title: Sacco and Vanzetti

text: Following the SJC's assertion that it could not order a new trial even if there was new evidence that "would justify a different verdict," a movement for "drastic reform" quickly took shape in Boston's legal community. In December 1927, four months after the executions, the Massachusetts Judicial Council cited the Sacco and Vanzetti case as evidence of "serious defects in our methods of administering justice." It proposed a series of changes designed to appeal to both sides of the political divide, including restrictions on the number and timing of appeals. Its principal proposal addressed the SJC's right to review. It argued that a judge would benefit from a full review of a trial, and that no one man should bear the burden in a capital case. A review could defend a judge whose decisions were challenged and make it less likely that a governor would be drawn into a case. It asked for the SJC to have right to order a new trial "upon any ground if the interests of justice appear to inquire it." Governor Fuller endorsed the proposal in his January 1928 annual message.


title: Sacco and Vanzetti

text: The Judicial Council repeated its recommendations in 1937 and 1938. Finally, in 1939, the language it had proposed was adopted. Since that time, the SJC has been required to review all death penalty cases, to consider the entire case record, and to affirm or overturn the verdict on the law and on the evidence or "for any other reason that justice may require" (Mass. General Laws, 1939 ch. 341)


title: Sacco and Vanzetti

text: Many historians, especially legal historians, have concluded the Sacco and Vanzetti prosecution, trial, and aftermath constituted a blatant disregard for political civil liberties, and especially criticize Thayer's decision to deny a retrial.


title: Sacco and Vanzetti

text: John W. Johnson has said that the authorities and jurors were influenced by strong anti-Italian prejudice and the prejudice against immigrants widely held at the time, especially in New England. Against charges of racism and racial prejudice, Paul Avrich and Brenda and James Lutz point out that both men were known anarchist members of a militant organization, members of which had been conducting a violent campaign of bombing and attempted assassinations, acts condemned by most Americans of all backgrounds. Though in general anarchist groups did not finance their militant activities through bank robberies, a fact noted by the investigators of the Bureau of Investigation, this was not true of the Galleanist group. Mario Buda readily told an interviewer: ""Andavamo a prenderli dove c'erano"" ("We used to go and get it [money] where it was") – meaning factories and banks. The guard Berardelli was also Italian.


title: Sacco and Vanzetti

text: Johnson and Avrich suggest that the government prosecuted Sacco and Vanzetti for the robbery-murders as a convenient means to put a stop to their militant activities as Galleanists, whose bombing campaign at the time posed a lethal threat, both to the government and to many Americans. Faced with a secretive underground group whose members resisted interrogation and believed in their cause, Federal and local officials using conventional law enforcement tactics had been repeatedly stymied in their efforts to identify all members of the group or to collect enough evidence for a prosecution.


title: Sacco and Vanzetti

text: Most historians believe that Sacco and Vanzetti were involved at some level in the Galleanist bombing campaign, although their precise roles have not been determined. In 1955, Charles Poggi, a longtime anarchist and American citizen, traveled to Savignano in the Emilia-Romagna region of Italy to visit old comrades, including the Galleanists' principal bombmaker, Mario "Mike" Buda. While discussing the Braintree robbery, Buda told Poggi, ""Sacco c'era"" (Sacco was there). Poggi added that he "had a strong feeling that Buda himself was one of the robbers, though I didn't ask him and he didn't say." Whether Buda and Ferruccio Coacci, whose shared rental house contained the manufacturer's diagram of a .32 Savage automatic pistol (matching the .32 Savage pistol believed to have been used to shoot both Berardelli and Parmenter), had also participated in the Braintree robbery and murders would remain a matter of speculation.


title: Sacco and Vanzetti

text: In 1941, anarchist leader Carlo Tresca, a member of the Sacco and Vanzetti Defense Committee, told Max Eastman, "Sacco was guilty but Vanzetti was innocent", although it is clear from his statement that Tresca equated guilt only with the act of pulling the trigger, i.e., Vanzetti was not the principal triggerman in Tresca's view, but was an accomplice to Sacco. This conception of innocence is in sharp contrast to the legal one. Both "The Nation" and "The New Republic" refused to publish Tresca's revelation, which Eastman said occurred after he pressed Tresca for the truth about the two men's involvement in the shooting. The story finally appeared in "National Review" in October 1961. Others who had known Tresca confirmed that he had made similar statements to them, but Tresca's daughter insisted her father never hinted at Sacco's guilt. Others attributed Tresca's revelations to his disagreements with the Galleanists.


title: Sacco and Vanzetti

text: Labor organizer Anthony Ramuglia, an anarchist in the 1920s, said in 1952 that a Boston anarchist group had asked him to be a false alibi witness for Sacco. After agreeing, he had remembered that he had been in jail on the day in question, so he could not testify.


title: Sacco and Vanzetti

text: Both Sacco and Vanzetti had previously fled to Mexico, changing their names in order to evade draft registration, a fact the prosecutor in their murder trial used to demonstrate their lack of patriotism and which they were not allowed to rebut. Sacco and Vanzetti's supporters would later argue that the men fled the country to avoid persecution and conscription; their critics said they left to escape detection and arrest for militant and seditious activities in the United States. However, a 1953 Italian history of anarchism written by anonymous colleagues revealed a different motivation:


title: Sacco and Vanzetti

text: Several dozen Italian anarchists left the United States for Mexico. Some have suggested they did so because of cowardice. Nothing could be more false. The idea to go to Mexico arose in the minds of several comrades who were alarmed by the idea that, remaining in the United States, they would be forcibly restrained from leaving for Europe, where the revolution that had burst out in Russia that February promised to spread all over the continent.


title: Sacco and Vanzetti

text: In October 1961, ballistic tests were run with improved technology on Sacco's Colt semi-automatic pistol. The results confirmed that the bullet that killed Berardelli in 1920 was fired from Sacco's pistol. The Thayer court's habit of mistakenly referring to Sacco's .32 Colt pistol as well as any other automatic pistol as a "revolver" (a common custom of the day) has sometimes mystified later-generation researchers attempting to follow the forensic evidence trail.


title: Sacco and Vanzetti

text: In 1987, Charlie Whipple, a former "Boston Globe" editorial page editor, revealed a conversation that he had with Sergeant Edward J. Seibolt in 1937. According to Whipple, Seibolt said that "we switched the murder weapon in that case", but indicated that he would deny this if Whipple ever printed it. However, at the time of the Sacco and Vanzetti trial, Seibolt was only a patrolman, and did not work in the Boston Police ballistics department; Seibolt died in 1961 without corroborating Whipple's story. In 1935, Captain Charles Van Amburgh, a key ballistics witness for the prosecution, wrote a six-part article on the case for a pulp detective magazine. Van Amburgh described a scene in which Thayer caught defense ballistics expert Hamilton trying to leave the courtroom with Sacco's gun. However, Thayer said nothing about such a move during the hearing on the gun barrel switch and refused to blame either side. Following the private hearing on the gun barrel switch, Van Amburgh kept Sacco's gun in his house, where it remained until the "Boston Globe" did an exposé in 1960.


title: Sacco and Vanzetti

text: In 1973, a former mobster published a confession by Frank "Butsy" Morelli, Joe's brother. "We whacked them out, we killed those guys in the robbery," Butsy Morelli told Vincent Teresa. "These two greaseballs Sacco and Vanzetti took it on the chin."


title: Sacco and Vanzetti

text: Before his death in June 1982, Giovanni Gambera, a member of the four-person team of anarchist leaders who met shortly after the arrest of Sacco and Vanzetti to plan their defense, told his son that "everyone [in the anarchist inner circle] knew that Sacco was guilty and that Vanzetti was innocent as far as the actual participation in killing."


title: Sacco and Vanzetti

text: Months before he died, the distinguished jurist Charles E. Wyzanski, Jr., who had presided for 45 years on the U.S. District Court in Massachusetts, wrote to Russell stating, "I myself am persuaded by your writings that Sacco was guilty." The judge's assessment was significant, because he was one of Felix Frankfurter's "Hot Dogs", and Justice Frankfurter had advocated his appointment to the federal bench.


title: Sacco and Vanzetti

text: The "Los Angeles Times" published an article on December 24, 2005, "Sinclair Letter Turns Out to Be Another Exposé", which references a newly discovered letter from Upton Sinclair to attorney John Beardsley in which Sinclair, a socialist writer famous for his muckraking novels, revealed a conversation with Fred Moore, attorney for Sacco and Vanzetti. In that conversation, in response to Sinclair's request for the truth, Moore stated that both Sacco and Vanzetti were in fact guilty, and that Moore had fabricated their alibis in an attempt to avoid a guilty verdict. The "Los Angeles Times" interprets subsequent letters as indicating that, to avoid loss of sales to his radical readership, particularly abroad, and due to fears for his own safety, Sinclair didn't change the premise of his novel in that respect. However, Sinclair also expressed in those letters doubts as to whether Moore deserved to be trusted in the first place, and he did not actually assert the innocence of the two in the novel, focusing instead on the argument that the trial they got was not fair.


title: Sacco and Vanzetti

text: In 1977, as the 50th anniversary of the executions approached, Massachusetts Governor Michael Dukakis asked the Office of the Governor's Legal Counsel to report on "whether there are substantial grounds for believing–at least in the light of the legal standards of today–that Sacco and Vanzetti were unfairly convicted and executed" and to recommend appropriate action. The resulting "Report to the Governor in the Matter of Sacco and Vanzetti" detailed grounds for doubting that the trial was conducted fairly in the first instance, and argued as well that such doubts were only reinforced by "later-discovered or later-disclosed evidence." The report questioned prejudicial cross-examination that the trial judge allowed, the judge's hostility, the fragmentary nature of the evidence, and eyewitness testimony that came to light after the trial. It found the judge's charge to the jury troubling for the way it emphasized the defendants' behavior at the time of their arrest and highlighted certain physical evidence that was later called into question. The report also dismissed the argument that the trial had been subject to judicial review, noting that "the system for reviewing murder cases at the time ... failed to provide the safeguards now present."


title: Sacco and Vanzetti

text: Based on recommendations of the Office of Legal Counsel, Dukakis declared August 23, 1977, the 50th anniversary of their execution, as Nicola Sacco and Bartolomeo Vanzetti Memorial Day. His proclamation, issued in English and Italian, stated that Sacco and Vanzetti had been unfairly tried and convicted and that "any disgrace should be forever removed from their names." He did not pardon them, because that would imply they were guilty. Neither did he assert their innocence. A resolution to censure Dukakis failed in the Massachusetts Senate by a vote of 23 to 12. Dukakis later expressed regret only for not reaching out to the families of the victims of the crime.


