title: Early Netherlandish painting

text: The most popular subjects of this type include the Flight into Egypt and the plight of hermits such as Saints Jerome and Anthony. As well as connecting the style to the later Age of Discovery, the role of Antwerp as a booming centre both of world trade and cartography, and the wealthy town-dweller's view of the countryside, art historians have explored the paintings as religious metaphors for the pilgrimage of life.


title: Early Netherlandish painting

text: The progressions in northern art developed almost simultaneously with the early Italian Renaissance. The philosophical and artistic traditions of the Mediterranean were not however part of the northern heritage, to the extent that many elements of Latin culture were actively disparaged in the north. The role of Renaissance humanism in art, for example, was less pronounced in the Low Countries than in Italy. Local religious trends had a strong influence on early northern art, as can be seen in the subject matter, composition and form of many late 13th- and early 14th-century artworks. The northern painters' doctrine was also built on elements of recent Gothic tradition, and less on the classical tradition prevalent in Italy.


title: Early Netherlandish painting

text: While devotional paintings – especially altarpieces – remained dominant in Early Netherlandish art, secular portraiture became increasingly common in both northern and southern Europe as artists freed themselves from the prevailing idea that portraiture should be restricted to saints and other religious figures. In Italy this development was tied to the ideals of humanism.


title: Early Netherlandish painting

text: Italian influences on Netherlandish art are first apparent in the late 15th century, when some of the painters began to travel south. This also explains why a number of later Netherlandish artists became associated with, in the words of art historian Rolf Toman, "picturesque gables, bloated, barrel-shaped columns, droll cartouches, 'twisted' figures, and stunningly unrealistic colours – actually employ[ing] the visual language of Mannerism". Wealthy northern merchants could afford to buy paintings from the top tier of artists. As a result, painters became increasingly aware of their status in society: they signed their works more often, painted portraits of themselves, and became well-known figures because of their artistic activities.


title: Early Netherlandish painting

text: The northern masters were greatly admired in Italy. According to Friedländer they exercised a strong influence over 15th-century Italian artists, a view Panofsky agrees with. However, Italian painters began to move beyond Netherlandish influences by the 1460s, as they concentrated on composition with a greater emphasis on harmony of parts belonging together – "that elegant harmony and grace ... which is called beauty", evident, for example, in Andrea Mantegna's "". By the early 16th century, the reputation of the northern masters was such that there was an established north–south trade in their works, although many of the paintings or objects sent south were by lesser artists and of lower quality. Innovations introduced in the north and adopted in Italy included the setting of figures in domestic interiors and the viewing of interiors from multiple vantage points, through openings such as doors or windows. Hugo van der Goes' "Portinari Altarpiece", in Florence's Uffizi, played an important role in introducing Florentine painters to trends from the north, and artists like Giovanni Bellini came under the influence of northern painters working in Italy.


title: Early Netherlandish painting

text: Memling successfully merged the two styles, exemplified in his "Virgin and Child with Two Angels". By the mid-16th-century, however, Netherlandish art was seen as crude; Michelangelo claimed it was appealing only to "monks and friars". At this point northern art began to fall almost completely out of favour in Italy. By the 17th century, when Bruges had lost its prestige and position as the pre-eminent European trading city (the rivers silted and ports were forced to close), the Italians dominated European art.


title: Early Netherlandish painting

text: Religious images came under close scrutiny as actually or potentially idolatrous from the start of the Protestant Reformation in the 1520s. Martin Luther accepted some imagery, but few Early Netherlandish paintings met his criteria. Andreas Karlstadt, Huldrych Zwingli and John Calvin were wholly opposed to public religious images, above all in churches, and Calvinism soon became the dominant force in Netherlandish Protestantism. From 1520, outbursts of reformist iconoclasm broke out across much of Northern Europe. These might be official and peaceable, as in England under the Tudors and the English Commonwealth, or unofficial and often violent, as in the "Beeldenstorm" or "Iconoclastic Fury" in 1566 in the Netherlands. On 19 August 1566, this wave of mob destruction reached Ghent, where Marcus van Vaernewijck chronicled the events. He wrote of the "Ghent Altarpiece" being "taken to pieces and lifted, panel by panel, into the tower to preserve it from the rioters". Antwerp saw very thorough destruction in its churches in 1566, followed by more losses in the Spanish Sack of Antwerp in 1576, and a further period of official iconoclasm in 1581, which now included city and guild buildings, when Calvinists controlled the city council.


title: Early Netherlandish painting

text: Many thousands of religious objects and artefacts were destroyed, including paintings, sculptures, altarpieces, stained glass, and crucifixes, and the survival rate of works by the major artists is low – even Jan van Eyck has only some 24 extant works confidently attributed to him. The number grows with later artists, but there are still anomalies; Petrus Christus is considered a major artist, but is given a smaller number of works than van Eyck. In general the later 15th-century works exported to southern Europe have a much higher survival rate.


title: Early Netherlandish painting

text: Many of the period's artworks were commissioned by clergy for their churches, with specifications for a physical format and pictorial content that would complement existing architectural and design schemes. An idea of how such church interiors might have looked can be seen from both van Eyck's "Madonna in the Church" and van der Weyden's "". According to Nash, van der Weyden's panel is an insightful look at the appearance of pre-Reformation churches, and the manner in which images were placed so that they resonated with other paintings or objects. Nash goes on to say that, "any one would necessarily be seen in relation to other images, repeating, enlarging, or diversifying the chosen themes". Because iconoclasts targeted churches and cathedrals, important information about the display of individual works has been lost, and with it, insights about the meaning of these artworks in their own time. Many other works were lost to fires or in wars; the break-up of the Valois Burgundian state made the Low Countries the cockpit of European conflict until 1945. Van der Weyden's "The Justice of Trajan and Herkinbald" polyptych is perhaps the most significant loss; from records it appears to have been comparable in scale and ambition to the "Ghent Altarpiece". It was destroyed by French artillery during the bombardment of Brussels in 1695, and is today known only from a tapestry copy.


title: Early Netherlandish painting

text: There have been significant challenges for art historians in establishing the names of Netherlandish masters and attributing specific works. The historical record is very poor, such that some major artists' biographies are still bare outlines, while attribution is an ongoing and often contentious debate. Even the most widely accepted attributions are typically only as a result of decades of scientific and historical research originating from after the start of the 20th century. Some painters, such as Adriaen Isenbrandt and Ambrosius Benson of Bruges, who were mass-producing panels to be sold at fair stalls, have had as many as 500 painting attributed to them.


title: Early Netherlandish painting

text: The avenues for research have been limited by many historical factors. Many archives were destroyed in bombing campaigns in the two world wars, and a great number of works for which records do exist are themselves lost or destroyed. The record-keeping in the region was inconsistent, and often the export of works by major artists was, owing to the pressures of commercial demand, not adequately recorded. The practice of signing and dating works was rare until the 1420s, and while the inventories of collectors may have elaborately described the works, they attached little importance to recording the artist or workshop that produced them. Surviving documentation tends to come from inventories, wills, payment accounts, employment contracts and guild records and regulations.


title: Early Netherlandish painting

text: Because Jan van Eyck's life is well documented in comparison to his contemporary painters, and because he was so clearly the period's innovator, a great number of works were attributed to him after art historians began to research the period. Today Jan is credited with about 26–28 extant works. This reduced number in part follows from the identification of other mid-15th-century painters such as van der Weyden, Christus and Memling, while Hubert, so highly regarded by late-19th-century critics, is now relegated as a secondary figure with no works definitively attributed to him. Many early Netherlandish masters have not been identified, and are today known by "names of convenience", usually of the "Master of ..." format. The practice lacks an established descriptor in English, but the "notname" term is often used, a derivative of a German term. Collecting a group of works under one notname is often contentious; a set of works assigned one notname could have been produced by various artists whose artistic similarities can be explained by shared geography, training, and response to market-demand influences. Some major artists who were known by pseudonyms are now identified, sometimes controversially, as in the case of Campin, who is usually, but not always, associated with the Master of Flémalle.


title: Early Netherlandish painting

text: Many unidentified late-14th- and early-15th-century northern artists were of the first rank, but have suffered academic neglect because they have not been attached to any historical person; as Nash puts it, "much of what cannot be firmly attributed remains less studied". Some art historians believe that this situation has fostered a lack of caution in connecting works with historical persons, and that such connections often rest on tenuous circumstantial evidence. The identities of a number of well-known artists have been founded on the basis of a single signed, documented or otherwise attributed work, from which follow further attributions based on technical evidence and geographical proximity. The so-called Master of the Legend of the Magdalen, who may have been Pieter van Coninxloo, is one of the more notable examples; others include Hugo van der Goes, Campin, Stefan Lochner and Simon Marmion.


title: Early Netherlandish painting

text: The lack of surviving theoretical writing on art and recorded opinion from any of the pre-16th-century major artists presents still more difficulties in attribution. Dürer, in 1512, was the first artist of the era to properly set down in writing his theories of art, followed by Lucas de Heere in 1565 and Karel van Mander in 1604. Nash believes a more probable explanation for the absence of theoretical writing on art outside Italy is that the northern artists did not yet have the language to describe their aesthetic values, or saw no point in explaining in writing what they had achieved in painting. Surviving 15th-century appreciations of contemporary Netherlandish art are exclusively written by Italians, the best known of which include Cyriacus Ancona in 1449, Bartolomeo Facio in 1456, and Giovanni Santi in 1482.


title: Early Netherlandish painting

text: The dominance of Northern Mannerism in the mid-16th century was built on a subversion of the conventions of Early Netherlandish art, which in turn fell out of public favour. Yet it remained popular in some royal art collections; Mary of Hungary and Philip II of Spain both sought out Netherlandish painters, sharing a preference for van der Weyden and Bosch. By the early 17th century, no collection of repute was complete without 15th- and 16th-century northern European works; the emphasis however tended to be on the Northern Renaissance as a whole, more towards the German Albrecht Dürer, by far the most collectable northern artist of the era. Giorgio Vasari in 1550 and Karel van Mander (c. 1604) placed the art works of era at the heart of Northern Renaissance art. Both writers were instrumental in forming later opinion about the region's painters, with emphasis on van Eyck as the innovator.


