lead pair was leaked well before the intended official announcements. Gowariker cast Harman Baweja after watching the trailer of his debut film, the science fiction romance "Love Story 2050" (2008). He asked Harman's father, Harry Baweja, to show him the film's rushes and was impressed with his performance, calling him the best person for the part. Following this, Priyanka Chopra, who had worked with Baweja in "Love Story 2050", was cast to play all twelve of the potential brides, each related to one of the twelve zodiac signs. On casting Chopra, Gowariker said: "I have always liked Priyanka's work, right from "". She's been fabulous in all her films. So when I thought of somebody doing twelve roles I thought about her, as I thought she had the potential." When Gowariker offered the film to her, Chopra instantly agreed to star in it.


title: What's Your Raashee?

text: Chopra became the first actress in cinematic history to portray twelve distinct characters in one film and was considered for inclusion in the "Guinness World Records". On being asked about the decision of casting one actress to portray twelve characters, Gowariker said: "If we had taken twelve different actresses then the most beautiful one would have to be chosen. So beauty would get more importance. But by taking one girl to play all twelve roles, the importance shifts to the characters." Gowariker decided not to use prosthetics or makeup to create different looks for the characters but to make them distinctive using hair and costumes. He wanted to differentiate the characters through their mannerisms and traits.


title: What's Your Raashee?

text: Baweja, who is a Scorpio like his character Yogesh in the film, said that he could relate to the character. While reading the script, he told Gowariker that some of his character's dialogue was what he would usually say. At the time, Chopra described the film as the "most difficult and important" in her career. She found playing twelve characters equivalent to performing in twelve different films. She had to have a different look for each of them but had very little time to prepare and establish each character on screen, since each character had "one song and about two scenes". Since all the characters except one were between ages eighteen and twenty-four, Chopra found it difficult to make every character look distinct. She said that there were not many options other than changing her hair and the characters' outfits to portray them. As a result, she chose to work on her body language and experimented with her voice and accent to make the characters distinct from one another, describing it as "a real test".


title: What's Your Raashee?

text: In an interview with Bollywood Hungama, Chopra was quoted saying "when people play multiple characters, they have structures, they are from different parts of the world, sometimes they are a twenty-year-old and then become a forty-year-old in the same film, some with eyes small, etc. I have no clutches [sic]. All the girls I play in the film are in the age group of eighteen and twenty-four." Additionally, she found playing the Capricorn girl, a teenager, very tough, saying: "To play a 15-year-old girl without make-up or special effects to make me look younger was the most challenging role for me. I had to look fifteen years old just through my body language. I didn't want any of the twelve girls to be caricatures." Chopra also read Linda Goodman's "Sun Signs" and "Love Signs" to prepare for the parts. Initially, it was planned to film one character at a time, however, that did not happen.


title: What's Your Raashee?

text: Principal photography began in Mumbai on 6 December 2008. The art direction was handled by Nitin Chandrakant Desai, Piyush Shah did the cinematography, and Ballu Saluja edited the film. Before the filming began, several rehearsals were done to choose the right look for the characters. Neeta Lulla was brought in to design Chopra's clothes, while a non-film hair stylist named Asha Harirahan was chosen to design twelve different hair styles and the look of each character. It had a single start-to-finish schedule and was filmed at 65 different locations across Mumbai.


title: What's Your Raashee?

text: Gowariker remarked that shooting this film was more challenging than "Jodha Akbar" because of filming at so many locations. He found it more time-consuming and challenging but also called it an exciting experience. The second schedule started in January in Mumbai, with scenes also being filmed in Chicago and Baroda, and was scheduled to last until April 2009. The film was also shot at the Mehboob Studio and Film City. The musical numbers were choreographed by Terence Lewis, Rekha Chinni Prakash, Chinni Prakash, Raju Khan, and Rajeev Surti. The song "Aaja Lehraate" was filmed in a single continuous take using a five-camera setup. It was a draining process for Chopra and Baweja, since each mistake required returning to the beginning and filming all over again.


title: What's Your Raashee?

text: Chopra also had to learn jazz dance for one of the characters. For another song featuring all twelve characters, Chopra had to shoot for 22 hours to keep the continuity of the whole musical sequence. She had to change the costumes and makeup for each of the twelve characters while filming the song. At one point, Chopra fainted on the set and Gowariker wanted to postpone the filming, but she insisted on finishing the scenes. Her heavy workloadfilming for several productions, travelling for endorsements, and performing at live showstook its toll; she was admitted to hospital because of exhaustion and was kept under observation. After spending three days in hospital, she was discharged and immediately resumed filming to avoid delaying her other projects. Filming was completed by the first week of May 2009.


title: What's Your Raashee?

text: Initially, Gowariker wanted to hire A. R. Rahman, who had composed the music for his earlier films. However, when Gowariker decided to start filming "What's Your Raashee?", Rahman was busy with other projects including "Slumdog Millionaire" (2008). Gowariker wanted thirteen songs for the film, but Rahman did not have time to compose them, and they agreed not to work together on the film. The director revealed that he did not want another established composer because "he wanted someone to work full time on this film for several months." He later chose Sohail Sen, then a newcomer, to compose the soundtrack and the film's score.


title: What's Your Raashee?

text: The album contains thirteen original songs written by Javed Akhtar. Twelve songs represent the different zodiac signs, with an additional song being a compilation of the twelve songs. Twelve different themes were created, using a different instrument for each zodiac sign, depicting the traits and personality of each girl. Sen found composing "Chehra Jo Dekhe Hain" most difficult, as he had to merge all the themes of the other twelve songs into one. The vocals were performed by Alka Yagnik, Udit Narayan, Shaan, Madhushree, Bela Shende, Pamela Jain, Bhavya Pandit, and Tarannum Mallik, while Sen performs most of the songs. Gowariker and his sister Ashlesha also provided the vocals for two different songs on the album. The soundtrack was released by Sony Music on 18 August 2009.


title: What's Your Raashee?

text: The soundtrack received positive reviews from critics. Planet Bollywood gave it a rating of 8.5 out of 10 calling it "a musical extravaganza" and wrote: "Ashutosh Gowariker, Sohail Sen and Javed Akhtar give us one of the classiest, grandest and most eclectic musical extravaganzas to come in a long time." Joginger Tuteja of Bollywood Hungama gave it a rating of 4 out of 5, praising the compositions and wrote "Kudos to the film maker, Sohail Sen and Javed Akhtar for getting their thinking hats together and making something as innovative and fresh as "What's Your Raashee?". Listen to this one for a unique experience. This one is not to be missed!" The "Hindustan Times" rated the album 3 out of 5, commending the composer and calling it a decent album. The BBC praised the album and wrote "Sohail Sen shows he can successfully compete with the best in Bollywood."


title: What's Your Raashee?

text: The first-look poster of the film was released in January 2009. It resembled a book cover and was designed by Nabeel Abbas. The first teaser, featuring all twelve female characters along with the male protagonist, swaying to the title song, was released in July 2009. To promote the film, the makers teamed up with Facebook to develop an application for users to check their compatibility with their partners as well as to make new friends based on their sun sign. This required users to answer questions about their personal preferences; based on common characteristics with other signs, a list of users with whom they were compatible was shown and they were offered the opportunity to add those people as friends. According to the makers, the application was launched to tie the promotional activity with the theme of the film. Sunita A. Gowariker, the co-producer of the film, later said: "The entire idea ties in well with the theme of the film and yet is not restricted to being only about the film."


title: What's Your Raashee?

text: The master copy of the film was stolen from the Adlabs Processing at Film City before its release. When Gowariker learnt about the incident, he lodged a police complaint immediately. The case was taken over by the Mumbai Crime Branch. UTV Motion Pictures sent a legal notice to Adlabs Films and UFO Movies, the film's processing and digitising laboratories. It was later revealed that a top official of the lab had sold the master copy for 200,000 rupees to film pirates to make pirated copies of the film to sell in India and overseas. Several people were arrested, including the manager of Adlabs Processing, for allegedly stealing the master copy and producing pirated copies. The print was later recovered by the police, who also found and seized pirated CDs and DVDs produced from the master copy.


title: What's Your Raashee?

text: "What's Your Raashee?" was produced by Ronnie Screwvala at UTV Motion Pictures in collaboration with Ashutosh Gowariker Productions, with Gowariker's wife, Sunita, serving as the producer. The film had its world premiere at the 2009 Toronto International Film Festival on 19 September 2009, with more than 2,000 attendees at Roy Thomson Hall. The film was released on 25 September 2009. It had a good opening at the multiplexes but poor attendance elsewhere. Following criticism of the film's excessive length, in mid-week, three songs were cut from the film's theatrical prints to reduce the length of the film. However, the new length was still over three hours, and it was not confirmed if the length was reduced on all of the prints across India. During its run, it grossed 160 million at the box office and was considered as a financial failure. Two weeks after the theatrical release, "What's Your Raashee?" was released for pay-per-view viewing on various DTH platforms such as Tata Sky, Airtel Digital TV, and Dish TV. Distributed by UTV Home Entertainment, the film was released on DVD on 10 December 2009 across all regions, with no bonus content. VCD versions were released at the same time. Blu-ray versions were released in 2011.