title: Sacco and Vanzetti

text: A memorial committee tried to present a plaster cast executed in 1937 by Gutzon Borglum, the sculptor of Mount Rushmore, to Massachusetts governors and Boston mayors in 1937, 1947, and 1957 without success. On August 23, 1997, on the 70th anniversary of the Sacco and Vanzetti executions, Boston's first Italian-American Mayor, Thomas Menino, and the Italian-American Governor of Massachusetts, Paul Cellucci, unveiled the work at the Boston Public Library, where it remains on display.


title: Sacco and Vanzetti

text: The city's acceptance of this piece of artwork is not intended to reopen debate about the guilt or innocence of Sacco and Vanzetti," Menino said. "It is intended to remind us of the dangers of miscarried justice, and the right we all have to a fair trial.The event occasioned a renewed debate about the fairness of the trial in the editorial pages of the "Boston Herald".


title: Sacco and Vanzetti

text: A mosaic mural portraying the trial of Sacco and Vanzetti is installed on the main campus of Syracuse University.


title: Sacco and Vanzetti

text: In Braintree, Massachusetts on the corner of French Avenue and Pearl Street, a memorial marks the site of the murders. The memorial has two exhibits. The first is a weatherproof poster that discusses the crime and the subsequent trial. The second exhibit is a metal plaque that memorializes the victims of the crime.


title: Sacco and Vanzetti

text: The "Sacco and Vanzetti Centuria" was an American anarchist military unit in the Durruti Column that fought in the Spanish Civil War.


title: Sacco and Vanzetti

text: Many sites in the former USSR are named after "Sacco and Vanzetti": for example, a beer production facility in Moscow, a kolkhoz in Donetsk region, Ukraine; and a street and an apartment complex in Yekaterinburg. 'Sacco and Vanzetti' was also a popular brand of Russian pencil from 1930–2007. Numerous towns in Italy have streets named after Sacco and Vanzetti, including Via Sacco-Vanzetti in Torremaggiore, Sacco's home town; and Villafalletto, Vanzetti's.


title: Sacco and Vanzetti

text: In 2017, as part of an Eagle Scout project, a plaque was placed outside of Norfolk Superior Court commemorating the trial.


title: Siobhan Fahey

text: Siobhan Maire Fahey (; born 10 September 1958) is an Irish singer whose vocal range is a light contralto. She was a founding member of the group Bananarama, who have had ten top-10 hits including the US number one hit single "Venus". She later formed the Brit Award- and Ivor Novello Award-winning musical act Shakespears Sister, who had a UK number one hit with the 1992 single "Stay". Fahey joined the other original members of Bananarama for a 2017 UK tour, and, in 2018, a North America and Europe tour.


title: Siobhan Fahey

text: Siobhan Maire Fahey was born on 10 September 1958 in County Meath, Ireland. She has two younger sisters, Maire (who played Eileen in the video of the 1982 song "Come On Eileen", a hit for Dexys Midnight Runners) and Niamh, a producer and editor. Her parents, Helen and Joseph Fahey, both came from County Tipperary, Ireland. Fahey lived in Ireland for several years before her father joined the British Army and the family moved to England, then to Germany for several years, and back to England when Siobhan was nine years old. When she was 14, she and her family moved to Harpenden, Hertfordshire, and, two years later, she left home for London and became involved in the punk scene of the late 1970s.


title: Siobhan Fahey

text: Fahey took a course in fashion journalism at the London College of Fashion, where she met Sara Dallin in 1980. Along with Keren Woodward, they founded Bananarama, and recorded their first demo "Aie a Mwana" in 1981. Bananarama then worked with the male vocal trio Fun Boy Three, releasing two top-five singles with them in early 1982, before having their own top-five hit with "Shy Boy" later that year. Fahey, with Dallin and Woodward, co-wrote many of the group's hits, including "Cruel Summer", "Robert De Niro's Waiting...", "I Heard a Rumour", and "Love in the First Degree".


title: Siobhan Fahey

text: In 1988, frustrated with the direction she felt Bananarama was heading, Fahey left the group and formed Shakespears Sister. Initially, Fahey effectively was Shakespears Sister, though American singer/songwriter Marcella Detroit later became an official member, making the outfit a duo. Their 1992 single "Stay" spent eight weeks at number one on the UK Singles Chart and won the 1993 Brit Award for Best British Video. At the 1993 Ivor Novello Awards, Fahey, Detroit, and Dave Stewart received the award for Outstanding Contemporary Song Collection. Fahey often appeared in the band's music videos and on-stage as a vampish glam figure. After two successful albums, tensions began to rise between Fahey and Detroit and they split up in 1993. That year, Fahey admitted herself into a psychiatric unit with severe depression.


title: Siobhan Fahey

text: In 1996, Fahey continued as Shakespears Sister by herself and released the single "I Can Drive". Intended as the first single from Shakespears Sister's third album and her first record since her split with Marcella Detroit, the single performed disappointingly (UK number 30), which prompted London Records not to release the album. Following this, Fahey left the label and, after a lengthy battle, she finally obtained the rights to release the album (entitled "#3") independently through her own website in 2004.


title: Siobhan Fahey

text: Fahey briefly re-joined Bananarama in 1998 to record a cover version of ABBA's "Waterloo" for the Channel 4 Eurovision special "A Song for Eurotrash". Fahey reteamed with Bananarama again in 2002 for a "last ever" reunion at the band's 20th-anniversary concert at G-A-Y in London. The trio performed "Venus" and "Waterloo".


title: Siobhan Fahey

text: Fahey continued to make music into the new millennium. In 2005, Fahey independently released "The MGA Sessions", an album recorded with frequent collaborator Sophie Muller in the mid-1990s. Fahey's most recent single (under her own name), "Bad Blood", was released on 17 October 2005.


title: Siobhan Fahey

text: Fahey's track "Bitter Pill" was partially covered by the pop band The Pussycat Dolls on their 2005 debut album "PCD". The verses (which were slightly altered) and the overall sound of the song are from "Bitter Pill", but added in was the chorus of Donna Summer's "Hot Stuff". The song was renamed "Hot Stuff (I Want You Back)" and a remix was included as a B-side to their hit single "Beep".


title: Siobhan Fahey

text: In 2008, Fahey appeared in the Chris Ward-written and directed short film "What Shall We Do with the Drunken Sailor" (based on the life of artist/model Nina Hamnett, self-styled "Queen of Bohemia"), with Fahey playing the role of Hamnett opposite actor Clive Arrindel, Donny Tourette (frontman with punk band Towers of London) and Honey Bane (former vocalist of the punk band Fatal Microbes).


title: Siobhan Fahey

text: In 2009, Fahey decided to resurrect the Shakespears Sister name and released a new album. Entitled "Songs from the Red Room", it was released on her own record label, SF Records and included various singles she had released under her own name in recent years. Fahey performed her first live show in almost 15 years as Shakespears Sister in Hoxton, London on 20 November 2009. In 2014 she joined the line-up of Dexys Midnight Runners for some shows, including at Glastonbury Festival.


title: Siobhan Fahey

text: In 2017, it was announced that Fahey had joined her former Bananarama bandmates for an upcoming UK tour. This was the first live tour Fahey has done as a member of Bananarama.


title: Siobhan Fahey

text: In 2019, Fahey reunited with Marcella Detroit for Shakespears Sister dates, commencing with an appearance on BBC1's "The Graham Norton Show" on 10 May 2019.


title: Siobhan Fahey

text: Fahey married Dave Stewart of Eurythmics in 1987; the couple divorced in 1996. They have two sons, Samuel (born 26 November 1987) and Django James (born 1991). The two brothers formed a musical band called Nightmare and the Cat. As an infant, Samuel Stewart appeared in early Shakespears Sister videos for "Heroine" and "You're History". Django Stewart is also an actor. Samuel is currently the guitarist for the American indie rock band Lo Moon.


title: Siobhan Fahey

text: Prior to her marriage to Stewart, Fahey was romantically involved with Jim Reilly, the drummer for the Northern Irish punk rock band Stiff Little Fingers and Scottish singer Bobby Bluebell of The Bluebells, with whom she co-wrote the UK No. 1 "Young at Heart".


title: Siobhan Fahey

text: a Since their inclusion on "Songs from the Red Room", an album by Fahey's solo project Shakespears Sister, these songs are now usually credited as 'Shakespears Sister' rather than 'Siobhan Fahey'.


title: Gospel of Mark

text: The Gospel of Mark is the second of the four canonical gospels and of the three synoptic Gospels. It tells of the ministry of Jesus from his baptism by John the Baptist to his death, burial, and the discovery of his empty tomb. There is no miraculous birth or doctrine of divine pre-existence, nor, in the original ending (Mark 16:1–8), any post-resurrection appearances of Jesus. It portrays Jesus as a teacher, an exorcist, a healer, and a miracle worker. He refers to himself as the Son of Man. He is called the Son of God, but keeps his messianic nature secret; even his disciples fail to understand him. All this is in keeping with Christian interpretation of prophecy, which is believed to foretell the fate of the messiah as suffering servant. The gospel ends, in its original version, with the discovery of the empty tomb, a promise to meet again in Galilee, and an unheeded instruction to spread the good news of the Resurrection of Jesus.


title: Gospel of Mark

text: Most scholars date Mark to c. 66–74 AD, either shortly before or after the destruction of the Second Temple in 70 AD. They reject the traditional ascription to Mark the Evangelist, the companion of the Apostle Peter – which probably arose from the desire of early Christians to link the work to an authoritative figure – and believe it to be the work of an author working with various sources including collections of miracle stories, controversy stories, parables, and a passion narrative. It was traditionally placed second, and sometimes fourth, in the Christian canon, as an inferior abridgement of what was regarded as the most important gospel, Matthew; the Church has consequently derived its view of Jesus primarily from Matthew, secondarily from John, and only distantly from Mark.


title: Gospel of Mark

text: In the 19th century, Mark came to be seen as the earliest of the four gospels, and as a source used by both Matthew and Luke. The hypothesis of Marcan priority continues to be held by the majority of scholars today, and there is a new recognition of the author as an artist and theologian using a range of literary devices to convey his conception of Jesus as the authoritative yet suffering Son of God.


title: Gospel of Mark

text: The Gospel of Mark is anonymous. Its composition is usually dated through the eschatological discourse in Mark 13: most scholars interpret this as pointing to the First Jewish–Roman War (66–74 AD) that would lead to the destruction of the Second Temple in 70 AD, with the composition of Mark taking place either immediately after the destruction (the majority position) or during the years immediately prior. Earlier dates in the range 35–45 AD are sometimes proposed, but are usually dismissed.