title: Early Netherlandish painting

text: The Netherlandish painters were largely forgotten in the 18th century. When Musée du Louvre was converted to an art gallery during the French Revolution, Gerard David's "Marriage at Cana" – then attributed to van Eyck – was the only piece of Netherlandish art on display there. More large panels were added to the collection after the French conquered the Low Countries. These works had a profound effect on German literary critic and philosopher Karl Schlegel, who after a visit in 1803 wrote an analysis of Netherlandish art, sending it to Ludwig Tieck, who had the piece published in 1805.


title: Early Netherlandish painting

text: In 1821 Johanna Schopenhauer became interested in the work of Jan van Eyck and his followers, having seen early Netherlandish and Flemish paintings in the collection of the brothers Sulpiz and Melchior Boisserée in Heidelberg. Schopenhauer did primary archival research because there was very little historical record of the masters, apart from official legal documents. She published "Johann van Eyck und seine Nachfolger" in 1822, the same year Gustav Friedrich Waagen published the first modern scholarly work on early Netherlandish painting, "Ueber Hubert van Eyck und Johann van Eyck"; Waagen's work drew on Schlegel and Schopenhauer's earlier analyses. Waagen went on to become director of the Gemäldegalerie in Berlin, amassing a collection of Netherlandish art, including most of the "Ghent" panels, a number of van der Weyden triptychs, and a Bouts altarpiece. Subjecting the works to meticulous analysis and examination in the course of acquisition, based on distinguishing characteristics of individual artists, he established an early scholarly system of classification.


title: Early Netherlandish painting

text: In 1830 the Belgian Revolution split Belgium from the Netherlands of today; as the newly created state sought to establish a cultural identity, Memling's reputation came to equal that of van Eyck in the 19th century. Memling was seen as the older master's match technically, and as possessing a deeper emotional resonance. When in 1848 the collection of Prince Ludwig of Oettingen-Wallerstein at Schloss Wallerstein was forced onto the market, his cousin Prince Albert arranged a viewing at Kensington Palace; though a catalogue of works attributed to the School of Cologne, Jan van Eyck and van der Weyden was compiled by Waagen, there were no other buyers so Albert purchased them himself. At a period when London's National Gallery sought to increase its prestige, Charles Eastlake purchased Rogier van der Weyden's "The Magdalen Reading" panel in 1860 from Edmond Beaucousin's "small but choice" collection of early Netherlandish paintings.


title: Early Netherlandish painting

text: Netherlandish art became popular with museum-goers in the late 19th century. At the beginning of the 20th century, van Eyck and Memling were the most highly regarded, with van der Weyden and Christus little more than footnotes. Later many of the works then attributed to Memling were found to be from van der Weyden or his workshop. In 1902, Bruges hosted the first exhibition of Netherlandish art with 35,000 visitors, an event that was a "turning point in the appreciation of early Netherlandish art". For a number of reasons, the chief of which was the difficulty of securing paintings for the exhibition, only a few of van Eyck's and van der Weyden's panels were displayed, while almost 40 of Memling's pieces were shown. Nevertheless, van Eyck and van der Weyden, to an extent, were then considered the first rank of Netherlandish artists.


title: Early Netherlandish painting

text: The Bruges exhibition renewed interest in the period and initiated scholarship that was to flourish in the 20th century. Johan Huizinga was the first historian to place Netherlandish art squarely in the Burgundian period – outside of nationalistic borders – suggesting in his book "The Waning of the Middle Ages", published in 1919, that the flowering of the school in the early 15th century resulted wholly from the tastes set by the Burgundian court. Another exhibition visitor, Georges Hulin de Loo, published an independent critical catalogue highlighting the large number of mistakes in the official catalogue, which had used attributions and descriptions from the owners. He and Max Friedländer, who visited and wrote a review of the Bruges exhibition, went on to become leading scholars in the field.


title: Early Netherlandish painting

text: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering "Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts". Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.


title: Early Netherlandish painting

text: Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.


title: Early Netherlandish painting

text: Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established.


title: Early Netherlandish painting

text: More recent research from art historians such as Lorne Campbell relies on X-ray and infrared photography to develop an understanding of the techniques and materials used by the painters. The conservation of the "Ghent Altarpiece" in the mid-1950s pioneered methodologies and scholarship in technical studies. Examination of paint layers and underlayers was later applied to other Netherlandish works, allowing for more accurate attributions. Van Eyck's work, for example, typically shows underdrawings unlike Christus' work. These discoveries, too, hint at the relationships between the masters of the first rank and those in the following generations, with Memling's underdrawings clearly showing van der Weyden's influence.


title: Early Netherlandish painting

text: Scholarship since the 1970s has tended to move away from a pure study of iconography, instead emphasizing the paintings' and artists' relation to the social history of their time. According to Craig Harbison, "Social history was becoming increasingly important. Panofsky had never really talked about what kind of people these were." Harbison sees the works as objects of devotion with a "prayer book mentality" available to middle-class burghers who had the means and the inclination to commission devotional objects. Most recent scholarship is moving away from the focus on religious iconography; instead, it investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision. James Marrow thinks the painters wanted to evoke specific responses, which are often hinted at by the figures' emotions in the paintings.


title: Homesickness

text: Homesickness is the distress caused by being away from home. Its cognitive hallmark is preoccupying thoughts of home and attachment objects. Sufferers typically report a combination of depressive and anxious symptoms, withdrawn behavior and difficulty focusing on topics unrelated to home. Experienced by children and adults, the affected person may be taking a short trip to a nearby place, such as summer camp, or they may be taking a long trip or have moved to a different country.


title: Homesickness

text: In its mild form, homesickness prompts the development of coping skills and motivates healthy attachment behaviors, such as renewing contact with loved ones. Nearly all people miss something about home when they are away, making homesickness a nearly universal experience. However, intense homesickness can be painful and debilitating.


title: Homesickness

text: Homesickness is an ancient phenomenon, mentioned in both the Old Testament books of "Exodus" and "Psalm" 137:1 ("By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion") as well as Homer's "Odyssey", whose opening scene features Athena arguing with Zeus to bring Odysseus home because he is homesick ("...longing for his wife and his homecoming..."). The Greek physician Hippocrates (ca. 460–377 BC) believed that homesickness—also called "heimveh" (from German "Heimweh") or a "nostalgic reaction"—was caused by a surfeit of black bile in the blood. In recent history, homesickness is first mentioned specifically with Swiss people being abroad in Europe ("Heimweh") for a longer period of time in a document dating back to 1651. This was a normal phenomenon among the many common Swiss mercenaries serving in different countries and many rulers across Europe at that time. It was not uncommon for them staying many years away from home and, if lucky enough, return home if still alive. This phenomenon at that time was first only thought to affect Swiss people until this was revised, probably caused by big migration streams across Europe suggesting the same symptoms and thus homesickness found its way into general German medical literature in the 19th century.


title: Homesickness

text: American contemporary histories, such as Susan J. Matt's "Homesickness: An American History", describe experiences of homesickness in colonists, immigrants, gold miners, soldiers, explorers and others spending time away from home. First understood as a brain lesion, homesickness is now known to be a form of normative psychopathology that reflects the strength of a person's attachment to home, native culture and loved ones, as well as their ability to regulate their emotions and adjust to novelty. Cross-cultural research, with populations as diverse as refugees and boarding school students, suggests considerable agreement on the definition of homesickness. Additional historical perspectives on homesickness and place attachment can be found in books by van Tilburg & Vingerhoets, Matt, and Williams.


title: Homesickness

text: Whereas separation anxiety disorder is characterized by "inappropriate and excessive fear or anxiety concerning separation from those to whom the individual is attached" symptoms of homesickness are most prominent "after "a separation and include "both "depression "and" anxiety. In DSM terms, homesickness may be related to separation anxiety disorder, but it is perhaps best categorized as either an adjustment disorder with mixed anxiety and depressed mood (309.28) or, for immigrants and foreign students as a V62.4, Acculturation Difficulty. As noted above, researchers use the following definition: "Homesickness is the distress or impairment caused by an actual or anticipated separation from home. Its cognitive hallmark is preoccupying thoughts of home and attachment objects." Recent pathogenic models support the possibility that homesickness reflects both insecure attachment and a variety of emotional and cognitive vulnerabilities, such as little previous experience away from home and negative attitudes about the novel environment.


title: Homesickness

text: The prevalence of homesickness varies and depends on the population studied and the way homesickness is measured. One way to conceptualize homesickness prevalence is as a function of severity. Nearly all people miss something about home when they are away, so the absolute prevalence of homesickness is close to 100%, mostly in a mild form. Roughly 20% of university students and children at summer camp rate themselves at or above the midpoint on numerical rating scales of homesickness severity. 5–7% of students and campers report intense homesickness associated with severe symptoms of anxiety and depression. In adverse or painful environments, such as the hospital or the battlefield, intense homesickness is far more prevalent. In one study, 50% of children scored themselves at or above the midpoint on a numerical homesickness intensity scale (compared to 20% of children at summer camp). Soldiers report even more intense homesickness, sometimes to the point of suicidal misery. Aversive environmental elements, such as the trauma associated with war, exacerbate homesickness and other mental health problems. Homesickness is a normative pathology that can take on clinical relevance in its moderate and severe forms.


title: Homesickness

text: Risk factors (constructs which increase the likelihood or intensity of homesickness) and protective factors (constructs that decrease the likelihood or intensity of homesickness) vary by population. For example, a seafarers on board, the environmental stressors associated with a hospital, a military boot camp or a foreign country may exacerbate homesickness and complicate treatment. Generally speaking, however, risk and protective factors transcend age and environment.


title: Homesickness

text: The risk factors for homesickness fall into five categories: experience, personality, family, attitude and environment. More is known about some of these factors in adults—especially personality factors—because more homesickness research has been performed with older populations. However, a growing body of research is elucidating the etiology of homesickness in younger populations, including children at summer camp, hospitalized children and students.


title: Homesickness

text: Factors which mitigate the prevalence or intensity of homesickness are essentially the inverse of the risk factors cited above. Effective coping (reviewed in the following section) also diminishes the intensity of homesickness over time. Prior to a separation, however, key protective factors can be identified. Positive adjustment to separation from home is generally associated with the following factors:


title: Homesickness

text: Many psychologists argue that research into the causes of homesickness is valuable for three reasons. First, homesickness is experienced by millions of people who spend time away from home (see McCann, 1941, for an early review) including children at boarding schools, residential summer camps and hospitals.