title: What's Your Raashee?

text: "What's Your Raashee?" received mixed reviews from critics who criticised the screenplay and its runtime of over three-and-a-half hours. However, Chopra's performance was highly praised. Subhash K. Jha gave the film a positive review, calling it "a lovely uncluttered unassuming and transparent film". He also praised Baweja and Chopra's performances and the chemistry between the actors. Jha appreciated Chopra's portrayal of twelve characters, calling it "an amazing achievement", and wrote: "Priyanka gives soul to all the 12 characters she plays. In the climactic song, she brings all of them together, quirks and mannerisms all on display in one unified flow of feelings and body-language. The actress achieves individuality for all her characters while giving the plot a homogeneous flow." "The Times of India" rated the film 3 out of 5, noting that the film works because Gowariker maintains fluidity in the narrative and gets uniformly good work from his cast, especially Dilip Joshi and Darshan Jariwala, who bring subtlety to comedy.


title: What's Your Raashee?

text: Several critics had mixed feelings about the film. Sukanya Verma of Rediff.com praised the subtle and refreshing humour, noting that "Gowariker shows a flair for light scenes and creating atmospheric nuances" but criticising the loopy screenplay. She called it "ultimately a performance-oriented film", stating: "A terrific ensemble cast from the world of television and theatre collaborate to its feel-good believability which lasts as long as their screen time." She particularly praised Chopra's performance and wrote: "Priyanka Chopra transforms into 12 new skins with astonishing distinction, voice and spirit. The actress reinvents herself into this unique individual every single time ranging from batty, bashful and boisterous. This is simply her show." Sonia Chopra of Sify also gave a mixed review, noting that the film could have been hugely entertaining but was affected by "a repetitive layout and agonising length". She believed that the film was watchable because of Priyanka Chopra's "consistently stellar act"; she carried the film ably on her shoulders and gave "a fun and uninhibited performance." Namrata Joshi of "Outlook" gave the film 2 stars out of 4. She thought that Chopra played her characters "competently, confidently but a bit unevenly" and wrote: "The one trump card for the film is the new queen bee Priyanka Chopra. The film is out-and-out a Priyanka show as she hogs screen time and audience attention with her 12 roles."


title: What's Your Raashee?

text: Shubhra Gupra of "The Indian Express" was particularly critical of the length of the film and wrote: "Ashutosh Gowariker's latest, which stretches close to four hours running time, starts feeling like bargain-basement from the get go. It's much too long, and, despite Priyanka's valiant efforts, just not engaging enough." Taran Adarsh from Bollywood Hungama gave it a negative review, criticising the writing and the length and saying that ""What's Your Raashee?" has some wonderful moments and award-worthy performance[s] by Priyanka Chopra, but everything pales into insignificance when the written material is weak." Anupama Chopra of NDTV was highly disappointed with the film, terming it a "gargantuan misstep" for Gowariker: "This epic length simply doesn't work for romance. At nearly four hours, "What's Your Raashee?" is a marathon watch. And the rewards for enduring it are slim." Sudhish Kamath was also disappointed with the film, criticising the time taken (over 25 minutes) in the first act to reach the first episode: "Priyanka Chopra acquits each of these types with unique quirks associated with these signs and is quite charming in most of her avatars, but there is seriously, no other reason for you to watch this movie."


title: Cimbri

text: The Cimbri (Greek Κίμβροι, "Kímbroi"; Latin "Cimbri") were an ancient tribe in Europe. Ancient authors described them variously as a Celtic people (or Gaulish), Germanic people, or even Cimmerian. Several ancient sources indicate that they lived in Jutland, which in some classical texts was called the Cimbrian peninsula. There is no direct evidence for the language they spoke, though some scholars argue that it must have been a Germanic language, while others argue that it must have been Celtic.


title: Cimbri

text: Together with the Teutones and the Ambrones, they fought the Roman Republic between 113 and 101 BC during the Cimbrian War. The Cimbri were initially successful, particularly at the Battle of Arausio, in which a large Roman army was routed. They then raided large areas in Gaul and Hispania. In 101 BC, during an attempted invasion of the Italian peninsula, the Cimbri were decisively defeated at the Battle of Vercellae by Gaius Marius, and their king, Boiorix, was killed. Some of the surviving captives are reported to have been among the rebellious gladiators in the Third Servile War.


title: Cimbri

text: The origin of the name "Cimbri" is unknown. One etymology is PIE ' "inhabitant", from ' "home" (> English "home"), itself a derivation from "" "live" (> Greek , Latin "sinō"); then, the Germanic "*himbra-" finds an exact cognate in Slavic "sębrъ" "farmer" (> Croatian, Serbian "sebar", Russian сябёр "syabyor").


title: Cimbri

text: The name has also been related to the word "kimme" meaning "rim", i.e., "the people of the coast". Finally, since Antiquity, the name has been related to that of the Cimmerians.


title: Cimbri

text: The name of the Danish region Himmerland (Old Danish "Himbersysel") has been proposed to be a derivative of their name. According to such proposals, the word "Cimbri" with a "c" would be an older form before Grimm's law (PIE "k" > Germanic "h"). Alternatively, Latin "c-" represents an attempt to render the unfamiliar Proto-Germanic "h" = (Latin "h" was but was becoming silent in common speech at the time), perhaps due to Celtic-speaking interpreters (a Celtic intermediary would also explain why Germanic "*Þeuðanōz" became Latin "Teutones").


title: Cimbri

text: Because of the similarity of the names, the Cimbri have been at times associated with Cymry, the Welsh name for themselves. However, "Cymry" is derived from Brittonic "*Kombrogi", meaning "compatriots", and is linguistically unrelated to Cimbri.


title: Cimbri

text: Scholars generally see the Cimbri as a Germanic tribe originating in Jutland, but archaeologists haven't found any clear indications of a mass migration from Jutland in the early Iron Age. The Gundestrup Cauldron, which was deposited in a bog in Himmerland in the 2nd or 1st century BC, shows that there was some sort of contact with southeastern Europe, but it is uncertain if this contact can be associated with the Cimbrian militia expeditions against Rome of the 1st Century BCE. It is known the peoples of Northern Europe and the British Isles participated in annual partial population seasonal Winter migrations southward to what is now central Iberia and southern France where goods and resources were traded and cross-culture marriages were arranged.


title: Cimbri

text: Advocates for a northern homeland point to Greek and Roman sources that associate the Cimbri with the Jutland peninsula. According to the "Res gestae" (ch. 26) of Augustus, the Cimbri were still found in the area around the turn of the 1st century AD:


title: Cimbri

text: The contemporary Greek geographer Strabo testified that the Cimbri still existed as a Germanic tribe, presumably in the "Cimbric peninsula" (since they are said to live by the North Sea and to have paid tribute to Augustus):


title: Cimbri

text: On the map of Ptolemy, the "Kimbroi" are placed on the northernmost part of the peninsula of Jutland, i.e., in the modern landscape of Himmerland south of Limfjorden (since Vendsyssel-Thy north of the fjord was at that time a group of islands).


title: Cimbri

text: Some time before 100 BC many of the Cimbri, as well as the Teutons and Ambrones, migrated south-east. After several unsuccessful battles with the Boii and other Celtic tribes, they appeared 113 BC in Noricum, where they invaded the lands of one of Rome's allies, the Taurisci.


title: Cimbri

text: On the request of the Roman consul Gnaeus Papirius Carbo, sent to defend the Taurisci, they retreated, only to find themselves deceived and attacked at the Battle of Noreia, where they defeated the Romans. Only a storm, which separated the combatants, saved the Roman forces from complete annihilation.


title: Cimbri

text: Now the road to Italy was open, but they turned west towards Gaul. They came into frequent conflict with the Romans, who usually came out the losers. In Commentarii de Bello Gallico the Aduatuci —Belgians of Cimbrian origin—repeatedly sided with Rome's enemies. In 109 BC, they defeated a Roman army under the consul Marcus Junius Silanus, who was the commander of Gallia Narbonensis. In 107 BC they defeated another Roman army under the consul Gaius Cassius Longinus, who was killed at the Battle of Burdigala (modern day Bordeaux) against the Tigurini, who were allies of the Cimbri.


title: Cimbri

text: It was not until 105 BC that they planned an attack on the Roman Republic itself. At the Rhône, the Cimbri clashed with the Roman armies. Discord between the Roman commanders, the proconsul Quintus Servilius Caepio and the consul Gnaeus Mallius Maximus, hindered Roman coordination and so the Cimbri succeeded in first defeating the legate Marcus Aurelius Scaurus and later inflicted a devastating defeat on Caepio and Maximus at the Battle of Arausio. The Romans lost as many as 80,000 men, according to Livy; Mommsen (in his "History of Rome") thought that excluded auxiliary cavalry and non-combatants who brought the total loss closer to 112,000. Other estimates are much smaller, but by any account a large Roman army was routed.