title: Gospel of Mark

text: It was written in Greek, for a gentile audience, and probably in Rome, although Galilee, Antioch (third-largest city in the Roman Empire, located in northern Syria), and southern Syria have also been suggested. Early Christian tradition, first attested by Papias of Hierapolis (attestation dated c. 125 AD), attributes it to the John Mark mentioned in Acts, but scholars generally reject this as an attempt to link the gospel to an authoritative figure. The author used a variety of pre-existing sources, such as conflict stories, apocalyptic discourse, and collections of sayings (although not the Gospel of Thomas and probably not the Q source).


title: Gospel of Mark

text: The consensus among modern scholars is that the gospels are a subset of the ancient genre of "bios", or ancient biography. Ancient biographies were concerned with providing examples for readers to emulate while preserving and promoting the subject's reputation and memory, and also included morals, rhetoric, propaganda and "kerygma" (preaching) in their works.


title: Gospel of Mark

text: The gospels of Matthew, Mark and Luke bear a striking resemblance to each other, so much so that their contents can easily be set side by side in parallel columns. The fact that they share so much material verbatim and yet also exhibit important differences has led to a number of hypotheses explaining their interdependence, a phenomenon termed the Synoptic Problem. It is widely accepted that this was the first gospel (Marcan Priority) and was used as a source by both Matthew and Luke, who agree with each other in their sequence of stories and events only when they also agree with Mark.


title: Gospel of Mark

text: In the 19th century it became widely accepted that Mark was the earliest of the gospels; it was assumed that it was therefore the most reliable source for the historical Jesus, but since about 1950 there has been a growing consensus that the primary purpose of the author of Mark was to announce a message rather than to report history. The idea that the gospel could be used to reconstruct the historical Jesus suffered two severe blows in the early part of the 20th century, first when William Wrede argued strongly that the "Messianic secret" motif in Mark was a creation of the early church rather than a reflection of the historical Jesus, and in 1919 when Karl Ludwig Schmidt further undermined its historicity with his contention that the links between episodes are the invention of the writer, meaning that it cannot be taken as a reliable guide to the chronology of Jesus' mission: both claims are widely accepted today. The gospel is nevertheless still seen as the most reliable of the four in terms of its overall description of Jesus's life and ministry.


title: Gospel of Mark

text: Christianity began within Judaism, with a Christian "church" (or ἐκκλησία, "ekklesia", meaning "assembly") that arose shortly after Jesus's death, when some of his followers claimed to have witnessed him risen from the dead. From the outset, Christians depended heavily on Jewish literature, supporting their convictions through the Jewish scriptures. Those convictions involved a nucleus of key concepts: the messiah, the son of God and the son of man, the suffering servant, the Day of the Lord, and the kingdom of God. Uniting these ideas was the common thread of apocalyptic expectation: Both Jews and Christians believed that the end of history was at hand, that God would very soon come to punish their enemies and establish his own rule, and that they were at the centre of his plans. Christians read the Jewish scripture as a figure or type of Jesus Christ, so that the goal of Christian literature became an experience of the living Christ. The new movement spread around the eastern Mediterranean and to Rome and further west, and assumed a distinct identity, although the groups within it remained extremely diverse.


title: Gospel of Mark

text: The gospels were written to strengthen the faith of those who already believed, not to convert unbelievers. Christian "churches" were small communities of believers, often based on households (an autocratic patriarch plus extended family, slaves, freedmen, and other clients), and the evangelists often wrote on two levels, one the "historical" presentation of the story of Jesus, the other dealing with the concerns of the author's own day. Thus the proclamation of Jesus in Mark 1:14 and the following verses, for example, mixes the terms Jesus would have used as a 1st-century Jew ("kingdom of God") and those of the early church ("believe", "gospel"). Some scholars think Mark might have been writing as a Galilean Christian against those Jewish Christians in Jerusalem who saw the Jewish Revolt against Rome (66–73 CE) as the beginning of the "end times": for Mark, the Second Coming would be in Galilee, not Jerusalem, and not until the generation following the revolt.


title: Gospel of Mark

text: There is no agreement on the structure of Mark. There is, however, a widely recognised break at Mark 8:26–31: before 8:26 there are numerous miracle stories, the action is in Galilee, and Jesus preaches to the crowds, while after 8:31 there are hardly any miracles, the action shifts from Galilee to gentile areas or hostile Judea, and Jesus teaches the disciples. Peter's confession at Mark 8:27–30 that Jesus is the messiah thus forms the watershed to the whole gospel. A further generally recognised turning point comes at the end of chapter 10, when Jesus and his followers arrive in Jerusalem and the foreseen confrontation with the Temple authorities begins, leading R.T. France to characterise Mark as a three-act drama. James Edwards in his 2002 commentary points out that the gospel can be seen as a series of questions asking first who Jesus is (the answer being that he is the messiah), then what form his mission takes (a mission of suffering culminating in the crucifixion and resurrection, events only to be understood when the questions are answered), while another scholar, C. Myers, has made what Edwards calls a "compelling case" for recognising the incidents of Jesus' baptism, transfiguration and crucifixion, at the beginning, middle and end of the gospel, as three key moments, each with common elements, and each portrayed in an apocalyptic light. Stephen H. Smith has made the point that the structure of Mark is similar to the structure of a Greek tragedy.


title: Gospel of Mark

text: The earliest and most reliable manuscripts of Mark end at Mark 16:8, with the women fleeing in fear from the empty tomb: the majority of recent scholars believe this to be the original ending, and this is supported by statements from the early Church Fathers Eusebius and Jerome. Two attempts were made in later manuscripts to provide a more satisfactory conclusion. A minority have what is called the "shorter ending", an addition to Mark 16:8 telling how the women told "those around Peter" all that the angel had commanded and how the message of eternal life (or "proclamation of eternal salvation") was then sent out by Jesus himself. This addition differs from the rest of Mark both in style and in its understanding of Jesus. The overwhelming majority of manuscripts have the "longer ending", possibly written in the early 2nd century and added later in the same century, with accounts of the resurrected Jesus, the commissioning of the disciples to proclaim the gospel, and Christ's ascension.


title: Gospel of Mark

text: The author introduces his work as "gospel", meaning "good news", a literal translation of the Greek "evangelion"he uses the word more often than any other writer in the New Testament except Paul. Paul uses it to mean "the good news (of the saving significance of the death and resurrection) of Christ"; Mark extends it to the career of Christ as well as his death and resurrection. Like the other gospels, Mark was written to confirm the identity of Jesus as eschatological delivererthe purpose of terms such as "messiah" and "son of God". As in all the gospels, the messianic identity of Jesus is supported by a number of themes, including: (1) the depiction of his disciples as obtuse, fearful and uncomprehending; (2) the refutation of the charge made by Jesus' enemies that he was a magician; (3) secrecy surrounding his true identity (this last is missing from John).


title: Gospel of Mark

text: In Mark, the disciples, especially the Twelve, move from lack of perception of Jesus to rejection of the "way of suffering" to flight and denialeven the women who received the first proclamation of his resurrection can be seen as failures for not reporting the good news. There is much discussion of this theme among scholars. Some argue that the author of Mark was using the disciples to correct "erroneous" views in his own community concerning the reality of the suffering messiah, others that it is an attack on the Jerusalem branch of the church for resisting the extension of the gospel to the gentiles, or a mirror of the convert's usual experience of the initial enthusiasm followed by growing awareness of the necessity for suffering. It certainly reflects the strong theme in Mark of Jesus as the "suffering just one" portrayed in so many of the books of the Jewish scriptures, from Jeremiah to Job and the Psalms, but especially in the "Suffering Servant" passages in Isaiah. It also reflects the Jewish scripture theme of God's love being met by infidelity and failure, only to be renewed by God. The failure of the disciples and Jesus' denial by Peter himself would have been powerful symbols of faith, hope and reconciliation for Christians.


title: Gospel of Mark

text: Mark contains twenty accounts of miracles and healings, accounting for almost a third of the gospel and half of the first ten chapters, more, proportionally, than in any other gospel. In the gospels as a whole, Jesus' miracles, prophecies, etc., are presented as evidence of God's rule, but Mark's descriptions of Jesus' healings are a partial exception to this, as his methods, using spittle to heal blindness and magic formulae, were those of a magician. This is the charge the Jewish religious leaders bring against Jesus: they say he is performing exorcisms with the aid of an evil spirit and calling up the spirit of John the Baptist. "There was [...] no period in the history of the [Roman] empire in which the magician was not considered an enemy of society," subject to penalties ranging from exile to death, says Classical scholar Ramsay MacMullen. All the gospels defend Jesus against the charge, which, if true, would contradict their ultimate claims for him. The point of the Beelzebub incident in Mark is to set forth Jesus' claims to be an instrument of God, not Satan.


title: Gospel of Mark

text: In 1901, William Wrede identified the "Messianic secret"Jesus' secrecy about his identity as the messiahas one of Mark's central themes. Wrede argued that the elements of the secretJesus' silencing of the demons, the obtuseness of the disciples regarding his identity, and the concealment of the truth inside parableswere fictions and arose from the tension between the Church's post-resurrection messianic belief and the historical reality of Jesus. There remains continuing debate over how far the "secret" originated with Mark and how far he got it from tradition, and how far, if at all, it represents the self-understanding and practices of the historical Jesus.


title: Gospel of Mark

text: Christology means a doctrine or understanding concerning the person or nature of Christ. In the New Testament writings it is frequently conveyed through the titles applied to Jesus. Most scholars agree that "Son of God" is the most important of these titles in Mark. It appears on the lips of God himself at the baptism and the transfiguration, and is Jesus' own self-designation. These and other instances provide reliable evidence of how the evangelist perceived Jesus, but it is not clear just what the title meant to Mark and his 1st century audience. Where it appears in the Hebrew scriptures it meant Israel as God's people, or the king at his coronation, or angels, as well as the suffering righteous man. In Hellenistic culture the same phrase meant a "divine man", a supernatural being. There is little evidence that "son of God" was a title for the messiah in 1st century Judaism, and the attributes which Mark describes in Jesus are much more those of the Hellenistic miracle-working "divine man" than of the Jewish Davidic messiah.


title: Gospel of Mark

text: Mark does not explicitly state what he means by "Son of God", nor when the sonship was conferred. The New Testament as a whole presents four different understandings:


title: Gospel of Mark

text: Mark also calls Jesus "christos" (Christ), translating the Hebrew "messiah," (anointed person). In the Old Testament the term messiah ("anointed one") described prophets, priests and kings; by the time of Jesus, with the kingdom long vanished, it had come to mean an eschatological king (a king who would come at the end of time), one who would be entirely human though far greater than all God's previous messengers to Israel, endowed with miraculous powers, free from sin, ruling in justice and glory (as described in, for example, the Psalms of Solomon, a Jewish work from this period). The most important occurrences are in the context of Jesus' death and suffering, suggesting that, for Mark, Jesus can only be fully understood in that context.