title: Homesickness

text: Second, severe homesickness is associated with significant distress and impairment. There is evidence that homesick persons are present with non-traumatic physical ailments significantly more than their non-homesick peers. Homesick boys and girls complain about somatic problems and exhibit more internalising and externalising behaviours problems than their non-homesick peers. First-year college students are three times more likely to drop out of school than their non-homesick peers. Other data have pointed to concentration and academic problems in homesick students. And maladjustment to separation from home has been documented in hospitalized young people and is generally associated with slower recovery. See Thurber & Walton (2012) for a review.


title: Homesickness

text: Third, learning more about how people cope with homesickness is a helpful guide to designing treatment programs. By complementing existing theories of depression, anxiety and attachment, a better theoretical understanding of homesickness can shape applied interventions. Among the most relevant theories that could shape interventions are those concerned with Learned Helplessness and Control Beliefs.


title: Homesickness

text: Learned helplessness predicts that persons who develop a belief that they cannot influence or adjust to their circumstance of separation from home will become depressed and make fewer attempts to change that circumstance. Control beliefs theory predicts that negative affect is most likely in persons who perceive personal incompetence in the separation environment (e.g., poor social skills at a summer camp or university) and who perceive contingency uncertainty (e.g., uncertainty about whether friendly behavior will garner friends). Although these are not the only broad etiologic theories that inform homesickness, note that both theories hinge on control, the perception of which "reflects the fundamental human need for competence" (Skinner, 1995, p. 8). This is particularly relevant to coping, because people's choice of "how" to respond to a stressor hinges partly on their perception of a stressor's controllability.


title: Homesickness

text: An equally important coping factor is social connection, which for many people is the antidote to homesickness. As the results of several studies have suggested, social connection is a powerful mediator of homesickness intensity.


title: Homesickness

text: The most effective way of coping with homesickness is mixed and layered. Mixed coping is that which involves both primary goals (changing circumstances) and secondary goals (adjusting to circumstances). Layered coping is that which involves more than one method. This kind of sophisticated coping is learned through experience, such as brief periods away from home without parents. As an example of mixed and layered coping, one study revealed the following method-goal combinations to be the most frequent and effective ways for boys and girls:


title: Homesickness

text: Sometimes, people will engage in wishful thinking, attempt to arrange a shorter stay or (rarely) break rules or act violently in order to be sent home. These ways of coping are rarely effective and can produce unintended negative side effects.


title: John Farrar

text: John Clifford Farrar ( ; born 8 November 1946) is an Australian music producer, songwriter, arranger, singer, and guitarist. As a musician, Farrar is a former member of several rock and roll groups including The Mustangs (1963–64), The Strangers (1964–70), Marvin, Welch & Farrar (1970–73), and The Shadows (1973–76); in 1980 he released a solo eponymous album. As a songwriter and producer, he worked with Olivia Newton-John from 1971 through 1989. He wrote her U.S. number-one hit singles: "Have You Never Been Mellow" (1975), "You're the One That I Want" (1978 duet with John Travolta), "Hopelessly Devoted to You" (1978), and "Magic" (1980). He also produced the majority of her recorded material during that time including her number-one albums, "If You Love Me, Let Me Know" (1974), "Have You Never Been Mellow" (1975), and "Olivia's Greatest Hits Vol. 2" (1982). He was a co-producer of the for the film "Grease" (1978).


title: John Farrar

text: Farrar also produced Newton-John's first American number-one hit single, "I Honestly Love You", which was awarded the Grammy Award for Record of the Year in 1975. In 1969, Farrar married the Australian singer, Pat Carroll – formerly Newton-John's singing partner. In July 1970, Farrar and Carroll relocated to the United Kingdom, and starting in late 1975, they have resided in the United States. They are the parents of Sam Farrar (a Phantom Planet bassist and Maroon 5 touring member) and Max Farrar (a Golden Ghost guitarist and keyboardist).


title: John Farrar

text: John Clifford Farrar was born on 8 November 1946, and grew up in Moonee Ponds, a suburb of Melbourne. He has an older brother, Reginald, and the family lived in a large household with aunts and uncles. Farrar's mother bought him a country music guitar, which he began playing at twelve years old. In 1961, he began playing in a band, The Jaguars, with his older brother Reg. When he was fifteen , the family relocated to nearby Niddrie. In 1963, he joined The Mustangs, alongside Johnny Cooper on vocals, Peter Ramis on bass guitar and Billy on drums. In late January 1964, he joined The Strangers, replacing the founding guitarist Laurie Arthur, and adding another lead vocalist to the group. Other members were Peter Robinson on the bass guitar and lead vocals, Graeme Thompson on drums, and Fred Weiland on guitar and backing vocals. They had formed as an instrumental band in Glenroy in 1961, working in the Melbourne dance scene. In June 1964, the band issued its first vocal single, "If You Gotta Make a Fool of Someone", which reached the top 30 on the Melbourne charts in July. They became a popular backing and session band.


title: John Farrar

text: In August 1964, The Strangers were hired as the house band for the ATV O pop music program, "The Go!! Show". Both Farrar's future wife, Pat Carroll, and their close friend, Olivia Newton-John, appeared on "The Go!! Show" as singers backed by The Strangers. Carroll and Newton-John formed a vocal duo, "Pat and Olivia", and in 1967, they first toured the United Kingdom, including a gig at the infamous Raymond Revuebar club in Soho.


title: John Farrar

text: After returning to Australia from a tour, Carroll could no longer work in the UK as her work visa had expired, while Newton-John, as a British citizen, returned to work in the UK. Farrar dated and married Carroll, and following their wedding in 1970, Carroll ceased to pursue headliner status. She occasionally reprised the duo with Newton-John, and worked as a session singer on Farrar's or Newton-John's work. During 1968, The Strangers supported the Australian leg of a tour by the British instrumental group, The Shadows. In June 1970, The Strangers released their most successful hit, "Melanie Makes Me Smile", which peaked at No. 14 on the "Go-Set" National Top 60 in August.


title: John Farrar

text: In July 1970, Farrar left The Strangers, and he and Carroll moved to Britain, where he was invited to become a member of Marvin, Welch & Farrar, a vocal harmony group featuring two former members of The Shadows, Hank Marvin and Bruce Welch. By that time, Newton-John and Welch were engaged, and Farrar and Welch became two of her songwriters and producers. Welch and Farrar co-produced and performed on Newton-John's cover of Bob Dylan's track, "If Not for You", and the album of the same title released in November 1971.


title: John Farrar

text: Farrar also worked with Cliff Richard as a backing guitarist and vocalist. Marvin, Welch & Farrar put out two albums, an eponymous one in 1971, and "Second Opinion" (in both quadraphonic and stereo formats) in 1972. In 1973, a third album featured just Marvin and Farrar. The Shadows reformed soon after, and Farrar joined as second lead guitarist and vocalist. In 1975, the group represented the UK in the Eurovision Song Contest with "Let Me Be the One". In 1973, Farrar had appeared at the same contest as a backing guitarist and vocalist for Richard's entry, "Power to All Our Friends"; the following year he backed and produced Newton-John on her effort, "Long Live Love".


title: John Farrar

text: From 1971 to 1976, various members of The Shadows were employed as session musicians for Newton-John's early albums, recorded at London's Abbey Road Studios. Aside from Farrar and Welch, they included Brian Bennett, Alan Hawkshaw, Alan Tarney, Dave Richmond, and Trevor Spencer; some other session musicians were the fellow Australians Kevin Peek and Terry Britten – both also worked with Richard – and some other musicians. They worked under co-producers Farrar and Welch until midway through Newton-John's second album, "Olivia". Thereafter, Farrar was her main producer. He produced her number-one albums, "If You Love Me, Let Me Know" (1974), "Have You Never Been Mellow" (1975), and "Olivia's Greatest Hits Vol. 2" (1982). Farrar also produced Newton-John's first American number-one hit single, "I Honestly Love You", which was awarded the Grammy Award for Record of the Year in 1975. His last production for Newton-John was her album, "Warm and Tender" in 1989.


title: John Farrar

text: In 1974, Farrar used the talk box "SFX unit" on an instrumental track, "No, No, Nina", well before Peter Frampton's 1975 single, "Show Me the Way", which featured the same device. However, Farrar's track was held back from release by EMI until 1997, when it appeared on the CD album, "The Shadows at Abbey Road", containing mostly unreleased material. A vocal version of "No, No, Nina" appeared on the "Specs Appeal" album as a Eurovision contender track, but it was voted sixth out of six initial entries. Aside from instrumentation and vocals, Farrar worked as an arranger on The Shadows' albums: "Rockin' with Curly Leads", "Specs Appeal", "Tasty" and "Live at the Paris Olympia".


title: John Farrar

text: Farrar's work with Newton-John embraced a wide range of styles, from "You're the One That I Want" (duet with John Travolta) to "Physical". Farrar's biggest success with Newton-John as a writer-producer came with the film version of the musical, "Grease". In 1977, during filming, its producers were replacing some of Jim Jacobs and Warren Casey's pieces from the original score and wanted some more commercial songs, including a solo number for Newton-John, so Farrar wrote and submitted two originals, "Hopelessly Devoted To You" and "You're the One That I Want". Both were accepted (despite strong reservations from director Randal Kleiser, who believed that the songs didn't fit the style), and became two of the soundtrack's most successful singles, being international number-one hits during 1978.


title: John Farrar

text: In June 2004, Farrar recalled writing the two songs: "'You're the One That I Want': The weird thing was it was the fastest song I ever wrote. It came so fast, the actual melody and the feel of it. 'Hopelessly Devoted To You': I spent the longest period writing the lyrics of any song I've ever written. Every thesaurus and every rhyming dictionary I had, just trying to really make it work properly". Other number-one hits for Newton-John that were written and produced by Farrar are "Have You Never Been Mellow" (1975), "Don't Stop Believin'" (an easy-listening chart-topper from 1976, not the Journey song of the same name), and "Magic" (1980). Farrar produced one side of the "Xanadu" soundtrack for the 1980 film of the same name. The other side featured tracks by Electric Light Orchestra and was produced by their guitarist-vocalist, Jeff Lynne. In March 1981, Farrar was nominated for a Golden Raspberry Award for Worst Original Song for the song "Suspended in Time" from "Xanadu".