title: Cimbri

text: Rome was in panic, and the "terror cimbricus" became proverbial. Everyone expected to soon see the "new Gauls" outside of the gates of Rome. Desperate measures were taken: contrary to the Roman constitution, Gaius Marius, who had defeated Jugurtha, was elected consul and supreme commander for five years in a row (104–100 BC).


title: Cimbri

text: In 104–103 BC, the Cimbri had turned to the Iberian Peninsula where they pillaged far and wide, until they were confronted by a coalition of Celtiberians. Defeated, the Cimbri returned to Gaul, where they joined their allies, the Teutons. During this time, C. Marius had the time to prepare and, in 102 BC, he was ready to meet the Teutons and the Ambrones at the Rhône. These two tribes intended to pass into Italy through the western passes, while the Cimbri and the Tigurines were to take the northern route across the Rhine and later across the Central Eastern Alps.


title: Cimbri

text: At the estuary of the Isère, the Teutons and the Ambrones met Marius, whose well-defended camp they did not manage to overrun. Instead, they pursued their route, and Marius followed them. At Aquae Sextiae, the Romans won two battles and took the Teuton king Teutobod prisoner.


title: Cimbri

text: The Cimbri had penetrated through the Alps into northern Italy. The consul Quintus Lutatius Catulus had not dared to fortify the passes, but instead he had retreated behind the river Po, and so the land was open to the invaders. The Cimbri did not hurry, and the victors of Aquae Sextiae had the time to arrive with reinforcements. At the Battle of Vercellae, at the confluence of the river Sesia with the Po, in 101 BC, the long voyage of the Cimbri also came to an end.


title: Cimbri

text: It was a devastating defeat, two chieftains, Lugius and Boiorix, died on the field, while the other chieftains Caesorix and Claodicus were captured. The women killed both themselves and their children in order to avoid slavery. The Cimbri were annihilated, although some may have survived to return to the homeland where a population with this name was residing in northern Jutland in the 1st century AD, according to the sources quoted above. Some of the surviving captives are reported to have been among the rebelling gladiators in the Third Servile War.


title: Cimbri

text: However, Justin's epitome of Trogus, 38.4, has Mithridates the Great state that the Cimbri are ravaging Italy while the Social War is going on, i.e. at some time in 90–88 BCE, thus more than a decade later, after having sent ambassadors to the Cimbri to request military aid; judging from the context they must then have been living in North Eastern Europe at the time.


title: Cimbri

text: According to Julius Caesar, the Belgian tribe of the Atuatuci "was descended from the Cimbri and Teutoni, who, upon their march into our province and Italy, set down such of their stock and stuff as they could not drive or carry with them on the near (i.e. west) side of the Rhine, and left six thousand men of their company there as guard and garrison" ("Gall." 2.29, trans. Edwards). They founded the city of Atuatuca in the land of the Belgic Eburones, whom they dominated. Thus Ambiorix king of the Eburones paid tribute and gave his son and nephew as hostages to the Atuatuci ("Gall." 6.27). In the first century AD, the Eburones were replaced or absorbed by the Germanic Tungri, and the city was known as Atuatuca Tungrorum, i.e. the modern city of Tongeren.


title: Cimbri

text: The population of modern-day Himmerland claims to be the heirs of the ancient Cimbri. The adventures of the Cimbri are described by the Danish Nobel Prize–winning author Johannes V. Jensen, himself born in Himmerland, in the novel "Cimbrernes Tog" (1922), included in the epic cycle "Den lange Rejse" (English "The Long Journey", 1923). The so-called Cimbrian bull ("Cimbrertyren"), a sculpture by Anders Bundgaard, was erected on 14 April 1937 in a central town square in Aalborg, the capital of the region of North Jutland.


title: Cimbri

text: A German ethnic minority speaking the Cimbrian language, having settled in the mountains between Vicenza, Verona, and Trento in Italy (also known as Seven Communities), is also called the . For hundreds of years this isolated population and its present 4,400 inhabitants have claimed to be the direct descendants of the Cimbri retreating to this area after the Roman victory over their tribe. However, it is more likely that Bavarians settled here in the Middle Ages. Most linguists remain committed to the hypothesis of a medieval (11th to 12th century AD) immigration to explain the presence of small German-speaking communities in the north of Italy. Some genetic studies seem to prove a Celtic, not Germanic, descent for most inhabitants in the region that is reinforced by Gaulish toponyms such as those ending with the suffix "-ago" < Celtic "-*ako(n)" (e.g. Asiago is clearly the same place name as the numerous variants – Azay, Aisy, Azé, Ezy – in France, all of which derive from "*Asiacum" < Gaulish "*Asiāko(n)"). On the other hand, the original place names in the region, from the specifically localized language known as 'Cimbro' are still in use alongside the more modern names today. These indicate a different origin (e.g., Asiago is known also by its original Cimbro name of "Sleghe"). The Cimbrian origin myth was popularized by humanists in the 14th century.


title: Cimbri

text: Despite these connections to southern Germany, belief in a Himmerland origin persisted well into modern times. On one occasion in 1709, for instance, Frederick IV of Denmark paid the region's inhabitants a visit and was greeted as their king. The population, which kept its independence during the time of the Venice Republic, was later severely devastated by World War I. As a result, many Cimbri have left this mountainous region of Italy, effectively forming a worldwide diaspora.


title: Cimbri

text: The Cimbri are depicted as ferocious warriors who did not fear death. The host was followed by women and children on carts. Aged women, priestesses, dressed in white sacrificed the prisoners of war and sprinkled their blood, the nature of which allowed them to see what was to come.


title: Cimbri

text: If the Cimbri did in fact come from Jutland, evidence that they practiced ritualistic sacrifice may be found in the Haraldskær Woman discovered in Jutland in the year 1835. Noosemarks and skin piercing were evident and she had been thrown into a bog rather than buried or cremated. Furthermore, the Gundestrup cauldron, found in Himmerland, may be a sacrificial vessel like the one described in Strabo's text. In style, the work looks like Thracian silver work, while many of the engravings are Celtic objects.


title: Cimbri

text: A major problem in determining whether the Cimbri were speaking a Celtic language or a Germanic language is that, at that time, the Greeks and Romans tended to refer to all groups to the north of their sphere of influence as Gauls, Celts, or Germani rather indiscriminately. Caesar seems to be one of the first authors to distinguish the two groups, and he had a political motive for doing so (it was an argument in favour of the Rhine border). Yet, one cannot always trust Caesar and Tacitus when they ascribe individuals and tribes to one or the other category, although Caesar made clear distinctions between the two cultures. Some ancient sources categorize the Cimbri as a Germanic tribe, but some ancient authors include the Cimbri among the Celts.


title: Cimbri

text: There are few direct testimonies to the language of the Cimbri: referring to the Northern Ocean (the Baltic or the North Sea), Pliny the Elder states: "Philemon says that it is called Morimarusa, i.e. the Dead Sea, by the Cimbri, until the promontory of Rubea, and after that Cronium." The contemporary Gaulish terms for "sea" and "dead" appear to have been "mori" and "*maruo-"; compare their well-attested modern Insular Celtic cognates "muir" and "marbh" (Irish), "môr" and "marw" (Welsh), and "mor" and "marv" (Breton). The same word for "sea" is also known from Germanic, but with an "a" (*"mari-"), whereas a cognate of "marbh" is unknown in all dialects of Germanic. Yet, given that Pliny had not heard the word directly from a Cimbric informant, it cannot be ruled out that the word is in fact Gaulish instead.


title: Cimbri

text: The known Cimbri chiefs have Celtic names, including Boiorix (which may mean "King of the Boii" or, more literally, "King of Strikers"), Gaesorix (which means "Spear King"), and Lugius (which may be named after the Celtic god Lugus). Other evidence to the language of the Cimbri is circumstantial: thus, we are told that the Romans enlisted Gaulish Celts to act as spies in the Cimbri camp before the final showdown with the Roman army in 101 BC.


title: Cimbri

text: Jean Markale wrote that the Cimbri were associated with the Helvetii, and more especially with the indisputably Celtic Tigurini. These associations may link to a common ancestry, recalled from two hundred years previous, but that is not certain. Henri Hubert states "All these names are Celtic, and they cannot be anything else". Some authors take a different perspective.