title: Gospel of Mark

text: A third important title, "Son of Man", has its roots in Ezekiel, the Book of Enoch, (a popular Jewish apocalyptic work of the period), and especially in Daniel 7:13–14, where the Son of Man is assigned royal roles of dominion, kingship and glory. Mark 14:62 combines more scriptural allusions: before he comes on clouds the Son of Man will be seated on the right hand of God, pointing to the equivalence of the three titles, Christ, Son of God, Son of Man, the common element being the reference to kingly power.


title: Gospel of Mark

text: Eschatology means the study of the end-times, and the Jews expected the messiah to be an eschatological figure, a deliverer who would appear at the end of the age to usher in an earthly kingdom. The earliest Jewish Christian community saw Jesus as a messiah in this Jewish sense, a human figure appointed by God as his earthly regent; but they also believed in Jesus' resurrection and exaltation to heaven, and for this reason they also viewed him as God's agent (the "son of God") who would return in glory ushering in the Kingdom of God.


title: Gospel of Mark

text: The term "Son of God" likewise had a specific Jewish meaning, or range of meanings, one of the most significant being the earthly king adopted by God as his son at his enthronement, legitimising his rule over Israel. In Hellenistic culture, in contrast, the phrase meant a "divine man", covering legendary heroes like Hercules, god-kings like the Egyptian pharaohs, or famous philosophers like Plato. When the gospels call Jesus "Son of God" the intention is to place him in the class of Hellenistic and Greek divine men, the "sons of God" who were endowed with supernatural power to perform healings, exorcisms and other wonderful deeds. Mark's "Son of David" is Hellenistic, his Jesus predicting that his mission involves suffering, death and resurrection, and, by implication, not military glory and conquest. This reflects a move away from the Jewish-Christian apocalyptic tradition and towards the Hellenistic message preached by Paul, for whom Christ's death and resurrection, rather than the establishment of the apocalyptic Jewish kingdom, is the meaning of salvation, the "gospel".


title: Gospel of Mark

text: All four gospels tell a story in which Jesus' death and resurrection are the crucial redemptive events. There are, however, important differences between the four: Unlike John, Mark never calls Jesus "God", or claims that Jesus existed prior to his earthly life; unlike Matthew and Luke, the author does not mention a virgin birth, and apparently believes that Jesus had a normal human parentage and birth; unlike Matthew and Luke, he makes no attempt to trace Jesus' ancestry back to King David or Adam with a genealogy.


title: Gospel of Mark

text: Christians of Mark's time expected Jesus to return as Messiah in their own lifetimeMark, like the other gospels, attributes the promise to Jesus himself, and it is reflected in the Pauline Epistles, the Epistle of James, the Epistle to the Hebrews and in the Book of Revelation. When return failed, the early Christians revised their understanding. Some acknowledged that the Second Coming had been delayed, but still expected it; others redefined the focus of the promise, the Gospel of John, for example, speaking of "eternal life" as something available in the present; while still others concluded that Jesus would not return at all (the Second Epistle of Peter argues against those who held this view).


title: Gospel of Mark

text: Mark's despairing death of Jesus was changed to a more victorious one in subsequent gospels. Mark's Christ dies with the cry, "My God, my God, why have you forsaken me?"; Matthew, the next gospel to be written, repeats this word for word but manages to make clear that Jesus's death is the beginning of the resurrection of Israel; Luke has a still more positive picture, replacing Mark's (and Matthew's) cry of despair with one of submission to God's will ("Father, into your hands I commend my spirit"); while John, the last gospel, has Jesus dying without apparent suffering in fulfillment of the divine plan.


title: Carol Channing

text: Carol Elaine Channing (January 31, 1921 – January 15, 2019) was an American actress, singer, dancer and comedian who starred in Broadway and film musicals. Her characters usually had a fervent expressiveness and an easily identifiable voice, whether singing or for comedic effect.


title: Carol Channing

text: Channing originated the lead roles in "Gentlemen Prefer Blondes" in 1949 and "Hello, Dolly!" in 1964, winning the Tony Award for Best Actress in a Musical for the latter. She revived both roles several times throughout her career, playing Dolly on Broadway for the final time in 1995. She was nominated for her first Tony Award in 1956 for "The Vamp", followed by a nomination in 1961 for "Show Girl". She received her fourth Tony Award nomination for the musical "Lorelei" in 1974.


title: Carol Channing

text: As a film actress, she won the Golden Globe Award and was nominated for the Academy Award for Best Supporting Actress for her performance as Muzzy in "Thoroughly Modern Millie" (1967). Her other film appearances include "The First Traveling Saleslady" (1956) and "Skidoo" (1968). On television, she appeared as an entertainer on variety shows. She performed The White Queen in the TV production of "Alice in Wonderland" (1985), and she had the first of many TV specials in 1966, titled "An Evening with Carol Channing".


title: Carol Channing

text: Channing was inducted into the American Theater Hall of Fame in 1981 and received a Lifetime Achievement Tony Award in 1995. She continued to perform and make appearances well into her 90s, singing songs from her repertoire and sharing stories with fans, cabaret-style. She was one of the "legends" interviewed in the award-winning documentary, "". She released her autobiography "Just Lucky I Guess" in 2002, and "Larger Than Life" was released in 2012, a documentary film about her career.


title: Carol Channing

text: Channing was born in Seattle, Washington, on January 31, 1921, the only child of Adelaide (née Glaser; 1886–1984) and George Channing (1888–1957). Her father, who was born George Christian Stucker, was multiracial (African-American and Euro-American) and changed his surname due to religious reasons before Carol's birth. He became a Christian Science practitioner, editor, and teacher. George Channing's mother, Clara, was African-American, and his father, George Stucker, was the son of German immigrants. Carol's maternal grandparents, Otto Glaser, and Paulina Ottmann, were both of German-Jewish origin. A city editor at "The Seattle Star", he took a job in San Francisco and the family moved to California when Channing was two years old.


title: Carol Channing

text: Channing attended Aptos Junior High School and Lowell High School in San Francisco, graduating in 1938. She won the Crusaders' Oratorical Contest and a free trip to Hawaii with her mother in June 1937. When she was 17, she left home to attend Bennington College in Vermont and her mother told her for the first time that her father's mother was African American and his father was German American. Her mother felt that the time was right to tell her since now that she was going off to college and would be on her own, she didn't want her to be surprised if she ever had a Black baby. Channing wrote: Channing publicly revealed her African-American ancestry in 2002.


title: Carol Channing

text: Channing majored in drama at Bennington and during an interview in 1994 revealed that she first wanted to perform on stage as a singer when she was in the fourth grade. She recalled being emotionally drawn to the stage after seeing Ethel Waters perform.


title: Carol Channing

text: Channing stated that in the fourth grade she ran for and was elected class secretary: "I stood up in class and campaigned by kidding the teachers. The other kids laughed. I loved the feeling — it was a very good feeling; it still is." She read the class minutes every Friday, often impersonating the children who were discussed. She also considers the fact that she was able to see plays while very young to have been an important inspiration:


title: Carol Channing

text: Her election to class secretary continued through grammar and high school: "It was very good training—like stock." Those weekly sessions in front of students became a habit which she carried to Bennington College, where she would entertain every Friday night. During her junior year, she began trying out for acting parts on Broadway. After playing a small part in the revue, "The New Yorker" noted her performance: "You'll be hearing more from a comedienne named Carol Channing." The inspiration she received from that brief notice made her decide to quit school. However, it was four years before she found another acting job. During that period, she performed at small functions or benefits, including some in the Catskill resorts. She also worked in Macy's bakery.


title: Carol Channing

text: Channing was introduced to the stage while helping her mother deliver newspapers to the backstage of theatres.


title: Carol Channing

text: Her first job on stage in New York City was in Marc Blitzstein's "No for an Answer," starting January 1941, at the Mecca Temple (later New York City Center). She was 19 years old. Channing moved to Broadway for "Let's Face It!", in which she was an understudy for Eve Arden, who was 13 years older than Channing. Much later, in 1966, Arden was hired to play the title role in "Hello Dolly!" in a road company after Channing left to star in the film "Thoroughly Modern Millie". Channing won the Sarah Siddons Award for her work in Chicago's theatres in 1966 (Eve Arden won the next year).


title: Carol Channing

text: Five years later, Channing had a featured role in "Lend an Ear" (1948), for which she received her Theatre World Award and launched her as a star performer. Channing credited illustrator Al Hirschfeld for helping make her a star when he put her image in his widely published illustrations. She said that his drawing of her as a flapper was what helped her get the lead in her next play, the Jule Styne and Anita Loos musical "Gentlemen Prefer Blondes". From that role, as Lorelei Lee, she gained recognition, with her signature song from the production, "Diamonds Are a Girl's Best Friend," among the most widely known.


title: Carol Channing

text: In January 1950, "Time" magazine ran a cover story about her becoming a new star on Broadway, followed by cover stories in "Life" magazine in 1955 and 1964.


title: Carol Channing

text: In 1956, Channing married her manager and publicist Charles Lowe. During the 1950s, he produced the Burns and Allen comedy show, which starred George Burns and Gracie Allen. When Allen was forced to discontinue performing due to her heart ailments, she saw that Burns was in need of a partner to play against on stage since he was best as a straight man. She remembered that Channing, like she, had one of the most distinctive and recognizable voices in show business, and Lowe asked Channing if she would perform with Burns during his shows. She accepted immediately, and Channing worked on and off with Burns through the late 1950s. Burns also appeared in her TV special, "An Evening with Carol Channing", in 1966.


title: Carol Channing

text: In 1961, Channing became one of the few performers nominated for a Tony Award for work in a revue (rather than a traditional book musical); she was nominated for Best Actress in a Musical for the short-lived revue "Show Girl".


title: Carol Channing

text: Channing came to national prominence as the star of Jerry Herman's "Hello, Dolly!" (1964). Her performance as Dolly Levi won the Tony Award for Best Actress in a Musical. She recalled that playwright Thornton Wilder so loved the musical, which was based on his play, "The Matchmaker", that he came once a week. He also planned to rewrite his 1942 play "The Skin of Our Teeth", with Channing playing the parts of both Mrs. Antrobus and Sabina but died before he could finish it.


