title: Nerva–Antonine dynasty

text: The first five of the six successions within this dynasty were notable in that the reigning Emperor did not have a male heir, and had to adopt the candidate of his choice to be his successor. Under Roman law, an adoption established a bond legally as strong as that of kinship. Because of this, all but the first and last of the Nerva–Antonine emperors are called Adoptive Emperors.


title: Nerva–Antonine dynasty

text: The importance of official adoption in Roman society has often been considered as a conscious repudiation of the principle of dynastic inheritance and has been deemed one of the factors of the period's prosperity. However, this was not a new practice. It was common for patrician families to adopt, and Roman emperors had adopted heirs in the past: the Emperor Augustus had adopted Tiberius and the Emperor Claudius had adopted Nero. Julius Caesar, dictator perpetuo and considered to be instrumental in the transition from Republic to Empire, adopted Gaius Octavius, who would become Augustus, Rome's first emperor. Moreover, there were often still family connections: Trajan adopted his first cousin once removed and great-nephew by marriage Hadrian, Hadrian made his half-nephew by marriage Antoninus Pius heir, and the latter adopted both Hadrian's half-great-nephew by marriage Marcus Aurelius (Antonius' nephew by marriage) and the son of Hadrian's original planned successor, Lucius Verus. Marcus Aurelius' naming of his son Commodus as heir was considered to be an unfortunate choice and the beginning of the Empire's decline.


title: Nerva–Antonine dynasty

text: With the murder of Commodus in 192, the Nerva–Antonine dynasty came to an end; it was followed by a period of turbulence known as the Year of the Five Emperors.


title: Nerva–Antonine dynasty

text: Nerva was the first of the dynasty. Though his reign was short, it saw a partial reconciliation between the army, the senate and the commoners. Nerva adopted as his son the popular military leader Trajan. In turn, Hadrian succeeded Trajan; he had been the latter's heir presumptive and averred that he had been adopted by him on Trajan's deathbed.


title: Nerva–Antonine dynasty

text: The Antonines are four Roman Emperors who ruled between 138 and 192: Antoninus Pius, Marcus Aurelius, Lucius Verus and Commodus.


title: Nerva–Antonine dynasty

text: In 138, after a long reign dedicated to the cultural unification and consolidation of the empire, the Emperor Hadrian named Antoninus Pius his son and heir, under the condition that he adopt both Marcus Aurelius and Lucius Verus. Hadrian died that same year, and Antoninus began a peaceful, benevolent reign. He adhered strictly to Roman traditions and institutions and shared his power with the Roman Senate.


title: Nerva–Antonine dynasty

text: Marcus Aurelius and Lucius Verus succeeded Antoninus Pius in 161 upon that emperor's death, and co-ruled until Verus' death in 169. Marcus continued the Antonine legacy after Verus' death as an unpretentious and gifted administrator and leader. He died in 180 and was followed by his biological son, Commodus.


title: Nerva–Antonine dynasty

text: The rulers commonly known as the "Five Good Emperors" were Nerva, Trajan, Hadrian, Antoninus Pius, and Marcus Aurelius. The term was coined by Niccolò Machiavelli in his posthumously published book "The Discourses on Livy" from 1531:


title: Nerva–Antonine dynasty

text: Machiavelli argued that these adopted emperors earned the respect of those around them through good governing:


title: Nerva–Antonine dynasty

text: Edward Gibbon wrote in "The History of the Decline and Fall of the Roman Empire" that their rule was a time when "the Roman Empire was governed by absolute power, under the guidance of wisdom and virtue". Gibbon believed that these benevolent monarchs and their moderate policies were unusual and contrasted with their more tyrannical and oppressive successors.


title: Nerva–Antonine dynasty

text: One hypothesis posits that adoptive succession arose because of a lack of biological heirs. All but the last of the adoptive emperors had no legitimate biological sons to succeed them. They were therefore obliged to pick a successor somewhere else; as soon as the Emperor could look towards a biological son to succeed him, adoptive succession was set aside.


title: Nerva–Antonine dynasty

text: The dynasty may be broken up into the Nerva–Trajan dynasty (also called the Ulpian dynasty after Trajan's gentile name 'Ulpius') and Antonine dynasty (after their common name Antoninus).