title: Cimbri

text: Countering the argument of a Celtic origin is the literary evidence that the Cimbri originally came from northern Jutland, an area with no Celtic placenames, instead only Germanic ones. This does not rule out Cimbric Gallicization during the period when they lived in Gaul. Boiorix, who may have had a Celtic if not a Celticized Germanic name, was king of the Cimbri after they moved away from their ancestral home of northern Jutland. Boiorix and his tribe lived around Celtic peoples during his era as J. B. Rives points out in his introduction to Tacitus' "Germania"; furthermore, the name "Boiorix" can be seen as having either Proto-Germanic or Celtic roots.


title: Cimbri

text: The science fiction story "Delenda Est" by Poul Anderson depicts an alternate history in which Hannibal won the Second Punic War and destroyed Rome, but Carthago proved unable to rule Italy – which fell into utter chaos. Thus, there was no one to stop the Cimbri two hundred years later. They filled the vacuum, conquered Italy, assimilated the local population to their own culture and by the equivalent of the 20th Century had made of Italy a flourishing, technologically advanced kingdom speaking a Germanic language.


title: Cimbri

text: Cimbri is referenced in Italo Calvino's novel "If On A Winter's Night A Traveller" as a fictional country that warred with a similarly fictionalised version of Cimmeria, thus imposing its own written language onto the Cimmerians.


title: Nikki Tyler

text: Nikki Tyler (born December 4, 1972 in Berkeley, California) is a former pornographic actress best known for her work in the 1990s and for her selection as the December 1995 Penthouse Pet of the Month.


title: Nikki Tyler

text: Tyler became "Penthouse" magazine's Pet of the Year in 1995. After her Vivid contract, she went on to work for companies such as Wicked Pictures and Adam & Eve. According to IAFD, her last film was in 2003.


title: Nikki Tyler

text: Aged 21, Tyler married a man who worked at a newspaper stand. While married, she also had an off-screen lesbian relationship with porn actress Jenna Jameson. The couple lived together for a number of years before they separated. Jameson continued to see Tyler even during the period when she got involved with Jay Grdina. Tyler retired from the industry in the early 2000s. As of 2004, she is living with her husband and daughter in California.


title: Natural units

text: In physics, natural units are physical units of measurement in which only universal physical constants are used as defining constants, such that each of these constants acts as a coherent unit of a quantity. For example, the elementary charge may be used as a natural unit of electric charge, and the speed of light may be used as a natural unit of speed. A purely natural system of units has all of its units defined such that each of these can be expressed as a product of powers of defining physical constants.


title: Natural units

text: Through nondimensionalization, physical quantities may then redefined so that the defining constants can be omitted from mathematical expressions of physical laws, and while this has the apparent advantage of simplicity, it may entail a loss of clarity due to the loss of information for dimensional analysis. It precludes the interpretation of an expression in terms of constants, such as and , unless it is "known" which units (in dimensionful units) the expression is supposed to have. In this case, the reinsertion of the correct powers of , , etc., can be uniquely determined.


title: Natural units

text: where is the speed of light, is the reduced Planck constant, is the gravitational constant, and is the Boltzmann constant.


title: Natural units

text: Planck units form a system of natural units that is not defined in terms of properties of any prototype, physical object, or even elementary particle. They only refer to the basic structure of the laws of physics: and are part of the structure of spacetime in general relativity, and is at the foundation of quantum mechanics. This makes Planck units particularly convenient and common in theories of quantum gravity, including string theory.


title: Natural units

text: Planck considered only the units based on the universal constants , , , and to arrive at natural units for length, time, mass, and temperature, but no electromagnetic units. The Planck system of units is now understood to use the reduced Planck constant, , in place of the Planck constant, .


title: Natural units

text: where is the speed of light, is the gravitational constant, is the Coulomb constant, and is the elementary charge.


title: Natural units

text: George Johnstone Stoney's unit system preceded that of Planck. He presented the idea in a lecture entitled "On the Physical Units of Nature" delivered to the British Association in 1874. Stoney units did not consider the Planck constant, which was discovered only after Stoney's proposal.


title: Natural units

text: Stoney units are rarely used in modern physics for calculations, but they are of historical interest.


title: Natural units

text: These units are designed to simplify atomic and molecular physics and chemistry, especially the hydrogen atom, and are widely used in these fields. The Hartree units were first proposed by Douglas Hartree.


title: Natural units

text: The units are designed especially to characterize the behavior of an electron in the ground state of a hydrogen atom. For example, in Hartree atomic units, in the Bohr model of the hydrogen atom an electron in the ground state has orbital radius (the Bohr radius)  = 1 , orbital velocity = 1 ⋅, angular momentum = 1 ⋅⋅, ionization energy =  ⋅⋅, etc.


title: Natural units

text: The unit of energy is called the Hartree energy in the Hartree system. The speed of light is relatively large in Hartree atomic units ( =  ⋅ ≈ 137 ⋅) since an electron in hydrogen tends to move much more slowly than the speed of light. The gravitational constant is extremely small in atomic units ( ≈ 10 ⋅⋅), which is due to the gravitational force between two electrons being far weaker than the Coulomb force between them.


title: Natural units

text: A less commonly used closely related system is the system of Rydberg atomic units, in which are used as the defining constants, with resulting units


title: Natural units

text: This natural unit system, used only in the fields of particle and atomic physics, uses the following defining constants:


title: Natural units

text: where is the speed of light, is the electron mass, is the reduced Planck constant, and is the vacuum permittivity.


title: Natural units

text: The vacuum permittivity is implicitly used as a nondimensionalization constant, as is evident from the physicists' expression for the fine-structure constant, written , which may be compared to the same expression in SI: .


title: Natural units

text: Here, is the proton rest mass. "Strong units", also called quantum chromodynamics (QCD) units, are "convenient for work in QCD and nuclear physics, where quantum mechanics and relativity are omnipresent and the proton is an object of central interest".


title: Natural units

text: The geometrized unit system, used in general relativity, is an incompletely defined system. In this system, the base physical units are chosen so that the speed of light and the gravitational constant are coherent units and often used for nondimensionalization. Other units may be treated however desired. Planck units and Stoney units are examples of geometrized unit systems.


title: Pui Fan Lee

text: Pui Fan Lee (born ) is a British-born Chinese actress and presenter. Along with Sue Monroe, Chris Jarvis, and Sidney Sloane she was one of the first presenters on CBeebies, the BBC television channel for younger children. She is known for portraying Po in the original 1997–2001 run of the children's television series Teletubbies, and for presenting the CBeebies preschool education series "Show Me Show Me".


title: Pui Fan Lee

text: Lee's family came from Hong Kong. She was born in Birmingham, and grew up in Nottingham. She moved to London to study drama. She took on the role of Po shortly after leaving Drama school. She was the first presenter, alongside Chris Jarvis to introduce programming on the BBC digital channel CBeebies.


title: The Saddle Club

text: The Saddle Club is an Australian-Canadian children's television series developed by Sarah Dodd, based on the books written by Bonnie Bryant. Like the book series, the scripted live action series follows the lives of three best friends in training to compete in equestrian competitions at the fictional Pine Hollow Stables, while dealing with problems in their personal lives. This series debuted in 2001 and ended in 2009.


title: The Saddle Club

text: The series revolves around the experiences of three girls, who form a club named "The Saddle Club" after recognizing their shared love for horse riding. Their rival is another young rider at the stables named Veronica DiAngelo.


title: The Saddle Club

text: Throughout the series, The Saddle Club navigates their rivalry with Veronica, training for competitions, horse shows, and the quotidian dramas that arise between friends and staff in the fictional Pine Hollow Stables. In each show, The Saddle Club prevails over its adversities, usually sending a message emphasizing the importance of friendship and teamwork.


title: The Saddle Club

text: The show was broadcast from 2001 until 2009, with 78 episodes over three series. Regionally, the cast of the television series released a series of music albums such as "Friends Forever", "On Top of the World", "Secrets & Dreams" and "Hello World – The Best of the Saddle Club", and appeared in live performances such as the 2004 Sydney Royal Easter Show.


title: The Saddle Club

text: In 2007, a news release announced a casting call and the production of a third series, which was filmed from late 2007 to early 2008, and broadcast from 7 September 2008 to 10 April 2009. A new Saddle Club CD, "Best Friends", was sold in Australia in stores and on The Saddle Club's website and in the US and Canada as a digital download.


title: The Saddle Club

text: The popularity of the series soon after its premiere on YTV and the ABC promoted international syndication and it made its American debut in January 2002 on Discovery Kids.


title: The Saddle Club

text: In the United States, the series later aired on Horse Racing TV and was distributed independently by Connecticut Public Television and American Public Television through public television stations nationwide, most notably PBS. The series also briefly aired in reruns on The Hub.


title: The Saddle Club

text: In Canada, it aired on YTV, and in the UK on Horse & Country and Pop Girl. It was broadcast by the French children's specialty channel Gulli, dubbed into French.


title: The Saddle Club

text: Series 3 was broadcast on Discovery Kids in the United States starting on February 22, 2009, while sneak views has been shown on "Saddle Club Sundays" in December 2008. In Australia, the new series commenced on Channel Nine and WIN TV on March 7, 2009.