title: Carol Channing

text: Approval of her performance in the 1960s meant she was often invited to major events, including those at the White House, where she might sing. Channing was a registered Democrat and was invited to the Democratic convention in 1964 in Atlantic City, New Jersey where she sang "Hello, Lyndon" for Lyndon B. Johnson's campaign. She was a favorite of Lady Bird Johnson, who once gave her a huge bouquet after a show. In 1967, she also became the first celebrity to perform at the Super Bowl halftime show.


title: Carol Channing

text: The old-fashioned plot of "Hello, Dolly", when first described, might seem uninspired, says columnist Dick Kleiner:


title: Carol Channing

text: The show had first opened on Broadway on January 16, 1964, and by the time the show closed in late December 1970, it had become the longest-running musical in Broadway history, with nearly 3,000 performances. Besides Channing, six other stars played the title role during those seven years: Ginger Rogers, Martha Raye, Betty Grable, Pearl Bailey, Phyllis Diller and Ethel Merman.


title: Carol Channing

text: Al Hirschfeld's illustration of her was printed on the front page of the "Sunday Theatre" section of "The New York Times". She felt that this image captured the essence of her character, having posited in writing, "How did the great Hirschfeld know precisely what I was thinking? ... To be Hirschfelded is an eerie experience. You better not have anything to hide, because he'll expose it like a neon sign" ... The illustration was also printed on the cover of magazines, including "Horizon". She later appeared in the movie biography about his life, , in 1996.


title: Carol Channing

text: Channing reprised her role of Lorelei Lee when the musical "Lorelei", directed by Robert Moore and choreographed by Ernest O. Flatt, premiered in 1973 at the Oklahoma City (6000 seat) Civic Center Music Hall and broke all box office records after six days' worth of performances sold out within 24 hours.


title: Carol Channing

text: To commemorate this record event, the street running in front of the Music Hall was renamed Channing Square Drive in her honor. Also in the cast were Peter Palmer, Brandon Maggart, Dody Goodman, and Lee Roy Reams. For nearly a year, the stage musical then toured 11 cities across the country. "Lorelei" had earned a hefty profit by the time it opened on Broadway at the Palace Theatre on January 27, 1974 and ran for a total of 320 performances. Channing also appeared in two New York City revivals of "Hello, Dolly!", and toured with it extensively throughout the United States.


title: Carol Channing

text: Channing also appeared in a number of films, including "The First Traveling Saleslady" (1956), in which she gave future star Clint Eastwood his first onscreen kiss; the cult film "Skidoo"; and "Thoroughly Modern Millie" (starring Julie Andrews, Mary Tyler Moore, John Gavin, and Beatrice Lillie). For "Millie" she received a nomination for the Academy Award for Best Supporting Actress, and was awarded a Golden Globe Award for Best Supporting Actress – Motion Picture. Channing said she was especially grateful to Andrews for helping her develop her character: "She will forever be my angel," she says.


title: Carol Channing

text: Due to her success on Broadway in "Hello Dolly!" and her co-starring role in "Thoroughly Modern Millie", Channing attracted the attention of Lucille Ball and Desi Arnaz, who were interested in starring her in a sitcom. Directed and produced by Arnaz and written by Bob Carroll Jr. and Madelyn Davis (who co-wrote "I Love Lucy" and "The Lucy Show"), "The Carol Channing Show" starred Channing as Carol Hunnicut, a small-town girl trying and failing to make it in New York City show business. Character actors Richard Deacon and Jane Dulo were in the supporting cast. The pilot was filmed in front of a live audience (with a laugh track added) at Desilu in 1966 but did not sell as a series.


title: Carol Channing

text: During her film career, Channing also made some guest appearances on television sitcoms and talk shows, including "What's My Line?" where she appeared in 11 episodes from 1962 to 1966. Channing did voice-over work in cartoons, most notably as Grandmama in an animated version of "The Addams Family" from 1992 to 1995.


title: Carol Channing

text: During most of her career, Channing was asked to perform in various skits or appear as a guest on regular shows. In the 1960s, she was on "The Andy Williams Show". In 1974, she participated in the television special "Free to Be... You and Me," based on Marlo Thomas' best-selling album of 1972, in which Channing also appeared. "Free..." won the Emmy Award for Outstanding Children's Special and The Peabody Award. In 1985, she played the role of the White Queen in the television special "Alice in Wonderland". In 1986, Channing appeared on "Sesame Street" and sang a parody of the song "Hello, Dolly!" called "Hello, Sammy!", a love song being sung by Carol to a character known as Sammy the Snake (as voiced by Muppets creator Jim Henson). Carol, in this parody segment, serenades Sammy telling him just how much she loves and adores him while Sammy coils himself around Carol's arms. Carol's song includes lyrics such as: "So..turn on your charm, Sammy/Coil yourself around my arm, Sammy/Sammy the Snake, I'll stake a claim on you". Songwriter Jule Styne, who wrote the score for "Gentlemen Prefer Blondes", invited her on his television special in 1987 where she performed another one of her signature songs, "Little Girl from Little Rock".


title: Carol Channing

text: In 1993, she poked a little fun at herself in an episode of "The Nanny". The episode "Smoke Gets in Your Lies" shows the producer auditioning for a new musical, and Channing, playing herself, is trying out. Just after the producer announces he wants a stage presence that is instantly recognizable to the entire country, Channing begins with her signature "Hello, Dolly!", but he stops her with a resounding "Next!".


title: Carol Channing

text: In January 2003, Channing recorded the audiobook of her best-selling autobiography "Just Lucky, I Guess: A Memoir of Sorts", directed and produced by Steve Garrin at VideoActive Productions in New York City. It was during the recording sessions that she received a phone call from her childhood sweetheart Harry Kullijian that rekindled their romance and led to their marriage a few months later. In January 2012, the documentary "Carol Channing: Larger Than Life" (which chronicles Channing's life and career) was released.


title: Carol Channing

text: Channing was married four times. Her first husband was Theodore Naidish, whom she married when she was 20 in 1941. He was a writer, who in 1944 wrote "Watch Out for Willie Carter", but during the nearly five years of their marriage, earned little income: "There was no money for food, clothing or housing." Still, Channing adored his émigré Jewish family, stating, in her memoir, "There is nothing so safe and secure as an immigrant, foreign-language-speaking family all around you. It was a dream come true for me. They look after you, you look after them. They make chick'n in the pot if you're sick. You learn marvelous new-sounding words every minute." Channing and Naidish lived near his grandparents in Brighton Beach in the borough of Brooklyn in New York City. She remembered his grandfather Sam Cohen introducing her to some of his neighborhood friends, who were amazed that she enjoyed hearing their funny stories. "They were delighted that I almost ate them up alive," she wrote, "because they were so funny, especially since such appreciation was coming from what we all thought then was a shiksa (me)." She learned to speak fluent Yiddish from "Grandpa Cohen", a skill that helped her understand the boardwalk conversations that went on around her in town.


title: Carol Channing

text: Her second husband Alexander F. Carson, known as Axe, or "The Murderous Ax", played center for the Ottawa Rough Riders Canadian football team and was also a private detective. They married in 1950 and divorced in September 1956. They had one son named Channing Carson.


title: Carol Channing

text: In September 1956, "Immediately following the entry of the divorce decree" from Carson, Channing married her manager and publicist Charles Lowe. In 1960, Carson's parental rights were severed due to his abandonment, and his and Channing's son took his stepfather's surname. As the judge stated, "The differences in environment and miles would result in a gross injustice in itself to the child, who at this very tender stage does not even know what his real father looks like. He probably doesn't even realize that the present husband of Mrs. Channing is not his father." Channing Lowe publishes his cartoons as Chan Lowe. Channing filed for divorce from Lowe in 1998, but her estranged husband died before the divorce was finalized.


title: Carol Channing

text: After Lowe's death and until shortly before her fourth marriage, the actress's companion was Roger Denny, an interior decorator.


title: Carol Channing

text: In 2003, while recording the audiobook of her autobiography "Just Lucky, I Guess", at VideoActive Productions, NYC, produced and directed by Steve Garrin, she rekindled her romance with her junior high school sweetheart, Harry Kullijian, and they married on May 10, 2003. They later performed at their old junior high school in a benefit for the school. They also promoted arts education in California schools through their "Dr. Carol Channing and Harry Kullijian Foundation". The couple resided in both Modesto, California, and Rancho Mirage, California. Harry Kullijian died on December 26, 2011, the eve of his 92nd birthday.


title: Carol Channing

text: Channing had unique dietary habits. In 1978, she said she had not eaten restaurant food in 15 years and preferred only organic food. When invited to restaurants, she would bring several sealed containers with her own food, such as zucchine or chopped celery, and simply ask for an empty plate and glass. For dessert, she would eat seeds. By 1995, Channing had resumed eating food served by restaurants. However, she would not drink alcoholic beverages of any sort. Channing was a survivor of ovarian cancer.


title: Carol Channing

text: Channing died from natural causes on January 15, 2019, at her home in Rancho Mirage, California at the age of 97, 16 days before her 98th birthday. On January 16, the lights on Broadway were dimmed in honor of Channing. A crowd congregated outside the St. James Theatre, as it had also been the anniversary of the opening of the original Broadway production of "Hello, Dolly!". Her ashes were sprinkled between the Curran Theatre and the Geary Theater in San Francisco.


title: Annatto

text: Annatto ( or ) is an orange-red condiment and food coloring derived from the seeds of the achiote tree ("Bixa orellana"), native to tropical America. It is often used to impart a yellow or orange color to foods, but sometimes also for its flavor and aroma. Its scent is described as "slightly peppery with a hint of nutmeg" and flavor as "slightly nutty, sweet and peppery".


title: Annatto

text: The color of annatto comes from various carotenoid pigments, mainly bixin and norbixin, found in the reddish waxy coating of the seeds. The condiment is typically prepared by grinding the seeds to a powder or paste. Similar effects can be obtained by extracting some of the color and flavor principles from the seeds with hot water, oil, or lard, which are then added to the food.


title: Annatto

text: Annatto and its extracts are now widely used in an artisanal or industrial scale as a coloring agent in many processed food products, such as cheeses, dairy spreads, butter and margarine, custards, cakes and other baked goods, potatoes, snack foods, breakfast cereals, smoked fish, sausages, and more. In these uses, annatto is a natural alternative to synthetic food coloring compounds, but it has been linked to rare cases of food-related allergies. Annatto is of particular commercial value in the United States because the Food and Drug Administration considers colorants derived from it to be "exempt of certification".


title: Annatto

text: The annatto tree "B. orellana" is believed to originate in tropical regions from Mexico to Brazil. It was probably not initially used as a food additive, but for other purposes such as ritual and decorative body painting (still an important tradition in many Brazilian native tribes, such as the Wari'), sunscreen, and insect repellent, and for medical purposes. It was used for Mexican manuscript painting in the 16th century.