title: John Farrar

text: In 1995, Farrar collaborated with Newton-John and lyricist Tim Rice for the musical score of Cliff Richard's musical, "Heathcliff" based on the Emily Brontë novel "Wuthering Heights". Farrar also co-wrote songs for a musical based on the 1959 film, "Gidget", which, , was indefinitely postponed. Farrar runs the Moonee Ponds Studio at Sweetwater Road in Malibu.


title: John Farrar

text: Farrar and Carroll are the parents of Sam Farrar (born 29 June 1978, Phantom Planet bass guitarist) and Max Farrar (Golden Ghost guitarist and keyboardist). , Farrar and Carroll reside in Malibu, California.


title: John Farrar

text: According to AllMusic John Farrar has been credited with: vocals (lead, backing), guitars (lead, rhythm, bass guitar, acoustic, slide guitar, acoustic slide, electric slide), piano (electric), keyboards, mellotron, synthesizer, vocoder, synclavier, mandolin, and horn.


title: Malatya

text: Malatya (; Syro-Aramaic ܡܠܝܛܝܢܐ Malīṭīná; ; Ancient Greek: Μελιτηνή) is a large city in the Eastern Anatolia region of Turkey and the capital of Malatya Province. The city has been a human settlement for thousands of years.


title: Malatya

text: In Hittite, "melid" or "milit" means "honey", offering a possible etymology for the name, which was mentioned in the contemporary sources of the time under several variations (e.g., Hittite: "Malidiya" and possibly also "Midduwa"; Akkadian: Meliddu; Urar̩tian: Meliṭeia).


title: Malatya

text: Strabo says that the city was known "to the ancients" as Melitene (Ancient Greek "Μελιτηνή"), a name adopted by the Romans following Roman expansion into the east. According to Strabo, the inhabitants of Melitene shared with the nearby Cappadocians and Cataonians the same language and culture.


title: Malatya

text: The site of ancient Melitene lies a few kilometres from the modern city in what is now the village of Arslantepe and near the district center of Battalgazi (Byzantine to Ottoman Empire). Present-day Battalgazi was the location of the city of Malatya until the 19th century, when a gradual move of the city to the present third location began. Battalgazi's official name was Eskimalatya ("Old Malatya"); until recently, it was a name used locally. In Turkey the city is renowned for its apricots, as up to 80% of the Turkish apricot production is provided by Malatya, giving Malatya the name "kayısı diyarı" ("apricot realm").


title: Malatya

text: Arslantepe has been inhabited since the development of agriculture in the Fertile Crescent, nearly 6,000 years ago. From the Bronze Age, the site became an administrative center of a larger region in the kingdom of Isuwa. The city was heavily fortified, probably due to the Hittite menace from the west. The Hittites conquered the city in the fourteenth century B.C. In Hittite, "melid" or "milit" means "honey", offering a possible etymology for the name, which was mentioned in the contemporary sources of the time under several variations (e.g., Hittite: "Malidiya" and possibly also "Midduwa"; Akkadian: Meliddu; Urar̩tian: Meliṭeia).


title: Malatya

text: After the end of the Hittite Empire, the city became the center of the Neo-Hittite state of Kammanu. The city continued old Hittite traditions and styles. Researchers have discovered a palace inside the city walls with statues and reliefs that are examples of the artistic works of that age. The people erected a palace, accompanied by monumental stone sculptures of lions and the ruler. Kammanu was vassal state of Urartu between 804 and 743.


title: Malatya

text: According to Igor Diakonoff and John Greppin, there was likely an Armenian presence in Melid by 1200 BCE.


title: Malatya

text: The Neo-Assyrian king Tiglath-Pileser I (1115–1077 B.C.) forced the kingdom of Malidiya to pay tribute to Assyria. Malidiya continued to prosper until the Neo-Assyrian king Sargon II (722–705) sacked the city in 712 BC. At the same time, the Cimmerians and Scythians invaded Anatolia and the city declined. Some occupation continued on the site into the Hellenistic and Roman periods—a smithy with four ovens has been excavated from the Roman period. There was a long gap in occupation between the mid-7th century and renewed use of the site in the late 12th or early 13th century.


title: Malatya

text: Archeologists first began to excavate the site of Arslantepe in the 1930s, led by French archaeologist Louis Delaporte. Since 1961, an Italian team of archaeologists, led by Marcella Frangipane in the early 21st century, has been working at the site.


title: Malatya

text: From the 6th century BC, Melid was ruled by the Armenian Orontid Dynasty, who were subjects of the Achaemenid Empire. After periods of Achaemenid and Macedonian rule, Melid (Malatya) was part of the Kingdom of Lesser Armenia.


title: Malatya

text: Diodorus Siculus wrote that Ptolemaeus of Commagene attacked and captured the Melitene from the Kingdom of Cappadocia, but couldn't keep it for long since Ariarathes V of Cappadocia marched against him, with a strong army, and Ptolemaeus withdrew.


title: Malatya

text: The Kingdom of Cappadocia, ruled by the House of Ariobarzanes (95–36 BC), became a Roman client in 63 BC. After the Kingdom's annexation by the Roman Empire in 17 AD, the settlement was re-established as Melitene in 72 AD on a different site, as the base camp of Legio XII "Fulminata" (which continued to be based there until at least the early 5th century according to Notitia Dignitatum). The legionary base of Melitene controlled access to southern Armenia and the upper Tigris. It was the end point of the important highway running east from Caesarea (modern Kayseri). The camp attracted a civilian population and was probably granted city status by Trajan in the early 2nd century AD, with the rank of Municipium. It is known for being a prolific source of imperial coins minted from the 3rd to the early 5th centuries.


title: Malatya

text: Procopius wrote admiringly of the temples, agoras and theatres of Melitene, but no evidence of them now remains. It was a major center in the province of Armenia Minor ( "Pokr Hayk",) created by Diocletian from territory separated from the province of Cappadocia. In 392 A.D., emperor Theodosius I divided Armenia Minor into two new provinces: First Armenia, with its capital at Sebasteia (modern Sivas); and Second Armenia, with its capital at Melitene.


title: Malatya

text: During the reign of the Emperor Justinian I (527–565), administrative reforms were carried out in this region: The province of Second Armenia was renamed Third Armenia ("Armenia Tertia"), with its territory unchanged and its capital still at Melitene. Melitene's city walls were constructed in the 6th century by the emperors Anastasius and Justinian. Those that still stand mostly date from the Arab period, perhaps of the 8th century, though retaining the layout of and some remnants from earlier building phases. The city was captured by the Rashidun Caliphate in 638. It then became a base for their raids deeper into the Byzantine Empire, a policy continued by the Abbasids. In the 9th century, under its semi-independent emir Umar al-Aqta, Malatya rose to become a major opponent of the Byzantine Empire until Umar was defeated and killed at the Battle of Lalakaon in 863. The Byzantines attacked the city many times, but did not finally take it until the campaigns of John Kourkouas in 927–934. After successively accepting and renouncing vassal status, the city was finally taken in May 934, its Muslim inhabitants driven out or forced to convert, and replaced by Greek and Armenian settlers.


title: Malatya

text: The West Syrian diocese of Melitene has been established since the sixth century and was as well surrounded by other bishoprics belonging to nearby towns. In the tenth century the Emperor Nikephoros II Phokas convinced the Jacobite Patriarch of Antioch to move the head of the patriarchate into the region of Melitene. The city was attacked and devastated by the Seljuks in 1058.


title: Malatya

text: In the period that followed the Turkish advance into the Byzantine Empire after the defeat at the Battle of Manzikert, Gabriel of Melitene, a Greek Orthodox Armenian who had risen from the ranks of the Byzantine army, governed the city. From 1086 to 1100 he preserved his independence with the aid of the Beylik of the Danishmends. After 1100, he invested heavily on the commanders of the First Crusade, especially Bohemond I of Antioch and Baldwin of Boulogne.


title: Malatya

text: The Danishmends took over Malatya one year later in 1101 (see Battle of Melitene). With the Anatolian Seljuk Sultanate based in Konya taking over the Beylik of Danishmend in the late 12th century, Malatya became part of their realm. Under Danishmend and Seljuk rule, Malatya became a centre of knowledge as many Persian and Arabic scholars took residence in the city. The Seljuk Sultanate also undertook an extensive development of the city. After being ruled by the Ilkhanids for around 50 years at the end of the 13th century, the Muslim population of the city invited the Mamluk Sultanate to Malatya in 1315. On 28 April 1315, the Mamluk army entered the city; this was followed by the looting of the city by the army. The Eretna Dynasty gained sovereignty over the city for some time, but from 1338 onwards the Mamluks secured its control. However, for the latter part of the 14th century, the control of the city fluctuated between the Mamluks and the Dulkadirids. The city was captured by the Ottoman army led by Yavuz Sultan Selim on 28 July 1516 and remained under Ottoman rule until the establishment of the Republic of Turkey. Under the Ottomans, the city lost the quality of being on the frontiers, as well as the allure it held in the Middle Ages. It was plagued between the 16th and 18th centuries by successive rebellions.


title: Malatya

text: The current city of Malatya was founded in 1838, with the old site of Mitilene now designated as Old Malatya. The reason behind the displacement of the city center was that the Ottoman army settled and stayed, probably by seizing from its settlers, in the previous city center, in the winter of 1838–39, before taking the road for Battle of Nezib in 1849. Because of this, citizens of the Malatya established the new city based on a near town called Aspuzu. The city saw rapid expansion in the 19th century, and by the end of the century it had around 5000 households, 50 mosques, six madrasas, nine inns and five Turkish baths. Ottoman sources also recorded ten churches. In 1889 and 1890, Malatya was struck by two large fires that destroyed thousands of shops. The city was then hit by the 1893 Malatya earthquake, which killed 1300, destroying 1200 houses and four mosques. A cholera outbreak that subsequently took place in 1893 killed 896 people. The destroyed buildings were rebuilt in 1894.