title: The Saddle Club

text: WIN Television airs a compilation movie of “Horse Shy”, “Mystery Weekend” and “School Horse” (episode 6-8 of series 1) every Christmas Day since 2017.


title: Brit Hume

text: Alexander Britton Hume (born June 22, 1943), known professionally as Brit Hume, is an American journalist and political commentator. Hume had a 23-year career with ABC News, where he contributed to "World News Tonight with Peter Jennings", "Nightline", and "This Week". He served as the ABC News chief White House correspondent from 1989 to 1996.


title: Brit Hume

text: Hume spent 12 years as Washington, D.C., managing editor of the Fox News Channel and the anchor of "Special Report with Brit Hume". After retiring as the anchor of "Special Report" in 2008, he became a senior political analyst for Fox News and a regular panelist on "Fox News Sunday". In September 2016, he was named the interim anchor of "On the Record", after the abrupt resignation of the show's longtime host, Greta Van Susteren, and served in that capacity through the 2016 election.


title: Brit Hume

text: He was born in Washington, D.C., the son of George Graham Hume and Virginia Powell ("née" Minnigerode) Hume. Through his father, Hume is of part Scottish descent, descended from George Home (1698–1760), a son of the 10th Baron of Wedderburn exiled to Virginia in the aftermath of the First Jacobite Rebellion.


title: Brit Hume

text: Hume attended St. Albans School in Washington, D.C., at the same time as Al Gore and graduated from the University of Virginia in Charlottesville, Virginia, with a Bachelor of Arts in English in 1965.


title: Brit Hume

text: Hume worked first for "The Hartford Times" newspaper company, and later for United Press International and the newspaper "Baltimore Evening Sun". He then worked for syndicated columnist Jack Anderson from 1970 to 1972.


title: Brit Hume

text: In 1971, Grossman Publishers published Hume's first book, "Death and the mines: Rebellion and murder in the United Mine Workers", a work revolving around complicity of the U.S. Bureau of Mines, coal companies, and the United Mine Workers union resulting in the mistreatment of average miners.


title: Brit Hume

text: Hume reported a story for Anderson's column "Washington Merry-Go-Round" that after ITT Corporation had contributed $400,000 to the 1972 Republican National Convention, President Richard Nixon's Department of Justice settled the antitrust case against ITT. Anderson published a series of classified documents indicating the Nixon administration, contrary to its public pronouncements, had favored Pakistan during the Indo-Pakistani War of 1971. After the revelations, Anderson and his staff, including Hume and his family, were briefly surveilled by the Central Intelligence Agency in 1972. The agents observed his family going about its daily business. The documents were revealed during President Gerald Ford's administration by congressional hearings and as a result of a Freedom of Information Act lawsuit and the so-called 'Family Jewels' revelations.


title: Brit Hume

text: In 1973, Hume became Washington editor of "MORE" magazine, a press criticism journal, and in 1974 Doubleday published his second book, "Inside Story".


title: Brit Hume

text: In 1973, Hume started working for ABC News as a consultant, and in 1976, he was offered a job as a correspondent, covering the U.S. House of Representatives and U.S. Senate for 11 years. In 1979, Hume earned television's first Academy Award nomination for his work on "The Killing Ground" for ABC's "Close-Up" documentary program.


title: Brit Hume

text: Hume was assigned to report on Walter Mondale's 1984 presidential campaign, and George H. W. Bush's 1988 presidential campaign. In 1989, he became ABC's chief White House correspondent, covering the administrations of Presidents Bush and Bill Clinton and working closely with ABC anchors Peter Jennings and Charlie Gibson.


title: Brit Hume

text: In 1996, Hume left ABC for the Fox News Network for which his wife had recently become chief of the Washington bureau. At his last news conference as ABC's chief White House correspondent, President Clinton told him, "I think all of us think you have done an extraordinary, professional job under Republican and Democratic administrations alike." Hume became Fox News's Washington managing editor.


title: Brit Hume

text: After he began at Fox News, Hume was in discussions about starting a Washington-based television news program for the 6 p.m. timeslot. The Lewinsky scandal began during January 1998, and Hume's wife told him the story was so well known that he should start the show immediately. "Special Report with Brit Hume" debuted that evening in that timeslot.


title: Brit Hume

text: Hume said of the start of his time at Fox that "we made some progress and developed some audience and the Lewinsky scandal brought a lot of interest and the 2000 election brought a lot of interest, but what really did it was the Florida recount – that was tremendous for us because the people who were worried about how that would come out wanted some place where they could trust the coverage, people who were conservatives or Republicans or neither but worried. And we really made an effort to cover that story well. And that built our audience."


title: Brit Hume

text: In July 2008, it was announced that Hume would retire as anchor of "Special Report" at the end of the year, but he would remain on Fox News in a different role. On December 23, 2008, he hosted his final episode as anchor of "Special Report", announcing that Bret Baier, then the chief White House correspondent for Fox News, would be his replacement. Hume also announced that he would remain with Fox News as a senior political analyst and regular panelist for the program "Fox News Sunday".


title: Brit Hume

text: On January 3, 2010, Hume on "Fox News Sunday", advised embattled golfer Tiger Woods to convert to Christianity to attempt to end his problems. Hume's comments were made after the revelation of Woods' habitual adultery and the resulting deterioration of his relationship with his family.


title: Brit Hume

text: On September 6, 2016, Hume was named the anchor of "On the Record" after that show's longtime anchor, Greta Van Susteren, abruptly left Fox News. He served as the program's anchor through the end of the 2016 elections. Hume's first show as host of "On the Record" drew 2.4 million viewers, a double-digit increase over Van Susteren's average viewing audience in 2016. On November 4, 2016, it was announced that Tucker Carlson would host a new show in the former "On the Record" timeslot from November 14, 2016.


title: Brit Hume

text: In late May 2020, Hume criticized presumptive Democratic presidential nominee Joe Biden for wearing a face mask during the coronavirus pandemic while suggesting that it was positive for President Donald Trump to not wear one. In September 2020, Hume claimed that Biden was "senile".


title: Brit Hume

text: Hume joined Chris Wallace, Juan Williams, and Dana Perino in Bret Baier and Martha MacCallum's election night coverage of the 2020 United States Presidential election on Fox News. They won in the Nielsen ratings that night in terms of the election coverage.


title: Brit Hume

text: Hume is a conservative, remarking in 2006: "Sure, I'm a conservative, no doubt about it. But I would ask people to look at the work."


title: Brit Hume

text: Hume is divorced from his first wife, Clare Jacobs Stoner. Their son, Sandy Hume, was a reporter for the newspaper "The Hill" and first publicized the story of the failed 1997 political attempt to replace Speaker of the House Newt Gingrich. In February 1998, Sandy Hume died by suicide. The National Press Club honors his memory with its annual Sandy Hume Memorial Award for Excellence in Political Journalism. Brit Hume has said that he committed his life to Jesus Christ "in a way that was very meaningful" to him in the aftermath of his son's suicide in 1998.


title: Brit Hume

text: Brit Hume's daughter, Virginia Hume (born 1965), was a contributor to "The Weekly Standard". She worked for 25 years as a public relations, political communications and traditional marketing professional. Her political experience includes serving as a deputy press secretary for the Republican National Committee in 1996.


title: Brit Hume

text: In 1993, Hume married Kim Schiller Hume, who was a Fox News vice president and Washington bureau chief before she retired in 2006.


title: 1970 in music

text: in the charts of 1970. "Chart Entries" provides select national weekly results, year end results, decade end results and all-time lists.


title: Kenneth Clark

text: Kenneth Mackenzie Clark, Baron Clark (13 July 1903 – 21 May 1983) was a British art historian, museum director, and broadcaster. After running two important art galleries in the 1930s and 1940s, he came to wider public notice on television, presenting a succession of programmes on the arts during the 1950s and 1960s, culminating in the "Civilisation" series in 1969.


title: Kenneth Clark

text: The son of rich parents, Clark was introduced to the arts at an early age. Among his early influences were the writings of John Ruskin, which instilled in him the belief that everyone should have access to great art. After coming under the influence of the connoisseur and dealer Bernard Berenson, Clark was appointed director of the Ashmolean Museum in Oxford aged twenty-seven, and three years later he was put in charge of Britain's National Gallery. His twelve years there saw the gallery transformed to make it accessible and inviting to a wider public. During the Second World War, when the collection was moved from London for safe keeping, Clark made the building available for a series of daily concerts which proved a celebrated morale booster during the Blitz.


title: Kenneth Clark

text: After the war, and three years as Slade Professor of Fine Art at Oxford, Clark surprised many by accepting the chairmanship of the UK's first commercial television network. Once the service had been successfully launched he agreed to write and present programmes about the arts. These established him as a household name in Britain, and he was asked to create the first colour series about the arts, "Civilisation", first broadcast in 1969 in Britain and in many other countries soon afterwards.