title: Annatto

text: Annatto has been traditionally used as both a coloring and flavoring agent in various cuisines from Latin America, the Caribbean, the Philippines, and other countries where it was taken home by Spanish and Portuguese colonizers in the 16th century. It has various local names according to region. Its use has spread in historic times to other parts of the world, and it was incorporated in local culinary traditions of many countries outside the Americas. Men of the Tsàchila tribe in Ecuador are highly recognizable thanks to their traditional bright orange hair, which is achieved by using crushed seeds of annatto. It is believed they have been doing so for centuries.


title: Annatto

text: Ground annatto seeds, often mixed with other seeds or spices, are used in the form of paste or powder for culinary use, especially in Latin American, Jamaican, Belizean, Chamorro, Vietnamese, and Filipino cuisines. In Mexican and Belizean cuisines, it is used to make the spice "recado rojo". In Venezuela, annatto is used in the preparation of "hallacas, huevos pericos", and other traditional dishes. In Puerto Rico it is often simmered in oil or ground with seasonings and herbs to make "sazón" or used to make "pasteles", "arroz con gandules", and several other dishes where it's one of the main ingredients. Annatto paste is an important ingredient of "cochinita pibil", the slow-roasted pork dish popular in Mexico. It is also a key ingredient in the drink "tascalate" from Chiapas, Mexico. In the Philippines, it is used for the sauce of "pancit". In Guam, it is used to make a staple rice dish flavored with annatto, onion, garlic, butter, and other spices.


title: Annatto

text: Annatto is commonly used to impart a yellow or orange color to many industrialized and semi-industrialized foods, including cheese, ice cream, bakery products, desserts, fruit fillings, yogurt, butter, oils, margarines, processed cheese, and fat-based products. In the United States, annatto extract is listed as a color additive "exempt from certification" and is informally considered to be a natural coloring. Foods colored with annatto may declare the coloring in the statement of ingredients as "colored with annatto" or "annatto color." In the European Union, it is identified by the E number E160b.


title: Annatto

text: In cheese, the yellow and orange hues naturally vary throughout the year as the cow's feed changed: in the summer, with fresh grass and its natural carotene content, the milk produced would have a natural orange tint, as would the cheese made from it, while at other times of the year, the tint would be greatly reduced. As the pigment is carried in the cream, skimming the milk, which some farmers did to make butter or to sell it separately, the lesser-quality cheese from such milk would be white.


title: Annatto

text: To fool the consumer, the cheesemakers introduced colorants to imitate the more intense colors of the finer summer cheese. Initially these colors came from saffron, marigold, and carrot juice, but later annatto began being used.


title: Annatto

text: In the 17th century, the Dutch, who had established colonies in Guyana, traded in food, particularly an orange-red natural colorant, annatto, with the indigenous communities. Zeeland traders under the authority of the West India Company bought annatto from the inhabitants of the coastal regions of Guyana and Suriname and sold it in the Netherlands as "verw" ('paint'). One contemporaneous description comes from Adriaen van Berkel, in a book published in 1695, though he does not mention whether it was used in cheese.


title: Annatto

text: The earliest known documentation of annatto's use in cheese is in a 1743 Dutch volume "Huishoudelyk Woordboek" ("Household Word Book"), according to American scientist Paul Kindstedt of the University of Vermont. Other historical documents from the period confirm that using annatto (then called "orleaan" or "orleans") to color cheese was being done by the mid-18th century.


title: Annatto

text: England is another country that has used annatto to color their cheeses; colorants had been added to Gloucester cheese as early as the 16th century to allow inferior cheese to masquerade as the best Double Gloucester, with annatto later being used for that purpose. This usage was subsequently adopted in other parts of the UK, for cheeses such as Cheshire and Red Leicester, as well as colored Cheddar made in Scotland. Many cheddars are produced in both white and red (orange) varieties, the only difference between the two being the presence of annatto as a coloring. That practice has extended to many modern processed cheese products, such as American cheese and Velveeta. Cheeses from other countries also use annatto, including Mimolette from France and Leyden from the Netherlands.


title: Annatto

text: The yellow to orange color is produced by the chemical compounds bixin and norbixin, which are classified as carotenoids. The fat-soluble color in the crude extract is called bixin, which can then be saponified into water-soluble norbixin. This dual solubility property of annatto is rare for carotenoids. The seeds contain 4.5–5.5% pigment, which consists of 70–80% bixin. Unlike beta-carotene, another well-known carotenoid, annatto-based pigments are not vitamin A precursors. The more norbixin in an annatto color, the more yellow it is; a higher level of bixin gives it a more orange shade.


title: Annatto

text: Annatto condiments and colorants are safe for most people when used in food amounts, but they may cause allergic reactions in those who are sensitive. In one 1978 study of 61 patients with chronic hives or angioedema, 56 patients were orally provoked by annatto extract during an elimination diet. A challenge was performed with a dose equivalent to the amount used in of butter. Twenty-six percent of the patients reacted to this color four hours after intake, worse than synthetic dyes such as amaranth (9%), tartrazine (11%), sunset yellow FCF (17%), allura red AC (16%), ponceau 4R (15%), erythrosine (12%) and brilliant blue FCF (14%).


title: Annatto

text: Annatto is not among the "Big Eight" substances causing hypersensitivity reactions which are responsible for more than 90% of food related allergic reactions. The US FDA and experts at the Food Allergy Research and Resource Program (FARRP) of the University of Nebraska do not include annatto in the list of major food allergens.


title: Michael Armand Hammer

text: Michael Armand Hammer (September 8, 1955 – November 20, 2022) was an American businessman. He was the son of Julian Armand Hammer and the grandson of industrialist Armand Hammer. Best known for his ties to Occidental Petroleum, the company of his late grandfather, Hammer oversaw the Hammer International Foundation, the Armand Hammer Foundation, and owned numerous businesses that included Hammer Galleries, and Hammer Productions, a television and film production company located in Los Angeles, California.


title: Michael Armand Hammer

text: Hammer sat on the board of directors and the executive committee for the Los Angeles Dream Center, and also served on the Investment Committee and Board of Reference for Oral Roberts University. Hammer was the owner and chief executive of the Knoedler, an art dealership in New York City, which closed in 2011 after purchasing and reselling $80 million in forged paintings bearing the signature of abstract expressionists such as Mark Rothko and Jackson Pollock.


title: Michael Armand Hammer

text: Michael Armand Hammer was born on September 8, 1955, in Los Angeles, California. He is the son of Glenna Sue ( Ervin) and Julian Armand Hammer, has two siblings, sister Casey Hammer and half-sister Jan Ward, and has two children, actor Armie Hammer and Viktor, a businessman and entrepreneur. Viktor and Armie Hammer are the only great-grandsons of industrialist Armand Hammer. His paternal grandfather's parents were Ukrainian Jewish immigrants. His paternal grandmother, Russian-born actress Baroness Olga von Root, was the daughter of a czarist general. His mother was a native of Texas.


title: Michael Armand Hammer

text: Hammer studied at the University of San Diego, where he graduated with a degree in business administration in 1978. He later graduated from the Columbia University Graduate School of Business in 1982 with a Master of Business Administration degree.


title: Michael Armand Hammer

text: Before becoming involved with his grandfather's company, Occidental Petroleum, Hammer served in different roles at the New York City securities and investment banking firm Kidder, Peabody & Co., which later was sold to PaineWebber, which ultimately merged with UBS AG in November 2000. He joined Occidental Petroleum in 1982 and served in various capacities in the company's facilities in Texas, Oklahoma, London, and Oman. In 1985, he moved to the corporation's headquarters in Los Angeles where he became a vice president, He shortly thereafter became a member of the board of directors and the executive committee, and served in those capacities until his departure from the company in 1991, not long after the death of Armand Hammer.


title: Michael Armand Hammer

text: Since leaving Occidental, Hammer has worked with several companies, including OnVANTAGE, Inc. in 2000, which was later acquired by the company StarCite, Inc., and Avenue Entertainment Group as a member of the Board following an investment in the company by Hammer International in 1999.


title: Michael Armand Hammer

text: Hammer married Dru Ann Mobley of Tulsa, Oklahoma, on January 12, 1985, at the First Methodist Church in Tulsa. Hammer became a Christian upon marrying his wife, and was a benefactor of several Christian organizations dedicated to evangelism.


title: Michael Armand Hammer

text: Before they divorced in 2012 after 27 years of marriage, Michael and Dru Hammer had two children, actor Armie Hammer (born 1986) and businessman Viktor Hammer (born 1988).


title: Michael Armand Hammer

text: Hammer formerly resided in a Paul Williams-designed, 1920s Tudor-style mansion, that was featured in films and television shows, including the Bells of St. Mary's, "Rocky V", and others. It had erroneously been dubbed "Wayne Manor", as it was thought the house had been used in the "Batman" TV show, but in fact an adjacent residence was the site used for Batman. The historic mansion was destroyed by fire in October 2005 during a renovation by the Hammers.


title: The Vicar of Dibley

text: The Vicar of Dibley is a British sitcom which originally ran on BBC One from 10 November 1994 to 1 January 2007. It is set in a fictional small Oxfordshire village called Dibley, which is assigned a female vicar following the 1992 changes in the Church of England that permitted the ordination of women. Dawn French plays the lead role, a vicar named Geraldine Granger.


title: The Vicar of Dibley

text: In ratings terms, it is among the most successful British programmes in the digital era, the Christmas and New Year specials entering the UK top 10 programmes of the year.


title: The Vicar of Dibley

text: "The Vicar of Dibley" received multiple British Comedy Awards, two International Emmys, and was a multiple British Academy Television Awards nominee. In 2004, it placed third in a BBC poll of "Britain's Best Sitcoms".


title: The Vicar of Dibley

text: In addition to the twenty main episodes between 1994 and 2007, the series includes numerous shorter charity specials, as well as 'lockdown' episodes produced during the COVID-19 pandemic.


title: The Vicar of Dibley

text: The series was created by Richard Curtis and written for actress Dawn French by Curtis and Paul Mayhew-Archer, with contributions from Kit Hesketh-Harvey. The main character was an invention of Richard Curtis, but he and Dawn French extensively consulted Joy Carroll, one of the first female Anglican priests, and garnered many character traits and much information.


title: The Vicar of Dibley

text: In earlier episodes, the opening credits were followed by a humorous village scene, such as a woman knitting directly from a sheep.