title: Malatya

text: Malatya was the scene of anti-Armenian violence during the late nineteenth and early twentieth centuries. During the Hamidian Massacres of 1895–1896, 7,500 Armenian civilians were massacred and Armenian villages in the rural countryside of Malatya were destroyed. In the aftermath, a Red Cross team sent to Malatya and led by Julian B. Hubbell concluded that 1,500 Armenian houses had been pillaged and 375 burned to the ground.


title: Malatya

text: According to the 1913 "Catholic Encyclopedia", Malatya city was inhabited by 30,000 people with a clear ethnic Turkish majority, and an Armenian population of 3,000, of whom 800 were Catholics. Of the five churches in the city, three belonged to the Armenians. In the spring of 1915, the vast majority of the Armenians of the town were rounded up by Ottoman authorities and deported on death marches as part of the Armenian genocide. According to reports of the governor of the Malatya district, of the 6,935 registered Armenians in Malatya, 197 were left in the town as artisans. In the early Republican era, Malatya became the centre of Malatya Province and enjoyed a substantial growth in terms of population as well as covered area. This development was further accelerated by the construction of the Adana-Fevzipaşa-Malatya railroad in 1931, and a few years later in 1937, by the construction of the Sivas-Malatya railroad.


title: Malatya

text: Until recently the city was home to departments of the Turkish Aeronautical Association, Turkish Hearths, and Turkish Red Crescent. In 2014 Malatya became a metropolitan municipality in Turkey, alongside 12 other cities, by a Turkish governmental law that was passed in 2012. Following the 2014 Turkish local elections the new municipality officially took office. Today the city is generally considered to be a notable trade and industrial hub, as well as a cultural centre point thanks to the İnönü University that was established on 28 January 1975.


title: Malatya

text: According to German geographers Georg Hassel and Adam Christian Gaspari, Malatya was composed of 1200 to 1500 houses in early 19th century, inhabited by Ottomans, Turkmens, Armenians, and Greeks. William Harrison Ainsworth visited the city of Malatya in 1837, noting a population of 8 thousand Muslims, chiefly Turkomans, and 3 thousand Armenians.


title: Malatya

text: Malatya has a cold semi-arid climate (Köppen climate classification: "BSk") or a temperate continental climate (Trewartha climate classification: "Dca"), with hot, dry summers and cold, snowy winters.


title: Malatya

text: The economy of the city of Malatya is dominated by agriculture, textile manufacturing, and construction. As with the general province, apricot production is important for subsistence in the central district. Malatya is the world leader in apricot production. The city has two organized industrial zones, where the chief industry is textile.


title: Malatya

text: Historically, Malatya produced opium. The British, in 1920, described the opium from Malatya as having "the highest percentage of morphia".


title: Malatya

text: Köfte (meatballs) have a special place in the local cuisine as do apricots, which are used in many meals from kebabs (meat broiled or roasted in small pieces) to desserts. There are over 70 kinds of köfte, usually made with wheat and other ingredients. Kağıt kebabı is one of the most important local specialties – a dish made of lamb and vegetables broiled in a wrapper, usually oily paper. Other important dishes are a variety of stuffed specialties, including stuffed mulberry leaves, cabbage, chard, lettuce wraps with olive oil, vine leaves, cherry leaves, bean leaves, grape leaves, beets, onions, and zucchini flowers.


title: Malatya

text: The Malatya region is best known for its apricot orchards. About 50% of the fresh apricot production and 95% of the dried apricot production in Turkey, the world's leading apricot producer, is provided by Malatya and the name of the fruit is synonymous with the city. It reached its most delicious and sophisticated form in the fertile soil of Malatya, nourished from the alluvial soil of the Euphrates. Overall, about 10–15% of the worldwide crop of fresh apricots, and about 65–80% of the worldwide production of dried apricots comes out of Malatya. Malatya apricots are often sun-dried by family-run orchards using traditional methods, before they are collected and shipped throughout the world.


title: Malatya

text: Malatya Fair and Apricot Festivities has been held since 1978, every year in July, to promote Malatya and apricots and to convene the producers to meet one another. During the festivities, sports activities, concerts and apricot contests are organized.


title: Malatya

text: Near the Apricot Festivities, there are other annual activities in summer. Cherry Festivities at Yeşilyurt District of Malatya and Grape Festivities at Arapgir District are organized annually.


title: Malatya

text: Malatya's initial team is Malatyaspor whose colors are red and yellow. Malatyaspor competes in Malatya First Amateur League. Malatyaspor plays their home games in Malatya İnönü Stadium in the city's center. Malatya's other team is Yeni Malatyaspor (formerly Malatya Belediyespor) whose colors are black and yellow (formerly green and orange). They compete in Süper Lig.


title: Malatya

text: Malatya is administered by a metropolitan municipality, which covers the whole province. There are two central districts, each with their own municipalities, that make up the city of Malatya: these are Battalgazi and Yeşilyurt. Battalgazi has a population of around 300,000 and covers 47 central neighbourhoods, three rural former municipalities and 28 villages. Yeşilyurt contains 36 central neighborhoods, three rural former municipalities and 16 villages, and has a population of around 250,000. The metropolitan municipality was won in 2014 by Ahmet Çakır of the ruling AK Party with 62.9% of the vote; the candidate of the CHP was in the second place with 16.7% of the vote. Battalgazi was won by Selahattin Gürkan of the AK Party with 63.1% of the vote and Yeşilyurt was won Hacı Uğur Polat of the AK Party with 62.4% of the vote. The two central districts voted overwhelmingly in favour of the AK Party in the June 2015 election with AK Party winning 66.2% of the vote in Battalgazi and 56.9% in Yeşilyurt. These percentages further increased in the November 2015 election to 74.7% and 66.2% respectively. In both elections, CHP had the second place in both districts with its votes remaining in the range of 10–18%.


title: Malatya

text: İnönü University, one of the largest universities in eastern Turkey, is in Malatya. It was established on 28 January 1975 and has three institutions and nine faculties, with more than 2,500 faculty and 20,000 students. Its larger campus is in the eastern part of Malatya.


title: Malatya

text: There are 162 high schools and some of the well-known, national high school entrance examination-based high schools in Malatya are; Fethi Gemuhluoglu High School of Science, Private Turgut Özal Anatolian High School, Malatya Science High School and Malatya Anatolian High School.


title: Malatya

text: By its relative advance in industrial growth, Malatya is a pole of attraction for its surrounding regions, in commercial and inward immigration. The city is at a key junction in Turkey's road and rail network. By rail, it serves as the junction for Aleppo through Syria–Samsun line. The bus terminal is 5 km west of the city center; there are regular intercity services to and from Ankara, Istanbul and Gaziantep. The railway station is 3 km west of the city center, and daily express trains run to Elazığ, Diyarbakır, Istanbul and Ankara. These stations are easily reached by taxis and dolmuş services.


title: Malatya

text: Construction of a trolleybus line was under way in 2013, and the line opened in March 2015, operating under the name Trambus. It serves a route that is around in length and connects Maşti bus station (Maşti Otogar), in the west, with İnönü University (İnönü Üniversitesi), in the east.


title: Malatya

text: Malatya's airport, Erhaç Airport, is 26  km west of the city center. There are daily domestic flights from Istanbul, Ankara and İzmir. Since 2007 there have been international flights during the summer months. These flights are especially from German cities to Malatya, and most of the passengers are Turkish citizens or their descendants who are living and working in Germany.


title: Poll tax riots

text: The poll tax riots were a series of riots in British towns and cities during protests against the Community Charge (commonly known as the "poll tax"), introduced by the Conservative government of Prime Minister Margaret Thatcher. The largest protest occurred in central London on Saturday 31 March 1990, shortly before the tax was due to come into force in England and Wales.


title: Poll tax riots

text: The advent of the poll tax was due to an effort to alter the way the tax system was used to fund local government in the UK. The system in place until this time was called "rates" and had been in place in some form from the beginning of the 17th century. The rates system has been described as "a levy on property, which in modern times saw each taxpayer paying a rate based on the estimated rental value of their home".


title: Poll tax riots

text: The Thatcher government had long promised to replace domestic rates, which were unpopular, especially among Conservative voters. They were seen by many as an unfair way of raising revenue for local councils. It was levied on houses rather than people.


title: Poll tax riots

text: The proposed replacement was a flat-rate per capita Community Charge—"a head tax that saw every adult pay a fixed rate amount set by their local authority". The new Charge was widely called a "poll tax" and was introduced in Scotland in 1989 and in England and Wales a year later. The Charge proved extremely unpopular; while students and the registered unemployed had to pay 20%, some large families occupying relatively small houses saw their charges go up considerably, and the tax was thus accused of saving the rich money and moving the expenses onto the poor.


title: Poll tax riots

text: In November 1989 the All Britain Anti-Poll Tax Federation was set up by the Militant tendency. Other groups such as the 3D () network provided national coordination for anti-poll tax unions who were not aligned to particular political factions. After the leadership of the Labour Party refused to back any demonstration against the poll tax, the All Britain Federation called a demonstration in London for 31 March 1990, the day before the tax was due to be launched.


title: Poll tax riots

text: During the early months of 1990, over 6,000 anti-poll tax actions were held nationwide, with demonstrations in cities around England and Wales drawing together thousands of protestors, in a wave of protests which attracted notably large numbers in the South West. On 6 March, a 5,000-strong demonstration in Bristol escalated into clashes, leading to mounted police charging the crowd and arresting 26 demonstrators, with injuries being sustained by both sides. The following day, police baton charged demonstrators in Hackney, escalating the demonstration into a riot, during which 50 high street shop windows were smashed and 56 rioters were arrested. Demonstrations were routinely called in places where councils discussed the poll tax, some resolving peacefully and others escalating into riots, with numerous cases of protestors storming council chambers and forcing meetings to be called off - although none prevented the tax from being implemented. Both Prime Minister Margaret Thatcher and opposition leader Neil Kinnock responded by blaming the demonstrations on outside agitators, respectively calling them "rent a mob extremists" and "Toy Town revolutionaries".