title: Kenneth Clark

text: Among many honours, Clark was knighted at the unusually young age of thirty-five, and three decades later was made a life peer shortly before the first transmission of "Civilisation". Three decades after his death, Clark was celebrated in an exhibition at Tate Britain in London, prompting a reappraisal of his career by a new generation of critics and historians. Opinions varied about his aesthetic judgment, particularly in attributing paintings to old masters, but his skill as a writer and his enthusiasm for popularising the arts were widely recognised. Both the BBC and the Tate described him in retrospect as one of the most influential figures in British art of the twentieth century.


title: Kenneth Clark

text: Clark was born at 32 Grosvenor Square, London, the only child of Kenneth Mackenzie Clark (1868–1932) and his wife, (Margaret) Alice, daughter of James McArthur of Manchester. The Clarks were a Scottish family who had grown rich in the textile trade. Clark's great-great-grandfather invented the cotton spool, and the Clark Thread Company of Paisley had grown into a substantial business. Kenneth Clark senior worked briefly as a director of the firm and retired in his mid-twenties as a member of the "idle rich", as Clark junior later put it: although "many people were richer, there can have been few who were idler". The Clarks maintained country homes at Sudbourne Hall, Suffolk, and at Ardnamurchan, Argyll, and wintered on the French Riviera. Kenneth senior was a sportsman, a gambler, an eccentric and a heavy drinker. Clark had little in common with his father, though he always remained fond of him. Alice Clark was shy and distant, but her son received affection from a devoted nanny. An only child not especially close to his parents, the young Clark had a boyhood that was often solitary, but he was generally happy. He later recalled that he used to take long walks, talking to himself, a habit he believed stood him in good stead as a broadcaster: "Television is a form of soliloquy". On a modest scale Clark senior collected pictures, and the young Kenneth was allowed to rearrange the collection. He developed a competent talent for drawing, for which he later won several prizes as a schoolboy. When he was seven he was taken to an exhibition of Japanese art in London, which was a formative influence on his artistic tastes; he recalled, "dumb with delight, I felt that I had entered a new world".


title: Kenneth Clark

text: Clark was educated at Wixenford School and, from 1917 to 1922, Winchester College. The latter was known for its intellectual rigour and – to Clark's dismay – enthusiasm for sports, but it also encouraged its pupils to develop interests in the arts. The headmaster, Montague Rendall, was a devotee of Italian painting and sculpture, and inspired Clark, among many others, to appreciate the works of Giotto, Botticelli, Bellini and their compatriots. The school library contained the collected writings of John Ruskin, which Clark read avidly, and which influenced him for the rest of his life, not only in their artistic judgments but in their progressive political and social beliefs.


title: Kenneth Clark

text: From Winchester, Clark won a scholarship to Trinity College, Oxford, where he studied modern history. He graduated in 1925 with a second-class honours degree. In the "Oxford Dictionary of National Biography", Sir David Piper comments that Clark had been expected to gain a first-class degree, but had not applied himself single-mindedly to his historical studies: "his interests had already turned conclusively to the study of art".


title: Kenneth Clark

text: While at Oxford, Clark was greatly impressed by the lectures of Roger Fry, the influential art critic who staged the first Post-Impressionism exhibitions in Britain. Under Fry's influence he developed an understanding of modern French painting, particularly the work of Cézanne. Clark attracted the attention of Charles F. Bell (1871–1966), Keeper of the Fine Art Department of the Ashmolean Museum. Bell became a mentor to him and suggested that for his B Litt thesis Clark should write about the Gothic revival in architecture. At that time it was a deeply unfashionable subject; no serious study had been published since the nineteenth century. Although Clark's main area of study was the Renaissance, his admiration for Ruskin, the most prominent defender of the neo-Gothic style, drew him to the topic. He did not complete the thesis, but later turned his researches into his first full-length book, "The Gothic Revival" (1928). In 1925, Bell introduced Clark to Bernard Berenson, an influential scholar of the Italian Renaissance and consultant to major museums and collectors. Berenson was working on a revision of his book "Drawings of the Florentine Painters", and invited Clark to help. The project took two years, overlapping with Clark's studies at Oxford.


title: Kenneth Clark

text: In 1929, as a result of his work with Berenson, Clark was asked to catalogue the extensive collection of Leonardo da Vinci drawings at Windsor Castle. That year he was the joint organiser of an exhibition of Italian painting which opened at the Royal Academy on 1 January 1930. He and his co-organiser Lord Balniel secured masterpieces never seen before outside Italy, many of them from private collections. The exhibition covered Italian art "from Cimabue to Segantini" – from the mid-thirteenth to the late-nineteenth century. It was greeted with public and critical acclaim, and raised Clark's profile, but he came to regret the propaganda value derived from the exhibition by the Italian dictator Benito Mussolini who had been instrumental in making so many sought-after paintings available. Several senior figures in the British art world disapproved of the exhibition; Bell was among them, but nevertheless he continued to regard Clark as his favoured successor at the Ashmolean.


title: Kenneth Clark

text: Clark was not convinced that his future lay in administration; he enjoyed writing, and would have preferred to be a scholar rather than a museum director. Nonetheless, when Bell retired in 1931 Clark agreed to succeed him at the Ashmolean. Over the next two years Clark oversaw the building of an extension to the museum to provide a better space for his department. The development was made possible by an anonymous benefactor, subsequently revealed as Clark himself. A later curator of the museum wrote that Clark would be remembered for his time there, "when, with his characteristic mixture of arrogance and energy, he transformed both the collections and their display."


title: Kenneth Clark

text: In 1933 the director of the National Gallery in London, Sir Augustus Daniel, was aged sixty-seven, and due to retire at the end of the year. His assistant director, W. G. Constable, who had been in line to succeed him, had moved to the new Courtauld Institute of Art as its director in 1932. The historian Peter Stansky writes that behind the scenes the National Gallery "was in considerable turmoil; the staff and the trustees were in a state of continual warfare with each other." The chairman of the trustees, Lord Lee, convinced the prime minister, Ramsay MacDonald, that Clark would be the best appointment, acceptable to the professional staff and the trustees, and able to restore harmony. When he received MacDonald's offer of the post, Clark was not enthusiastic. He thought himself too young, aged 30, and once again felt torn between a scholarly and an administrative career. He accepted the directorship, although, as he wrote to Berenson, "in between being the manager of a large department store I shall have to be a professional entertainer to the landed and official classes".At about the same time as accepting MacDonald's offer of the directorship, Clark had declined one from King George V's officials to succeed C. H. Collins Baker as Surveyor of the King's Pictures. He felt that he could not do justice to the post in tandem with his new duties at the gallery. The king, determined to succeed where his staff had failed, went with Queen Mary to the National Gallery and persuaded Clark to change his mind. The appointment was announced in "The London Gazette" in July 1934; Clark held the post for the next ten years.


title: Kenneth Clark

text: Clark believed in making fine art accessible to everyone, and while at the National Gallery he devised many initiatives with this aim in mind. In an editorial, "The Burlington Magazine" said, "Clark put all his insight and imagination into making the National Gallery a more sympathetic place in which the visitor could enjoy a great collection of European paintings". He had rooms re-hung and frames improved; by 1935 he had achieved the installation of a laboratory and introduced electric lighting, which made evening opening possible for the first time. A programme of cleaning was begun, despite sporadic sniping from those opposed in principle to cleaning old pictures; experimentally, the glass was removed from some pictures. In several years he had the gallery opened two hours earlier than usual on the day of the FA Cup Final, for the benefit of people coming to London for the match.


title: Kenneth Clark

text: Clark wrote and lectured during the decade. The annotated catalogue of the royal collection of Leonardo da Vinci's drawings, on which he had begun work in 1929, was published in 1935, to highly favourable reviews; eighty years later Oxford Art Online called it "a work of firm scholarship, the conclusions of which have stood the test of time". Another 1935 publication by Clark offended some in the avant-garde: an essay, published in "The Listener", "The Future of Painting", in which he rebuked surrealists on the one hand and abstract artists on the other for claiming to represent the future of art. He judged both as too elitist and too specialised – "the end of a period of self-consciousness, inbreeding and exhaustion". He maintained that good art must be accessible to everyone and must be rooted in the observable world. During the 1930s Clark was in demand as a lecturer, and he frequently used his research for his talks as the basis of his books. In 1936 he gave the Ryerson Lectures at Yale University; from these came his study of Leonardo, published three years later; it too, attracted much praise, at the time and subsequently.


title: Kenneth Clark

text: "The Burlington Magazine", looking back at Clark's time at the gallery, singled out among the works acquired under his leadership the seven panels forming Sassetta's San Sepolcro Altarpiece from the fifteenth century, four works by Giovanni di Paolo from the same period, Niccolò dell'Abate's "The Death of Eurydice" from the sixteenth century and Ingres' "Madame Moitessier" from the nineteenth. Other important acquisitions, listed by Piper, were Rubens's "Watering Place", Constable's "Hadleigh Castle", Rembrandt's "Saskia as Flora", and Poussin's "The Adoration of the Golden Calf".