title: The Vicar of Dibley

text: After the closing credits, Geraldine usually tells Alice a joke, to which Alice either overreacts, tries to interpret literally, or understands only after Geraldine explains it. There are a few exceptions to this in various episodes.


title: The Vicar of Dibley

text: Hugh Bonneville, Mel Giedroyc, Richard Griffiths, Miranda Hart, Alistair McGowan, Geraldine McNulty, Philip Whitchurch, Nathalie Cox, Nicholas Le Prevost, Brian Perkins and Roger Sloman have all made one guest appearance each.


title: The Vicar of Dibley

text: Pam Rhodes, Kylie Minogue, Rachel Hunter, Terry Wogan, Jeremy Paxman, Martyn Lewis, Darcey Bussell and Sean Bean each appeared as themselves in one episode.


title: The Vicar of Dibley

text: Sarah, Duchess of York, Richard Ayoade, Orla Brady, Fiona Bruce, Annette Crosbie, Johnny Depp, Ruth Jones, Hilary Kay, Damian Lewis, Maureen Lipman, Jennifer Saunders, Sting and his wife Trudie Styler, Stephen Tompkinson, Dervla Kirwan, and Emma Watson have made guest appearances in short charity specials.


title: The Vicar of Dibley

text: "The Vicar of Dibley" has had 31 episodes as of 2022 including numerous short reprises with charity specials and the "In Lockdown" minis.


title: The Vicar of Dibley

text: The first series was broadcast on BBC One from 10 November to 15 December 1994, consisting of six episodes. Following the first series, an Easter special and a Christmas special were broadcast in 1996. A four-episode second series was ordered and screened between the 26 December 1997 and 22 January 1998. Subsequent episodes consisted of Christmas and New Year specials, followed by a third series of four episodes, also referred to as seasonal specials as they have the titles "Autumn", "Winter", "Spring" and "Summer" airing from 24 December 1999 to 1 January 2000. Thereafter came the two-episode "A Very Dibley Christmas" screening between 25 December 2004 and 1 January 2005 and the two-part finale, "A Wholly Holy Happy Ending", which was broadcast during Christmas 2006 and New Year 2007.


title: The Vicar of Dibley

text: The final 2006–2007 episodes, in which the character Geraldine finds love and marries, were publicised as the "last-ever" episodes, although there have been several reappearances of certain characters since.


title: The Vicar of Dibley

text: On 15 March 2013, French reprised her role as Geraldine Granger as part of her French and Saunders marathon on BBC Radio 2. She was interviewed by Chris Evans on his "Pause for Thought" section. The following year, Rev Granger led Thought for the Day on BBC Radio 4 (29 March 2014).


title: The Vicar of Dibley

text: There have been eight short charity TV specials: six for Comic Relief between 1997 and 2015; and a seventh in April 2020, in which French appeared on "The Big Night In" as part of a joint Comic Relief and Children in Need special to support those affected by COVID-19. Due to the COVID-19 pandemic, the segment was filmed at French's home. For Comic Relief 2021, Geraldine appeared in the Dibley Vicarage, later lip-synching to Juice by Lizzo, with real-life celebrity priest Rev Kate Bottley.


title: The Vicar of Dibley

text: In December 2020, a series of short 'lockdown' episodes of "The Vicar of Dibley" were broadcast. The series consisted of three short episodes followed by a compilation episode of the previous three episodes' material shown back to back, but including previously unseen material and scenes. The style was completely different to the main series, with Geraldine and Hugo breaking the fourth wall via video messaging, talking directly to the viewers as if they were the Dibley congregation. The same method was used for the 2020 and 2021 Comic Relief shorts, also made and set during the Covid pandemic.


title: The Vicar of Dibley

text: The programme is set in the fictional Oxfordshire village of Dibley. Some of the villagers, including Alice, Jim and Owen, speak with slight West Country accents, as were once common in Oxfordshire but are now less common. The series was filmed in the Buckinghamshire village of Turville near High Wycombe, with the village's St Mary the Virgin Church doubling as Dibley's St Barnabus. Other television programmes and films, such as "Midsomer Murders", "Goodnight Mister Tom", "Chitty Chitty Bang Bang", "Went the Day Well?", "Father Came Too!", "Marple", "Lewis" and "Foyle's War" have also been filmed in the village. The exterior location for David Horton's manor is in the village of Little Missenden, Buckinghamshire.


title: The Vicar of Dibley

text: The opening titles show aerial shots of the M40 motorway's Stokenchurch Gap, the Chiltern Hills of Oxfordshire and Buckinghamshire, and the village of Turville.


title: The Vicar of Dibley

text: The theme music was a setting of Psalm 23 composed by Howard Goodall, and was performed by the choir of Christ Church Cathedral, Oxford, with George Humphreys singing the solo. The conductor was Stephen Darlington. Two versions are used over the opening credits: one with full choir, and one with a solo. Goodall originally wrote it as a serious piece of church choral music. It has been released as a charity single, with proceeds going to Comic Relief. It also appears on Goodall's CD "Choral Works", which additionally includes his theme for "Mr. Bean", another popular comedy co-created by Richard Curtis. A snippet of "The Vicar of Dibley"'s theme music was used in the "Mr. Bean" episode "Tee Off, Mr. Bean” and the music from "Mr Bean" plays during Sean Bean’s scene in "The Vicar of Dibley" episode "Spring".


title: The Vicar of Dibley

text: The series also won TV Choice Award for Best Comedy in 2005 and again in 2021 for the Lockdown Specials.


title: The Vicar of Dibley

text: In May 2007, Richard Curtis received a BAFTA Academy Fellowship Award for his humanitarian pursuits, as well as his creative work, including "The Vicar of Dibley".


title: The Vicar of Dibley

text: "The Vicar of Dibley" was released in DVD in Region 2 (UK) from 2001. In 2002, a DVD entitled "The Best of The Vicar of Dibley" was released featuring a 90-minute film of Dawn French talking to the producer, Jon Plowman, with clips from the series. A 2002 documentary narrated by Jo Brand, entitled "The Real Vicars of Dibley", was also on the DVD. In 2005, a boxset of the "complete collection" was released. This included all the then aired episodes. The final two episodes and 6-disc "ultimate" box set were released on 26 November 2007.


title: The Vicar of Dibley

text: On 6 February 2007, Fox announced plans to adapt "The Vicar of Dibley" into an American sitcom, titled "The Minister of Divine". The series starred Kirstie Alley as a former "wild child" who returned to her hometown as its first female minister. The pilot was broadcast on Fox, but the series was not made.


title: The Vicar of Dibley

text: The series has also been adapted into two stage plays by Ian Gower and Paul Carpenter, both incorporating plots from the TV episodes. The first, "The Vicar of Dibley", and is largely concerned with Alice and Hugo's engagement and wedding. The second, "A Vicar of Dibley Christmas – The Second Coming", is based on the episodes "Dibley Live" and "Winter", in which the villagers set up a radio station and put on a nativity play at Owen's farm.


title: The Vicar of Dibley

text: In February 2016, it was reported that Dawn French was interested in returning to the role in a new series, "The Bishop of Dibley", to follow on from the 2015 Red Nose Day Special. In December 2020, French opened up about the prospect of "The Vicar of Dibley" returning for a new series in 2021.


title: Every Breath You Take

text: "Every Breath You Take" is a song by the English rock band the Police from their album "Synchronicity" (1983). Written by Sting, the single was the biggest US and Canadian hit of 1983, topping the "Billboard" Hot 100 singles chart for eight weeks (the band's only hit on that chart), and the Canadian RPM Chart for four weeks. Their fifth UK No. 1, it topped the UK Singles Chart for four weeks. The song also reached the Top 10 in numerous other countries.


title: Every Breath You Take

text: At the 26th Annual Grammy Awards, the song was nominated for three Grammy Awards, including Song of the Year, Best Pop Performance by a Duo or Group with Vocals, and Record of the Year, winning in the first two categories. For the song, Sting received the 1983 Ivor Novello Award for Best Song Musically and Lyrically from the British Academy of Songwriters, Composers and Authors.


title: Every Breath You Take

text: "Every Breath You Take" is the Police's and Sting's signature song, and in 2010 was estimated to generate between a quarter and a third of Sting's music publishing income. In May 2019, it was recognised by BMI as being the most played song in radio history. With nearly 15 million radio plays, Sting received a BMI Award at a ceremony held at the Beverly Wilshire Hotel in Beverly Hills to mark it being the Most Performed Song in BMI's catalogue, a distinction previously held since 1999 by Spector, Mann and Weill's "You've Lost That Lovin' Feelin'. BMI President and CEO Mike O'Neill stated: "For the first time in 22 years, BMI has a new top song in our repertoire with Sting's timeless hit 'Every Breath You Take,' a remarkable achievement that solidifies its place in songwriting history."


title: Every Breath You Take

text: In the 1983 "Rolling Stone" critics' and readers' poll, it was voted "Song of the Year". In the US, it was the best-selling single of 1983 and fifth-best-selling single of the decade. "Billboard" ranked it as the song for 1983. The song ranked on the "Rolling Stone" list of the 500 Greatest Songs of All Time and is included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. It also ranked number 25 on "Billboard"s Hot 100 All-Time Top Songs. In 2008, "Q" magazine named it among the top 10 British Songs of the 1980s. In 2015, the song was voted by the British public as "The Nation's Favourite" 1980s number one in a UK-wide poll for ITV.


title: Every Breath You Take

text: Sting wrote the song in 1982 in the aftermath of his separation from Frances Tomelty and the beginning of his relationship with Trudie Styler. Their split was controversial. As "The Independent" reported in 2006, "The problem was, he was already married – to actress Frances Tomelty, who just happened to be Trudie's best friend. Sting and Frances lived next door to Trudie in Bayswater, West London, for several years before the two of them became lovers. The affair was widely condemned."


title: Every Breath You Take

text: To escape the public eye, Sting retreated to the Caribbean. He started writing the song at Ian Fleming's writing desk on the Goldeneye estate in Oracabessa, Jamaica. The lyrics are the words of a possessive lover who is watching "every breath you take; every move you make". Sting recalled:


title: Every Breath You Take

text: Sting later said he was disconcerted by how many people think the song is more positive than it is. He insists it is about the obsession with a lost lover, and the jealousy and surveillance that follow. "One couple told me 'Oh we love that song; it was the main song played at our wedding!' I thought, 'Well, good luck.'" When asked why he appears angry in the music video, Sting told BBC Radio 2, "I think the song is very, very sinister and ugly and people have actually misinterpreted it as being a gentle little love song, when it's quite the opposite. Hence so." Gary T. Marx, sociologist and scholar of surveillance studies, wrote in 1988 that, while the song was "a love rather than a protest song", it "nicely captures elements of the new surveillance". He compared the lines to various new technologies of surveillance, including linking "every breath you take" to breath analyzers, "every step you take" to ankle monitors, and "every vow you break" to voice stress analysis.