title: Poll tax riots

text: As coaches bound for London were booked all around the country, it soon became clear that the planned demonstration was going to be larger than the 20,000 expected by Militant, who were more focused on the non-payment campaign than political demonstrations. When campaigners met with Metropolitan Police and gave them an expected number of 30,000, the chief police officer responded with laughter, as their own intelligence indicated far fewer numbers. In acknowledgement of the square's capacity, the organisers asked to divert the march to Hyde Park but were denied.


title: Poll tax riots

text: On 31 March 1990, people began gathering in Kennington Park from noon. Between 180,000 and 250,000 arrived. The police report, a year after the riot, estimated the crowd at 200,000. An abandoned rally by the Labour Party may have contributed to the number of protesters. The march began at Kennington Park at 1:30pm, moving faster than planned because some of the crowd had forced open the gates of the park, presumably in order to avoid being forced through smaller gates. This split the march over both sides of the road, and protesters continued in much the same way for the rest of the route.


title: Poll tax riots

text: By 2:30pm, Trafalgar Square was nearing its capacity. Unable to continue moving easily into Trafalgar Square, at about 3pm the march stopped in Whitehall. The police, worried about a surge towards the new security gates of Downing Street, blocked the top and bottom of Whitehall, and lined the pavement refusing to let people leave the road. Additional police units were dispatched to reinforce the officers manning the barrier blocking the Downing Street side of Whitehall. The section of the march which stopped opposite Downing Street reportedly contained veteran anarchists and a group called "Bikers Against The Poll Tax", some of whom became aggravated by reportedly heavy-handed arrests, including one of a man in a wheelchair.


title: Poll tax riots

text: Mounted riot police were brought in behind this immobilised section of the march, in theory to clear the protesters from Whitehall, despite both retreat and advance being blocked by further lines of police. Meanwhile, the tail-end had been diverted at the Parliament Square end of Whitehall, and the anarchists it had attracted were at the head of an unpoliced portion of the march. These people walked to Richmond Terrace, bringing the diverted march into Whitehall, opposite Downing Street and behind the police lines on that side of Whitehall. The protesters at the rear of the stationary group, being faced by mounted police seemingly preparing to charge, sat down on the road for safety. Despite black-clothed and scarf-masked people running through seemingly from behind the police lines and urging them up, they remained seated until physically dragged away and arrested for "obstructing Whitehall". The mounted police then advanced at speed, forcing the Whitehall section of the march to fight its way into Trafalgar Square.


title: Poll tax riots

text: From 4pm, with the rally nearly officially over, contradictory reports began to arise. According to some sources, mounted riot police (officially used in an attempt to clear Whitehall of protesters) charged out of a side street into the crowd in Trafalgar Square. Whether intentional or not, this was interpreted by the crowd as a provocation, fueling anger in the Square where the police had already been pushing sections of crowd back into corners, leaving no way out except through the police. At 4:30pm, four shielded police riot vans drove into the crowd (a tactic in dealing with mass demonstrations at the time) outside the South African Embassy, attempting to force through to the entrance to Whitehall where police were re-grouping. The crowd attacked the vans with wooden staves and scaffolding poles. Soon after, rioting began to escalate.


title: Poll tax riots

text: By 4:30pm, police had closed the main Underground stations in the area and southern exits of Trafalgar Square, making it difficult for people to disperse. Coaches had been parked south of the river, so many marchers tried to move south. At this point, Militant Fed stewards were withdrawn on police orders. Sections of the crowd, including unemployed coal miners, climbed scaffolding and rained debris on the police below. At 5pm, builders' cabins below the scaffolding caught fire, followed by a room in the South African Embassy on the other side of the Square. The smoke from the fires caused near darkness in the Square and produced a 20-minute lull in rioting.


title: Poll tax riots

text: Between 6 and 7pm, the police opened the southern exits of the Square and slowly moved people out of Trafalgar Square. A large section of the crowd was moved back down Northumberland Avenue and allowed over the River Thames in order to return to their organised transport. Two other sections of demonstrators, now very angry and aggravated, were pushed north into the wealthy shopping streets of West End, which suffered reported theft and vandalism. Published accounts detail shop windows being broken, goods looted, and cars being overturned in Piccadilly Circus, Oxford Street, Regent Street, Charing Cross Road, and Covent Garden. Police ordered pubs to close.


title: Poll tax riots

text: The demonstrators mixed in with the general public. By midnight, released figures claimed 113 were injured, mostly members of the public, but also police officers, and 339 people had been arrested. Scuffles between rioters and police continued until 3am. Rioters attacked numerous shops, most notably Stringfellow's nightclub, and car showrooms, and Covent Garden cafés and wine bars were set ablaze, along with motor vehicles.


title: Poll tax riots

text: The response of the Metropolitan Police, the Government, the Labour Party and the labour movement and some of the Marxist and Trotskyist left, notably the Militant tendency, was to condemn the riot as senseless and to blame anarchists. Tommy Sheridan of Scottish Militant Labour condemned the protesters. The next day, Steve Nally, also a Socialist Party member and Secretary of the All Britain Anti-Poll Tax Federation, said that they would "hold an enquiry and name names". Many others denounced the All Britain Anti-Poll Tax Federation position and defended those who fought back against the police attacks. Danny Burns (secretary of the Avon Federation of anti-Poll Tax Unions) for example said: "Often attack is the only effective form of defence and, as a movement, we should not be ashamed or defensive about these actions; we should be proud of those who did fight back."


title: Poll tax riots

text: The Socialist Workers' Party (SWP), which was blamed for the violence by some in the media and by Labour MP George Galloway, refused to condemn protesters, calling the events a "police riot". Pat Stack, then a member of the SWP's Central Committee, told "The Times": "We did not go on the demonstration with any intention of fighting with the police, but we understand why people are angry and we will not condemn that anger."


title: Poll tax riots

text: A 1991 police report concluded there was "no evidence that the trouble was orchestrated by left-wing anarchist groups". Afterwards, the non-aligned Trafalgar Square Defendants Campaign was set up, committed to unconditional support for the defendants, and to accountability to the defendants. The Campaign acquired more than 50 hours of police videos. Use of these was influential in acquitting many of the 491 defendants, suggesting the police had fabricated or inflated charges.


title: Poll tax riots

text: In March 1991, the police report suggested additional contributing internal police factors: squeezed overtime budgets which led to the initial deployment of 2,000 men, insufficient given the number of demonstrators, a lack of riot shields (400 "short" riot shields were available), and erratic or poor-quality radio, with a lag of up to five minutes in the computerised switching of radio messages during the evening West End rioting. Prime Minister Thatcher was at a conference of the Conservative Party Council in Cheltenham; the poll tax was the focus of the conference. As coverage of the demonstrations unfolded, speculation developed for the first time about Thatcher's position as leader.


title: Poll tax riots

text: Vehement national opposition to the poll tax (which was especially strong in the north of England and Scotland) was the most important factor in its abolition. An opinion poll conducted in 1990 indicated that 78% of those polled and who expressed an opinion gave preference to alternative means of taxation.


title: Poll tax riots

text: John Major, initially in his first Prime Minister's Questions, only said his government would "look at" the Community Charge, and if necessary "ensure it is accepted throughout the country", though it is a common misconception that he instantly scrapped it. In 1991, he then announced in a parliamentary speech as Prime Minister that the poll tax was to be replaced by Council Tax. The council tax came into effect in 1993. Similar to the previous system of rates, the new system set tax levels on property value. Although it was not directly linked to income, the council tax took ability to pay into consideration, unlike the poll tax.


title: Álvaro González (footballer, born 1990)

text: Álvaro González Soberón (born 8 January 1990), known simply as Álvaro, is a Spanish professional footballer who plays as a central defender for Saudi Arabian club Al Nassr FC.


title: Álvaro González (footballer, born 1990)

text: He began his career with Racing de Santander, and had spells playing for Zaragoza, Espanyol and Villarreal for La Liga totals of 233 matches and five goals. He signed for Marseille in 2019, initially on loan.


title: Álvaro González (footballer, born 1990)

text: Born in Potes, Cantabria, Álvaro was a product of his hometown club Racing de Santander's youth ranks, and made his professional debut in the 2009–10 season, appearing in 23 games for the reserves in the Segunda División B and being relegated. He made his first-team and La Liga debut on 1 May 2011, starting and playing 82 minutes in a 2–0 home win against RCD Mallorca.


title: Álvaro González (footballer, born 1990)

text: In May 2011, Álvaro signed a four-year contract with Racing. Due to injuries to teammates, he began 2011–12 in the starting eleven. On 14 November, a €2 million offer from FC Dnipro Dnipropetrovsk was rejected. He remained a starter until the end of the campaign, when they were relegated.


title: Álvaro González (footballer, born 1990)

text: On 11 July 2012, Álvaro signed a four-year deal with Real Zaragoza. In his first year he was again first choice, but the Aragonese side also dropped down to the Segunda División.


title: Álvaro González (footballer, born 1990)

text: Álvaro scored his first goal for the team on 10 November 2012, in a 5–3 victory over Deportivo de La Coruña.


title: Álvaro González (footballer, born 1990)

text: On 28 July 2014, Álvaro returned to the top flight after agreeing to a five-year contract with RCD Espanyol. In preparation for 2016–17 he was made fourth captain behind Javi López, Víctor Sánchez and Víctor Álvarez, but on 31 August 2016 he was transferred to Villarreal CF on a four-year deal.


title: Álvaro González (footballer, born 1990)

text: Álvaro made his competitive debut for Villarreal on 15 September 2016, in a 2–1 home win against FC Zürich in the group stage of the UEFA Europa League. His first league appearance came ten days later in the 3–1 home defeat of CA Osasuna where he played 90 minutes and gave away a penalty which resulted in the opponent's goal.


title: Álvaro González (footballer, born 1990)

text: On 19 July 2019, Álvaro joined French club Olympique de Marseille on a season-long loan, with a mandatory purchase option of €5 million on 30 June 2020. During a Ligue 1 match against Paris Saint-Germain F.C. on 13 September 2020, he was involved in a mass brawl which resulted in five players receiving red cards. Following the incident, PSG forward Neymar claimed that the incident began following racist remarks from Álvaro.


title: Álvaro González (footballer, born 1990)

text: Álvaro scored his first goal in the French top tier on 17 February 2021, opening the 3–2 home win over OGC Nice. In March of the following year, having ceased to be part of manager Jorge Sampaoli's plans, he profited from an international break to return to his country, and subsequently failed to report to training.