title: Kenneth Clark

text: One of Clark's least successful acts as director was buying four early-sixteenth century paintings now known as "Scenes from Tebaldeo's Eclogues". He saw them in 1937 in the possession of a dealer in Vienna, and against the united advice of his professional staff he persuaded the trustees to buy them. He believed them to be by Giorgione, whose work was inadequately represented in the gallery at the time. The trustees authorised the expenditure of £14,000 of public funds and the paintings went on display in the gallery with considerable fanfare. His staff did not accept the attribution to Giorgione, and within a year scholarly research established the paintings as the work of Andrea Previtali, one of Giorgione's minor contemporaries. The British press protested at the waste of taxpayers' money, Clark's reputation suffered a considerable blow, and his relations with his professional team, already uneasy, were further strained.


title: Kenneth Clark

text: The approach of war with Germany in 1939 obliged Clark and his colleagues to consider how to protect the National Gallery's collection from bombing raids. It was agreed that all the works of art must be moved out of central London, where they were acutely vulnerable. One suggestion was to send them to Canada for safekeeping, but by this time the war had started and Clark was worried about the possibility of submarine attacks on the ships taking the collection across the Atlantic; he was not displeased when the prime minister, Winston Churchill, vetoed the idea: "Hide them in caves and cellars, but not one picture shall leave this island." A disused slate mine near Blaenau Ffestiniog in north Wales was chosen as the store. To protect the paintings special storage compartments were constructed, and from careful monitoring of the collection discoveries were made about control of temperature and humidity that benefited its care and display when back in London after the war.


title: Kenneth Clark

text: With an empty gallery to preside over, Clark contemplated volunteering for the Royal Naval Volunteer Reserve, but was recruited, at Lord Lee's instigation, into the newly-formed Ministry of Information, where he was put in charge of the film division, and was later promoted to be controller of home publicity. He set up the War Artists' Advisory Committee, and persuaded the government to employ official war artists in considerable numbers. There were up to two hundred engaged under Clark's initiative. Those designated "official war artists" included Edward Ardizzone, Paul and John Nash, Mervyn Peake, John Piper and Graham Sutherland. Artists employed on short-term contracts included Jacob Epstein, Laura Knight, L. S. Lowry, Henry Moore and Stanley Spencer.


title: Kenneth Clark

text: Although the pictures were in storage, Clark kept the National Gallery open to the public during the war, hosting a celebrated series of lunchtime and early evening concerts. They were the inspiration of the pianist Myra Hess, whose idea Clark greeted with delight, as a suitable way for the building to be "used again for its true purposes, the enjoyment of beauty." There was no advance booking, and audience members were free to eat their sandwiches and walk in or out during breaks in the performance. The concerts were an immediate and enormous success. "The Musical Times" commented, "Countless Londoners and visitors to London, civilian and service alike, came to look on the concerts as a haven of sanity in a distraught world." 1,698 concerts were given to an aggregate audience of more than 750,000 people. Clark instituted an additional public attraction of a monthly featured picture brought from storage and exhibited along with explanatory material. The institution of a "picture of the month" was retained after the war, and, at 2022, continues to the present day.


title: Kenneth Clark

text: In 1945, after overseeing the return of the collections to the National Gallery, Clark resigned as director, intending to devote himself to writing. During the war years he had published little. For the gallery he wrote a slim volume about Constable's "The Hay Wain" (1944); from a lecture he gave in 1944 he published a short treatise on Leon Battista Alberti's "On Painting" (1944). The following year he contributed an introduction and notes to a volume on Florentine paintings in a series of art books published by Faber and Faber. The three publications totalled fewer than eighty pages between them.


title: Kenneth Clark

text: In July 1946 Clark was appointed Slade Professor of Fine Art at Oxford for a three-year term. The post required him to give eight public lectures each year on the "History, Theory, and Practice of the Fine Arts". The first holder of the professorship had been Ruskin; Clark took as his first subject Ruskin's tenure of the post. James Stourton, Clark's authorised biographer, judges the appointment to be the most rewarding his subject ever held, and notes how, during this period, Clark established himself as Britain's most sought-after lecturer, and wrote two of his finest books, "Landscape into Art" (1947) and "Piero della Francesca" (1951). By this time Clark no longer hankered after a career in pure scholarship, but saw his role as sharing his knowledge and experience with the wide public.


title: Kenneth Clark

text: Clark served on numerous official committees during this period, and helped to stage a ground-breaking exhibition in Paris of works by his friend and protégé Henry Moore. He was more in sympathy with modern painting and sculpture than with much of modern architecture. He admired Giles Gilbert Scott, Maxwell Fry, Frank Lloyd Wright, Alvar Aalto and others, but found many contemporary buildings mediocre. Clark had been among the first to conclude that private patronage could no longer support the arts; during the war he had been a prominent member of the state-funded Council for the Encouragement of Music and the Arts. When it was reconstituted as the Arts Council of Great Britain in 1945 he was invited to serve as a member of its executive committee, and as chairman of the council's arts panel.


title: Kenneth Clark

text: In 1953 Clark became the Arts Council's chairman. He held the post until 1960, but it was a frustrating experience for him; he found himself chiefly a figurehead. Moreover, he was concerned that the way the council went about funding the arts was in danger of damaging the individualism of the artists whom it supported.


title: Kenneth Clark

text: The year after becoming chairman of the Arts Council, Clark surprised many and shocked some by accepting the chairmanship of the new Independent Television Authority (ITA). It had been set up by the Conservative government to introduce ITV, commercial television, funded by advertising, as a rival to the British Broadcasting Corporation. Many of those opposed to the new broadcaster feared vulgarisation on the lines of American television, and although Clark’s appointment reassured some, others thought his acceptance of the post a betrayal of artistic and intellectual standards.


title: Kenneth Clark

text: Clark was no stranger to broadcasting. He had appeared on air frequently from 1936, when he gave a radio talk on an exhibition of Chinese Art at Burlington House; the following year he made his television debut, presenting Florentine paintings from the National Gallery. During the war he appeared regularly on BBC radio's "The Brains Trust". While presiding over the new ITA he generally kept off the air, and concentrated on keeping the new network going during its difficult early years. By the end of his three-year term as chairman, Clark was hailed as a success, but privately considered that there were too few high-quality programmes on the network. Lew Grade, who as chairman of Associated Television (ATV) held one of the ITV franchises, felt strongly that Clark should make arts programmes of his own, and as soon as Clark stood down as chairman in 1957, he accepted Grade's invitation. Stourton comments, "this was the true beginning of arguably his most successful career – as a presenter of the arts on television".


title: Kenneth Clark

text: Clark's first series for ATV, "Is Art Necessary?", began in 1958. Both he and television were finding their way, and programmes in the series ranged from the stiff and studio-bound to a film in which Clark and Henry Moore toured the British Museum at night, flashing their torches at the exhibits. When the series came to an end in 1959, Clark and the production team reviewed and refined their techniques for the next series, "Five Revolutionary Painters", which attracted a considerable audience. The British Film Institute observes:


title: Kenneth Clark

text: By the time in 1960 when he presented a programme about Picasso, Clark had further honed his presentational skills and came across as relaxed as well as authoritative. Two series on architecture followed, culminating in a programme called "The Royal Palaces of Britain" in 1966, a joint venture by ITV and the BBC, described as "by far the most important heritage programme shown on British television to date". "The Guardian" described Clark as "the ideal man for the job – scholarly, courtly and gently ironical". "The Royal Palaces", unlike its predecessors, was shot on 35mm colour film, but transmission was still in black and white, at which Clark chafed. The BBC was by this time planning to broadcast in colour, and his renewed contact with the corporation for this film paved the way for his eventual return to its schedules. In the interim he remained with ITV for a 1966 series, "Three Faces of France", featuring the works of Courbet, Manet and Degas.


title: Kenneth Clark

text: David Attenborough, the controller of the BBC's new second television channel, BBC2, was in charge of introducing colour broadcasting to the UK. He conceived the idea of a series about great paintings as the standard-bearer for colour television, and had no doubt that Clark would be much the best presenter for it. Clark was attracted by the suggestion, but at first declined to commit himself. He later recalled that what convinced him that he should take part was Attenborough’s use of the word "civilisation" to sum up what the series would be about.


title: Kenneth Clark

text: The series consisted of thirteen programmes, each fifty minutes long, written and presented by Clark, covering western European civilisation from the end of the Dark Ages to the early twentieth century. As the civilisation under consideration excluded Graeco-Roman, Asian and other historically important cultures, a title was chosen that disclaimed comprehensiveness: "Civilisation: A Personal View by Kenneth Clark". Although it focused chiefly on the visual arts and architecture, there were substantial sections about drama, literature, philosophy and socio-political movements. Clark wanted to include more about law and philosophy, but "I could not think of any way of making them visually interesting."