title: Every Breath You Take

text: According to the "Back to Mono" box-set book, "Every Breath You Take" is influenced by a Gene Pitney song titled "Every Breath I Take". Led Zeppelin's song, "D'yer Mak'er" (1973), also contains the words "every breath I take; every move I make".


title: Every Breath You Take

text: The demo of the song was recorded in an eight-track suite in North London's Utopia studios and featured Sting singing over a Hammond organ. A few months later, he presented the song to the other band members when they reconvened at George Martin's AIR Studios in Montserrat to work on the "Synchronicity" album. The band initially tried the song in a variety of different styles and arrangements, such as reggae.


title: Every Breath You Take

text: While recording, guitarist Andy Summers came up with a guitar part inspired by Béla Bartók that would later become a trademark lick, and played it straight through in one take. He was asked to put guitar onto a simple backing track of bass, drums, and a single vocal, with Sting offering no directive beyond "make it your own". Summers remembered:


title: Every Breath You Take

text: The recording process was fraught with difficulties as personal tensions between the band members, particularly Sting and drummer Stewart Copeland, came to the fore. Producer Hugh Padgham claimed that by the time of the recording sessions, Sting and Copeland "hated each other", with verbal and physical fights in the studio common. The tensions almost led to the recording sessions being cancelled until a meeting involving the band and the group's manager, Miles Copeland (Stewart's brother), resulted in an agreement to continue.


title: Every Breath You Take

text: The drum track was largely created through separate overdubs of each percussive instrument, with the kick drum coming from the sample-based Oberheim DMX drum machine while the main backbeat was created by simultaneously playing a snare and a gong drum. To give the song more liveliness, Padgham asked Copeland to record his drum part in the studio's dining room in order to achieve some "special sound effects". The room, however, was so hot that Copeland's drum sticks had to be taped to his hands to avoid slippage.


title: Every Breath You Take

text: A piano accompaniment consisting of individual notes was added to complete the song's bridge. Padgham remembers that the band and he had "agonized over that part for a long time". with Sting "fiddling around on the piano, banging away on the same note". Padgham recalled a one-note guitar solo and its hypnotic effect in previous work with XTC, and suggested using a similar single-note piano accompaniment - concluding that the one-note line was "kind of his idea in the end". In a 1984 interview Padgham remembered Sting coming into the studio with a couple of one-note piano lines for the song - instead implying that they were Sting's ideas and not his.


title: Every Breath You Take

text: "Cash Box" (incorrectly) described the song as "a subtley crafted minor key ballad" and commented on the effect of the "surprising, smokey smooth feel [of the vocal] above the band's patently insistent rhythmic drive."


title: Every Breath You Take

text: The song had a music video (directed by duo Godley & Creme) loosely based on Gjon Mili's 1944 short film "Jammin' the Blues". Shot in black-and-white with a navy blue tint, the video depicts the band, accompanied by a pianist and string section, performing the song in a darkened ballroom as a man washes the floor-to-ceiling window behind them. Sting performs his part on upright bass rather than bass guitar.


title: Every Breath You Take

text: The video was praised for its cinematography; MTV (1999), "Rolling Stone" (1993), and VH1 (2001) named it one of the best music videos ever, placing it 16th, 61st, & 33rd in their respective top 100 lists. Daniel Pearl won the first MTV cinematography award for his work on the video. Released in the early days of MTV, "Every Breath You Take" was one of the earliest videos to enter heavy rotation, a fact that significantly contributed to the popularity of the song. Pop star Richard Marx remembers that "the first video I watched over and over was 'Every Breath You Take'. It was like seeing a Bergman film. Directors usually spelled out every word of the lyrics in a video, but this was the first video I knew that didn't do that. It was abstract." According to A&M co-founder Jeff Ayeroff, "[The video for] 'Every Breath You Take' probably cost $75,000 to $100,000, and we sold over 5 million albums. With a good video, the return on your investment was phenomenal."


title: Every Breath You Take

text: On October 5, 2022, Billboard officially released a statement confirming that the music video for "Every Breath You Take" surpassed one billion views on YouTube.


title: Every Breath You Take

text: "Every Breath You Take" was released as a single in 1983, with "Murder by Numbers", a composition by Summers and Sting, on the B-side. It reached No. 1 in the United Kingdom, the United States, Canada, Israel, Ireland, and South Africa. In Canada, it spent four weeks at No. 1 and an additional six weeks at No. 2. It also reached No. 2 in Spain, Sweden, Norway and Australia, while reaching the Top 10 in most other Western, Northern and Southern European countries.


title: Every Breath You Take

text: In the 1983 "Rolling Stone" critics and readers poll, it was voted "Song of the Year". In the US, it was the best-selling single of 1983 and fifth-best-selling single of the decade. "Billboard" ranked it as the song for 1983.


title: Every Breath You Take

text: The single became the biggest US and Canadian hit of 1983, topping the "Billboard" Hot 100 singles chart for eight weeks (the band's only hit on that chart). It also topped the "Billboard" Top Tracks chart for nine weeks.


title: Every Breath You Take

text: At the 26th Annual Grammy Awards, the song was nominated for three Grammy Awards, including Song of the Year, Best Pop Performance by a Duo or Group with Vocals, and Record of the Year, winning in the first two categories. Sting received the 1983 Ivor Novello award for Best Song Musically and Lyrically from the British Academy of Songwriters, Composers and Authors.


title: Every Breath You Take

text: Two cover versions charted on the "Billboard" Hot Country Singles chart in 1983: Rich Landers at number 68 and Mason Dixon at number 69.


title: Every Breath You Take

text: In 1999, "Every Breath You Take" was listed as one of the Top 100 Songs of the Century by BMI. In May 2019, BMI updated the list and “Every Breath You Take” was recognized as the Most Performed Song in BMI’s catalogue, a distinction previously held by "You've Lost That Lovin' Feelin'. In 2003, VH1 ranked the song the No. 2 greatest breakup song. As of 2003, Sting was making an average of $2000 per day in royalties for the song.


title: Every Breath You Take

text: In October 2007, Sting was awarded a Million-Air certificate for nine million airplays of "Every Breath You Take" at the BMI Awards show in London.


title: Every Breath You Take

text: "Every Breath You Take" is the Police's and Sting's signature song, and in 2010 was estimated to generate between a quarter and a third of Sting's music publishing income. In May 2019, it was recognized by BMI as being the most played song in radio history. With nearly 15 million radio plays, Sting received a BMI Award at a ceremony held at the Beverly Wilshire Hotel in Beverly Hills to mark it being the Most Performed Song in BMI's catalogue, a distinction previously held since 1999 by "You've Lost That Lovin' Feelin'. BMI President and CEO Mike O'Neill stated: "For the first time in 22 years, BMI has a new top song in our repertoire with Sting's timeless hit 'Every Breath You Take,' a remarkable achievement that solidifies its place in songwriting history."


title: Every Breath You Take

text: The song ranked on the "Rolling Stone" list of the 500 Greatest Songs of All Time and is included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. It also ranked number 25 on "Billboard"s Hot 100 All-Time Top Songs. In 2008, "Q" magazine named it among the top 10 British Songs of the 1980s. In 2015, the song was voted by the British public as the nation's favourite 1980s number one in a UK-wide poll for ITV.


title: Every Breath You Take

text: The song is sampled in Puff Daddy's 1997 hit "I'll Be Missing You," which topped the Billboard Hot 100 for 11 weeks and won a Grammy Award for Best Rap Performance by a Duo or Group; Sting ultimately participated in a performance of "I'll Be Missing You" at the 1997 MTV Video Music Awards.


title: Every Breath You Take

text: It is one of The Rock and Roll Hall of Fame's Songs that Shaped Rock and Roll. On the 50th anniversary of the Billboard Hot 100 Chart, the song was ranked No. 25 on "Billboard"'s "The All-Time Top 100 Songs" chart.


title: 'Allo 'Allo!

text: Allo 'Allo! is a British sitcom television series, created by David Croft and Jeremy Lloyd, starring Gorden Kaye, Carmen Silvera, Guy Siner and Richard Gibson. Originally broadcast on BBC1, the series focuses on the life of a French café owner in the town of Nouvion, during the German occupation of France in the Second World War, in which he deals with problems from a dishonest German officer, local French Resistance, the handling of a stolen painting and a pair of trapped airmen, all while concealing from his wife the affairs he is having with his waitresses.


title: 'Allo 'Allo!

text: Croft and Lloyd devised the concept as a parody of BBC wartime drama "Secret Army" and initially launched the programme with a pilot on 30 December 1982. The sitcom was eventually commissioned following the success of the pilot and ran for nine series between 7 September 1984 until its conclusion on 14 December 1992. Both Lloyd and Croft wrote the scripts for the first six series, while the remainder were handled by Lloyd and Paul Adam. Much like previous sitcoms created by Croft and Lloyd, the programme employed notable elements such as memorable catchphrases and ending credits, cultural clichés, physical humour and visual gags. However, "Allo 'Allo!" differed from these other sitcoms by featuring overarching plot lines rather than simple stand-alone stories, as well as the device of having actors speaking English but with theatrical foreign accents to distinguish each character's nationality.


title: 'Allo 'Allo!

text: The sitcom gained respectable ratings during its run, with its success leading to it receiving stage show reproductions. A special entitled "The Return of 'Allo 'Allo!", aired on 22 March 2007, featured cast members returning to reprise their original roles to perform in a special story after the conclusion of the programme. It was accompanied by a documentary about the sitcom, including a highlight reel of episodes and interviews with the cast, production team and fans.


title: 'Allo 'Allo!

text: "Allo 'Allo!" is set during the Second World War, between the occupation of France by German Axis powers in 1940 and its eventual liberation by Allied forces in July 1944. The story of the sitcom focuses on René Artois, a café owner in Nouvion and a reluctant member of the town's local French Resistance cell who operates under the codename of "Nighthawk". Because of the occupation of the town by German forces, led by the dictatorial Major-General Erich von Klinkerhoffen, René finds himself caught up between dealing with four problems – the scheme and plots of the town's corrupt commandant, Colonel Kurt von Strohm; the sabotage plans of the Resistance's leader Michelle Dubois; the efforts by Gestapo agent Herr Otto Flick to find a stolen painting and unmask Resistance members; and the love affairs with his waitresses, particularly Yvette Carte-Blanche, each of which he must conceal from both his wife Edith Artois and each of the other waitresses.