title: Álvaro González (footballer, born 1990)

text: On 29 August 2022, Álvaro agreed to a one-year deal at Al Nassr FC of the Saudi Professional League, with the option to extend for another.


title: Álvaro González (footballer, born 1990)

text: Álvaro earned his only cap for Spain at under-21 level on 12 June 2013, in a 3–0 defeat of the Netherlands in the group phase of the UEFA European Championship. His team went on to win the tournament in Israel.


title: American gentry

text: The Colonial American use of "gentry" was not common. Historians use it to refer to rich landowners in the South before 1776. Typically large scale landowners rented out farms to white tenant farmers. North of Maryland, there were few large comparable rural estates, except in the Dutch domains in the Hudson Valley of New York.


title: American gentry

text: The families of Virginia (see First Families of Virginia) who formed the Virginia gentry class, such as General Robert E. Lee's ancestors, were among the earliest settlers in Virginia. Lee's family of Stratford Hall was among the oldest of the Virginia gentry class. Lee's family is one of Virginia's first families, originally arriving in the Colony of Virginia from the Kingdom of England in the early 17th century. The family's founder was Richard Lee I, Esquire, "the Immigrant" (1618–1664), from the county of Shropshire. Robert E. Lee's mother grew up at Shirley Plantation, one of the most elegant homes in Virginia. His maternal great-great grandfather, Robert "King" Carter of Corotoman, was the wealthiest man in the colonies when he died in 1732.


title: American gentry

text: Thomas Jefferson, the patron of American agrarianism, wrote in his "Notes on Virginia" (1785), "Those who labor in the earth are the chosen people of God, if He ever had a chosen people, whose breasts He has made His peculiar deposit for substantial and genuine virtue." Jefferson who spent much of his childhood at Tuckahoe Plantation was a great-grandson of William Randolph, a colonist and land owner who arrived in Virginia from England in the mid-17th century. Randolph played an important role in the history and government of the English colony of Virginia.


title: American gentry

text: George Washington was a commercial farmer much interested in innovations, and happily quit his public duties in 1783 and again in 1797 to manage his plantation at Mount Vernon. Washington lived an upper-class lifestyle. Fox hunting was a favorite leisure activity enjoyed by the gentry, worldwide. Like most planters in Virginia, Washington imported luxury items and other fine wares from England. He paid for them by exporting his tobacco crop.


title: American gentry

text: Extravagant spending and the unpredictability of the tobacco market meant that many Virginia planters' financial resources were unstable. Thomas Jefferson was deeply in debt when he died, and his heirs were forced to sell Monticello to cover his debts. In 1809, Henry Lee III, Robert E. Lee's father, went bankrupt and served one year in debtors' prison in Montross, Virginia; Robert was two years old at the time. Despondent and nearly broke, William Byrd III of Westover Plantation committed suicide in 1777.


title: American gentry

text: Wood notes that "Few members of the American gentry were able to live idly off the rents of tenants as the English landed aristocracy did." Some landowners, especially in the Dutch areas of Upstate New York, leased out their lands to tenants, but generally—"Plain Folk of the Old South"—ordinary farmers owned their cultivated holdings.


title: American gentry

text: The First Families of Virginia originated with colonists from England who primarily settled at Jamestown and along the James River and other navigable waters in the Colony of Virginia during the 17th century. As there was a propensity to marry within their narrow social scope for many generations, many descendants bear surnames which became common in the growing colony.


title: American gentry

text: Many of the original English colonists considered members of the First Families of Virginia emigrated to the Colony of Virginia during the English Civil War and English Interregnum period (1642–1660). Royalists left England on the accession to power of Oliver Cromwell and his Parliament. Because most of Virginia's leading families recognized Charles II as King following the execution of Charles I in 1649, Charles II is reputed to have called Virginia his "Old Dominion", a nickname that endures today. The affinity of many early aristocratic Virginia settlers for the Crown led to the term "distressed Cavaliers", often applied to the Virginia oligarchy. Many Cavaliers who served under King Charles I fled to Virginia. Thus, it came to be that the First Families of Virginia often refer to Virginia as "Cavalier Country". These men were offered rewards of land, etc., by King Charles II, but they had settled Virginia and so remained in Virginia.


title: American gentry

text: Most of such early settlers in Virginia were so-called "Second Sons". Primogeniture favored first sons' inheriting lands and titles in England. Virginia evolved in a society of second or third sons of Englishmen who inherited land grants or land in Virginia. They formed part of the Southern elite in Colonial America.


title: American gentry

text: Many of the great Virginia dynasties traced their roots to families like the Lees and the Fitzhughs, who traced their lineage to England's county families and baronial legacies. Some, however, came from much more humble origins; such families as the Shackelfords, who gave their name to a Virginia hamlet, rose from modest beginnings in England to a place in the Virginia firmament. Some families, like the Gilliams, arrived in Virginia in the 17th century as indentured servants; by the late 18th century they had amassed several large plantations, including Weston Manor, and became landed gentry in the colony. Families such as the Mathews from later Scotch-Irish immigration also formed political dynasties in Old Virginia. At the same time, other once-great families were decimated not only by the English Civil War, but also by the enormous power of the London merchants to whom they were in debt and who could move markets "with the stroke of a pen."


title: American gentry

text: The Colonial families of Maryland were the leading families in the Province of Maryland. Several also had interests in the Colony of Virginia, and the two are sometimes referred to as the Chesapeake Colonies. Many of the early settlers came from the West Midlands in England, although the Maryland families were composed of a variety of European nationalities, e.g. French, Irish, Welsh, Scottish, and Swedish, in addition to English.


title: American gentry

text: The Carroll family is an example of a prominent political family from Maryland, of Irish descent and origin in the ancient kingdom of Éile, commonly anglicized Ely, as a branch of the ruling O'Carroll family. Another is the Mason family of Virginia, who descended from the progenitor of the Mason family, George Mason I, a Cavalier member of the Parliament of England born in Worcestershire, England. The Riggin family of Maryland who also had holdings on the Eastern Shore of Virginia is of Irish descent and origin in the Kingdom of Munster. The Elisha Riggin House, built by Crisfield shipbuilder Elisha Riggin is listed on the National Register of Historic Places.


title: American gentry

text: Charles I of England granted the province palatinate status under Cecilius Calvert, 2nd Baron Baltimore. The foundational charter created a quasi-aristocracy (the lords of the manor) for Maryland. Maryland was uniquely created as a colony for Catholic settlers to find a haven from religious persecution, but Anglicanism eventually came to dominate, partly through influence from neighboring Virginia.


title: Grandeur of the Seas

text: Grandeur of the Seas is a Vision-class cruise ship owned and operated by Royal Caribbean International. Features include a full-service spa, six whirlpools, an outdoor jogging track and a number of bars and restaurants. It was announced on 16 October 2019 that "Grandeur of the Seas" will be transferred in the second quarter of 2021 to Pullmantur Cruises, in which Royal Caribbean has a 49% stake. These plans were cancelled in mid-2020.


title: Grandeur of the Seas

text: "Grandeur of the Seas" features an on-board casino, Casino Royale, on Deck 5. The casino has many slot machines, variations of poker, craps, blackjack, and a bar. There are also eight themed bars and lounges, including the pool deck bar, South Pacific Lounge, Schooner, The Viking Lounge, and several unnamed areas. There is an open atrium, called the Centrum, that stretches from deck 4 to deck 10. An outdoor pool is found on the top open deck (deck 9) along with 4 whirlpool areas, 2 on the starboard side and 2 on the port side. Off of the pool is the Solarium area with a pool and 2 whirlpools, 1 on the starboard side and 1 on the port side. There is a jogging track on deck 10. Several youth facilities are scattered about the ship, including an arcade area, a teen nightclub, and the Explorations desk on deck 5. A special edition of The Compass called Explorations is published specifically for children. The Spa and Fitness Center can be found on deck 9. The main dining area, the Great Gatsby, is located on decks 4 and 5. Guests are seated in two shifts on deck four of the main dining (5:30 pm ship's time) and 8:00 pm (ship's time) or anytime in my time dining from 5:00–830 PM (ship's time) on deck 5. The shows in The Palladium (the main theater, found on decks 5 and 6), are designed around the dining room times. The ship also contains a conference center, a library with an honor checkout system and a buffet called The Windjammer Market Place, 2 shuffle board courts, a rock wall with areas for climbers of various skills, a photo shop, several stores specializing on jewelry, souvenirs, cigars, cigarettes, and liquor, and a piano area.


title: Grandeur of the Seas

text: "Grandeur of the Seas" was initially deployed on 7 night cruises from Miami, Florida, to the Eastern Caribbean from 1996 to 2000, when "Explorer of the Seas" was launched and took over the Grandeur's run. Since 2000, "Grandeur of the Seas" has been deployed in Europe as well as back in the Caribbean homeported in cities such as Tampa, Ft. Lauderdale, and New Orleans. Summers have been spent in Eastern US ports such as Norfolk, Virginia; Baltimore, Maryland and Philadelphia, Pennsylvania, visiting the Caribbean, Bermuda and the North East of the US and Canadian Maritimes.


title: Grandeur of the Seas

text: "Grandeur of the Seas" was based out of Panama in the winter of 2010/2011, replacing her sister ship, "Enchantment of the Seas". In 2013, "Grandeur of the Seas" replaced "Enchantment of the Seas" out of Baltimore when "Enchantment of the Seas" moved to Port Canaveral. , the ship offers cruises to Bermuda and the southeast US coast, the Bahamas, and the Southern Caribbean, all departing from Baltimore, Maryland.


title: Grandeur of the Seas

text: On July 28, 2021, Royal Caribbean announced that "Grandeur of the Sea" would homeport out of Bridgetown, Barbados for the winter 2021-2022 season, visiting southern Caribbean destinations on "island hopping" cruises.


title: Grandeur of the Seas

text: On 31 October 2000, "Grandeur of the Seas" lost power for 5.5 hours with power to lighting, plumbing and air conditioning restored by 10:45 a.m. The ship was towed to Willemstad, Curaçao where repairs were made and got back underway 12 hours late.