title: Kenneth Clark

text: After initial mutual antipathy, Clark and his principal director, Michael Gill, established a congenial working relationship. They and their production team spent three years from 1966 filming in a hundred and seventeen locations in thirteen countries. The filming was to the highest technical standards of the day, and quickly went over budget; it cost £500,000 by the time it was complete. Attenborough rejigged his broadcasting schedules to spread the cost.


title: Kenneth Clark

text: There were complaints, then and later, that by focusing on a traditional choice of the great artists over the centuries – all men – Clark had neglected women, and presented "a saga of noble names and sublime objects with little regard for the shaping forces of economics or practical politics". His "modus operandi" was dubbed "the great man approach", and he described himself on screen as a hero-worshipper and a stick-in-the-mud. He commented that his outlook was "nothing striking, nothing original, nothing that could not have been written by an ordinary harmless bourgeois of the later nineteenth century":


title: Kenneth Clark

text: The broadcaster Huw Wheldon believed that "Civilisation" was "a truly great series, a major work ... the first magnum opus attempted and realised in terms of TV." There was a widespread view among critics, including some unsympathetic to Clark's selections, that the filming set new standards. "Civilisation" attracted unprecedented viewing figures for a high art series: 2.5 million viewers in Britain and 5 million in the US. Clark's accompanying book has never been out of print, and the BBC continued to sell thousands of copies of the DVD set of "Civilisation" every year. In 2016, "The New Yorker" echoed the words of John Betjeman, describing Clark as "the man who made the best telly you’ve ever seen".


title: Kenneth Clark

text: The British Film Institute notes how "Civilisation" changed the shape of cultural television, setting the standard for later documentary series, from Alastair Cooke's "" (1972) and Jacob Bronowski's "The Ascent of Man" (1973) to the present day.


title: Kenneth Clark

text: Clark made a series of six programmes for ITV. They were collectively titled "Pioneers of Modern Painting", directed by his son Colin. They were screened in November and December 1971, with a programme on each of Manet, Cezanne, Monet, Seurat, Rousseau, and Munch. Although they were shown on commercial television, there were no advertising breaks during each programme. With the aid of a grant from the National Endowment for the Humanities, the National Gallery of Art in Washington DC acquired copies of the series and distributed them to colleges and universities throughout the US.


title: Kenneth Clark

text: Five years later, Clark returned to the BBC, presenting five programmes about Rembrandt. The series, directed by Colin Clark, considered various aspects of the painter's work, from his self-portraits to his biblical scenes. The National Gallery observes about this series, "These art history lectures are an authoritative study of Rembrandt and feature examples of his work from over fifty museums".


title: Kenneth Clark

text: Clark was chancellor of the University of York from 1967 to 1978 and a trustee of the British Museum. During his last ten years he wrote thirteen books. As well as some drawn from his researches for his lectures and television series, there were two volumes of memoirs, "Another Part of the Wood" (1974) and "The Other Half" (1977). He was known throughout his life for his impenetrable façade and enigmatic character, which were reflected in the two autobiographical books: Piper describes them as "elegantly and subtly polished, at times very moving, often very funny [but] somewhat distanced, as if about someone else."


title: Kenneth Clark

text: In his last years Clark suffered from arteriosclerosis. He died at the age of seventy-nine in a nursing home in Hythe, Kent, after a fall.


title: Kenneth Clark

text: In 1927 Clark married a fellow student, Elizabeth Winifred Martin, known as "Jane" (1902–1976), the daughter of Robert Macgregor Martin, a Dublin businessman, and his wife, Emily Winifred Dickson. The couple had three children: Alan, in 1928, and twins, Colette (known as Celly, pronounced "Kelly") and Colin, in 1932.


title: Kenneth Clark

text: Away from his official duties, Clark enjoyed what he described as "the Great Clark Boom" in the 1930s. He and his wife lived and entertained in considerable style in a large house in Portland Place. In Piper's words, "the Clarks in joint alliance became stars of London high society, intelligentsia, and fashion, from Mayfair to Windsor".


title: Kenneth Clark

text: The Clarks' marriage was devoted but stormy. Clark was a womaniser, and although Jane had love affairs, notably with the composer William Walton, she took some of her husband's extramarital relationships badly. She suffered severe mood swings and later alcoholism and a stroke. Clark remained firmly supportive of his wife during her decline. The Clarks' relations with their three children were sometimes difficult, particularly with their elder son, Alan. He was regarded by his father as a fascist by conviction though also as the ablest member of the Clark family "parents included"; he became a Conservative member of parliament and junior minister, and a celebrated diarist. The younger son, Colin, became a film-maker, who among other work directed his father in television series in the 1970s. The twin daughter, Colette, became an official and board member of the Royal Opera House; she outlived her parents and brothers, and was the key source for James Stourton's authorised biography of her father, published in 2016.


title: Kenneth Clark

text: During the war the Clarks lived at Capo Di Monte, a cottage in Hampstead, before moving to the much larger Upper Terrace House nearby. They moved in 1953 when Clark bought the Norman castle of Saltwood in Kent, which became the family home. In his later years he passed the castle to his elder son, moving to a purpose-built house in the grounds.


title: Kenneth Clark

text: Jane Clark died in 1976. Her death was expected, but left Clark devastated. Several of his female friends hoped that he would marry them. His closest female friend, across thirty years, was the photographer Janet Woods, wife of the engraver Reynolds Stone; in common with Clark's daughter and sons, she was dismayed when he announced his intention to marry Nolwen de Janzé-Rice (1924–1989), daughter of Frederic and Alice de Janzé. The family felt that Clark was acting precipitately in marrying someone he had not known well for very long, but the wedding took place in November 1977. Clark and his second wife remained together until his death.


title: Kenneth Clark

text: Clark's parents were Liberal in outlook, and Ruskin's social and political views influenced the young Clark. Mary Beard wrote in a "Guardian" article that Clark was a lifelong Labour voter. His religious outlook was unconventional, but he believed in the divine, rejected atheism, and found the Church of England too secular in its outlook. Shortly before his death he was received into the Roman Catholic Church.


title: Kenneth Clark

text: State and other honours received by Clark included Knight Commander of the Order of the Bath in 1938; Fellow of the British Academy, 1949, Companion of Honour, 1959; life peerage, 1969; Companion of Literature, 1974; and the Order of Merit 1976. Overseas honours included Commander of the Legion of Honour, France; Commander of the Order of the Lion of Finland and the Order of Merit, Austria.


title: Kenneth Clark

text: Clark was elected a member or honorary member of the Conseil Artistique des Musées Nationaux of France; the American Academy of Arts and Sciences; the American Institute of Architects. the Swedish Academy; the Spanish Academy; the Florentine Academy; the Académie française; and the Institut de France. He was awarded honorary degrees by the universities of Bath, Cambridge, Glasgow, Liverpool, London, Oxford, Sheffield, Warwick, York, and in the US Columbia and Brown universities. He was an honorary fellow of the Royal Institute of British Architects and the Royal College of Art. Other honours and awards included Serena Medal of the British Academy (for Italian Studies); the Gold Medal and Citation of Honour of New York University; and the US National Gallery of Art Medal.


title: Kenneth Clark

text: Clark's old school, Winchester College, holds an annual art history speaking competition for the Kenneth Clark Prize. The winner of the competition is awarded a golden Lord Clark Medal sculpted by a fellow Old Wykehamist, Anthony Smith. At the Courtauld Institute in London, the lecture theatre is named in Clark's honour.


title: Kenneth Clark

text: In 2014 The Tate held the "Kenneth Clark: Looking for Civilisation" exhibition, highlighting Clark's impact "as one of the most influential figures in British art of the twentieth century". The exhibition, drawing on works from Clark's personal collection and many other sources, examined his role as "a patron and collector, art historian, public servant and broadcaster ... bringing art in the twentieth century to a more popular audience". The BBC called him "arguably the most influential figure in 20th century British art".


title: Kenneth Clark

text: Clark knew that his broadly traditional view of art would be anathema to the Marxist element in the artistic world, and was unsurprised when he was attacked by younger critics, notably John Berger, in the 1970s. Clark's reputation among critics in the twenty-first century is higher for his books and television series than for his consistency as a collector. At the time of the Tate celebration of Clark in 2014, the critic Richard Dorment commented that both in his public and private capacity Clark made many fine purchases but also many errors. In addition to the Previtali "Scenes from Tebaldeo's Eclogues", Dorment lists works misattributed by Clark to Michelangelo, Pontormo, Elsheimer and Claude, and a Seurat and a Corot that were genuine but poor examples of the artists' work. Other critics agreed with the conclusion that Clark's most lasting achievements were as a writer and populariser.