title: Grandeur of the Seas

text: On 20 April 2005, while docking in Costa Maya, Mexico, a long hole was torn in the hull of the ship. The hole was located on deck one of the ship approximately above the waterline and wide at its widest. The company said that winds and a current contributed to the accident. The next seven-day cruise was shortened to five as the ship had to remain in Costa Maya an extra 2 days awaiting materials to patch the hole. Royal Caribbean offered guests transportation back to New Orleans or onboard credit if they chose to stay with the ship. The ship was later dry docked and the damage was repaired.


title: Grandeur of the Seas

text: On 27 May 2013 at 2:50 am EDT, a fire broke out on the third deck of "Grandeur of the Seas". The fire was extinguished within three hours, and major damage was limited to the aftmost sections of decks 3, 4, and 5. As a precaution, all passengers were required to report to evacuation locations for several hours. No evacuation was necessary, and the ship was able to continue under her own power to the Bahamas. The remainder of the cruise was canceled and passengers were flown back to their point of origin from Freeport, Bahamas.


title: Grandeur of the Seas

text: On 16 January 2017, a lifeboat fell off of "Grandeur of the Seas" while it was docked in Charleston as part of a 10-day Bahamas cruise. The fall wire of the lifeboat was undergoing scheduled maintenance and the wire slipped during retrieval, causing the lifeboat to fall into the water. The lifeboat subsequently capsized. No injuries were reported and the cruise was not delayed after Royal Caribbean consulted with the US Coast Guard.


title: Grandeur of the Seas

text: In the early hours of 9 January 2018, "Grandeur of the Seas" experienced a loss of port side steering while on its way from Nassau, Bahamas to Baltimore, Maryland. The ship was able to travel safely, and turned around towards Freeport, Bahamas, but arrived in Port Canaveral on 10 January 2018. The detour and repair work ultimately added 2 nights to the 9-night cruise, with the ship arriving back in Baltimore on 13 January 2018 instead of the originally planned 11 January 2018. As a result, the subsequent cruise was shortened by two nights.


title: Grandeur of the Seas

text: On 12 March 2020, "Grandeur of the Seas" was denied a request to berth at the Austin "Babe" Monsanto Marine Terminal in the United States Virgin Islands because a crew member had travelled to Japan within the previous two weeks, even though no confirmed cases of coronavirus were on board. However, the ship was eventually allowed to return to transport a seriously-injured passenger to a hospital for treatment.


title: Ultraman (DC Comics)

text: Ultraman is the name of several supervillains appearing in stories published by DC Comics. The characters are all evil or corrupted alternate-universe counterparts of Superman. Ultraman first appeared in "Justice League of America" #29 (August 1964).


title: Ultraman (DC Comics)

text: Ultraman first appeared as the evil counterpart of Superman on the original Earth-Three. Having created the worlds of Earth-One, containing Silver Age superheroes, as well as Earth-Two, containing the Golden Age ones, DC Comics decided to expand the universe to include various themed universes. The first of these was Earth-Three, in which there were villainous counterparts of DC's heroes as well as heroic counterparts of DC's villains. The first Ultraman was killed in "Crisis on Infinite Earths" and Earth-Three was destroyed by an anti-matter storm and then wiped from continuity at the end of the series. This original Earth-Three Ultraman has reappeared briefly both in the 1980s "Animal Man" series and the later "Infinite Crisis" mini-series.


title: Ultraman (DC Comics)

text: Since "Crisis on Infinite Earths", DC has returned to the concept of Ultraman, creating two different characters with that name, often appearing only for a single issue in a story arc. There have been several appearances by both characters. The first version was an anti-matter version of Ultraman, created for Grant Morrison's "" graphic novel. This version has appeared several times and was slain at the conclusion of the "Final Crisis" series. Another version, closer to the Silver Age original Ultraman, appeared on the New 52 universe's Earth-3. Based on comments by Grant Morrison, this Earth-3 universe is not the pre-Crisis Earth-Three, making this a new character unrelated to previous versions.


title: Ultraman (DC Comics)

text: Unlike Superman, the Earth-Three Ultraman gets stronger every time he is exposed to kryptonite, originally developing a completely new superpower with each new exposure. In one such encounter, Ultraman acquired the ability to see through dimensional barriers, thus alerting the Crime Syndicate to the existence of alternate Earths in their first appearance. This allowed the Syndicate to attack the Justice League and Justice Society. Ultraman also differed from Superman in that his version of the planet Krypton had not exploded. Where the Earth-Three dimension kryptonite originated was never specifically listed in any published book.


title: Ultraman (DC Comics)

text: However, it is implied to be the same as ordinary kryptonite, as Ultraman got powers when exposed to Kryptonite from pre-Crisis Earth-One and Earth-Two, gaining heat vision from Barry Allen throwing some at him. Being exposed to a large chunk of it paralyzed him, as he acquired so many new superpowers that his body couldn't decide which one to use and he was therefore frozen in place. He does not appear to have been affected after this, so perhaps he can reject powers, or they wear off.


title: Ultraman (DC Comics)

text: In the early 1980s, Ultraman teamed up with Lex Luthor of Earth-One, and Alexei Luthor of Earth-Two, in an unsuccessful attempt to eliminate the Supermen of both Earth-One and -Two (the Supermen were, in turn, assisted by the heroic Alexander Luthor of Earth-Three). Later, Ultraman joined the rest of the Crime Syndicate in a teamup with a time traveling villain named Per Degaton who had found their prison and released them. Degaton used them in his attempt to conquer Earth-Two, by stealing nuclear missiles from the Cuban Missile Crisis of Earth Prime, though they planned to betray him. This proved unsuccessful as well, and he hurled them into the Future of Earth-1, having made sure this would happen if they touched him, and the events were wiped from the timeline afterwards. The original Ultraman was eliminated in the 1985 12-issue limited series "Crisis on Infinite Earths". Distraught at the fact that his superpowers were useless at the one time he actually needed them, he flew straight into the anti-matter cloud that was destroying Earth-Three, grimly informing Power Ring, "I do what I have done all my life. I fight... to the very end!".


title: Ultraman (DC Comics)

text: After his death, the Pre-"Crisis" Ultraman showed up in the pages of "Animal Man". There he learned that he was seemingly a comic book character himself, who existed only for the entertainment of others. He also fought Overman, another pre-"Crisis" alternate universe version of Superman who had been infected by a sexually transmitted disease, became insane and killed, seemingly for the sake of killing. This Ultraman later faded into the mask of the Psycho-Pirate, who, for a time, was the only one who remembered the Pre-Crisis multiverse.


title: Ultraman (DC Comics)

text: In "One Year Later" there are hints that a man controlling Kandor, under the name Kal-El, could be Ultraman. He has been using the help of a group of followers called the "Praisesingers" and the guidance of the "Holy Mother". Supergirl and Power Girl fight his efforts, causing his cult-like following to falter. This leader also slays several of his own people to keep political information quiet. It has now been revealed that this Kal-El is indeed Ultraman, who was saved from the Crisis and brainwashed by Saturn Queen, his "mother", one of the masterminds behind the "Absolute Power" arc in "Superman/Batman". This version appears to be a much weaker version, as he receives a vicious beating from Supergirl not once, but twice.


title: Ultraman (DC Comics)

text: An additional incarnation of the Pre-"Crisis" Earth-Three Ultraman has made appearances most recently in "Infinite Crisis" where Alexander Luthor Jr. wanted to create so-called "perfect beings" out of his models of long-dead father Alexander Luthor Sr., the lone super-hero of Earth-Three, Superman (both of Earth-One and Earth-Two), Wonder Woman (of Earth-One and Two) and the Earth-Three Ultraman and Superwoman.


title: Ultraman (DC Comics)

text: During the "Convergence" storyline, Ultraman was with the Crime Syndicate when they planned to free Superwoman from death row. After they failed and the domes fell around the various cities, Ultraman engaged the Superman of the Justice Legion.


title: Ultraman (DC Comics)

text: In 1999, Ultraman was reintroduced in the "" graphic novel. The Crime Syndicate of America (CSA) is revealed for the first time to the Justice League by Alexander Luthor, the heroic antimatter counterpart to Lex Luthor. In this continuity, the CSA comes from the Antimatter Universe, each member being the antimatter counterpart to a core League member.


title: Ultraman (DC Comics)

text: Unlike the original pre-"Crisis" Earth-Three Kryptonian Ultraman, the antimatter Ultraman was fully rewritten for modern continuity as Lieutenant Clark Kent, a human astronaut from the antimatter Earth and no longer a Kryptonian matching Superman exactly. After his ship imploded into hyperspace, an unknown alien race reconstructed Kent in an attempt to repair the damaged astronaut, which ended up altering the human both mentally and physically, giving him ultrapowers similar to Superman's superpowers. According to Alexander Luthor, the process also twisted Ultraman's mind. In contrast to Superman, Ultraman's power relies on his proximity and exposure to a substance called Anti-Kryptonite; the longer and farther he is separated from it, the weaker he becomes. This substance has repeatedly been shown to have no apparent effect on Superman, just as Kryptonite has been shown to have no effect on Ultraman.


title: Ultraman (DC Comics)

text: Antimatter Ultraman is unhappily married to his Crime Syndicate teammate Superwoman. Their alter-egos are the Antimatter Earth's alternate Clark Kent and Lois Lane. In the early 2000s, the two had a child together, but Superwoman maintains a periodic affair with another member of the Crime Syndicate, Owlman, much to Ultraman's frustration. Ultraman would usually fire his eyebeams in between Owlman and Superwoman as a warning when he sees Owlman flirting with Superwoman, although undisclosed photographic blackmail material in Owlman's possession stops Ultraman actually doing anything permanent to him.


title: Ultraman (DC Comics)

text: Antimatter Clark Kent has been shown to have returned to the Antimatter Earth and again leads the antimatter Crime Syndicate. In an attempt to repair their Earth after the destruction done by the Weaponers of Qward (which resulted as part of the follow-up to their appearance in the first issue of "JLA/Avengers"), The Syndicate was shown to have been kidnapping people from all 52 matter universes as shown in the "Trinity" series. In "Trinity" #13, antimatter Ultraman, Owlman and Superwoman were banished to an alternate subdimension by Superman after Superman defeated Ultraman in a fight.