title: Peggy Guggenheim

text: Marguerite "Peggy" Guggenheim ( ; August 26, 1898 – December 23, 1979) was an American art collector, bohemian and socialite. Born to the wealthy New York City Guggenheim family, she was the daughter of Benjamin Guggenheim, who went down with the "Titanic" in 1912, and the niece of Solomon R. Guggenheim, who established the Solomon R. Guggenheim Foundation. Guggenheim collected art in Europe and America primarily between 1938 and 1946. She exhibited this collection as she built it; in 1949, she settled in Venice, where she lived and exhibited her collection for the rest of her life. The Peggy Guggenheim Collection is a modern art museum on the Grand Canal in Venice, Italy, and is one of the most visited attractions in Venice.


title: Peggy Guggenheim

text: Guggenheim's parents were of Ashkenazi Jewish descent. Her mother, Florette Seligman (1870–1937), was a member of the Seligman family. When she turned 21 in 1919, Guggenheim inherited US$2.5 million, equivalent to US$ million in . Guggenheim's father, Benjamin Guggenheim, a member of the Guggenheim family, who died in the sinking of the "Titanic", had not amassed the fortune of his siblings; therefore her inheritance was far less than that of her cousins. She also had a sister, Barbara Hazel Guggenheim, who became a painter and art collector.


title: Peggy Guggenheim

text: She first worked as a clerk in an avant-garde bookstore, the Sunwise Turn, in mid-town Manhattan, where she became enamored of the members of the bohemian artistic community. In 1920 she went to live in Paris, France. Once there, she became friendly with avant-garde writers and artists, many of whom were living in poverty in the Montparnasse quarter of the city. Man Ray photographed her, and was, along with Constantin Brâncuși and Marcel Duchamp, a friend whose art she was eventually to promote.


title: Peggy Guggenheim

text: She became close friends with writer Natalie Barney and artist Romaine Brooks and was a regular at Barney's salon. She met Djuna Barnes during this time, and in time became her friend and patron. Barnes wrote her best-known novel, "Nightwood", while staying at the Devon country house, Hayford Hall, that Guggenheim had rented for two summers.


title: Peggy Guggenheim

text: Guggenheim urged Emma Goldman to write her autobiography and helped to secure funds for her to live in Saint-Tropez, France, while writing her two volume "Living My Life". Guggenheim wrote her own autobiography entitled "Out of This Century", later revised and re-published as "Confessions of an Art Addict" which was released in 1946 and is now published with Harper Collins.


title: Peggy Guggenheim

text: In January 1938, Guggenheim opened a gallery for modern art in London featuring Jean Cocteau drawings in its first show, and began to collect works of art. Guggenheim often purchased at least one object from each of her exhibitions at the gallery. After the outbreak of World War II, she purchased as much abstract and Surrealist art as possible.


title: Peggy Guggenheim

text: Her first gallery was called "Guggenheim Jeune", the name ingeniously chosen to associate her gallery with both the epitome of a gallery, the French Bernheim-Jeune, and with the name of her own well-known family. The gallery on 30 Cork Street, next to Roland Penrose's and E. L. T. Mesens' show-case for the Surrealist movement, proved to be successful, thanks to many friends who gave advice and who helped to run the gallery. Marcel Duchamp, whom she had known since the early 1920s, when she lived in Paris with her first husband Laurence Vail, had introduced Guggenheim to the art world; it was through him that she met many artists during her frequent visits to Paris. He taught her about contemporary art and styles, and he conceived several of the exhibitions held at "Guggenheim Jeune".


title: Peggy Guggenheim

text: The Cocteau exhibition was followed by exhibitions of Wassily Kandinsky (his first one-man-show in England), Yves Tanguy, Wolfgang Paalen and several other well-known and some lesser-known artists. Peggy Guggenheim also held group exhibitions of sculpture and collage, with the participation of the now-classic moderns Antoine Pevsner, Henry Moore, Henri Laurens, Alexander Calder, Raymond Duchamp-Villon, Constantin Brâncuși, John Ferren, Jean Arp, Max Ernst, Pablo Picasso, Georges Braque and Kurt Schwitters. She also greatly admired the work of John Tunnard (1900–1971) and is credited with his discovery in mainstream international modernism.


title: Peggy Guggenheim

text: When Guggenheim realized that her gallery, although well received, had made a loss of £600 in the first year, she decided to spend her money in a more practical way. A museum for contemporary arts was exactly the institution she could see herself supporting. Most certainly on her mind also were the adventures in New York City of her uncle, Solomon R. Guggenheim, who, with the help and encouragement of artist Baroness Hilla von Rebay, had created the Solomon R. Guggenheim Foundation two years earlier. The main aim of this foundation had been to collect and to further the production of abstract art, resulting in the opening of the Museum of Non-objective Painting (known as the Solomon R. Guggenheim Museum after 1952) in Manhattan during 1939. Guggenheim closed "Guggenheim Jeune" with a farewell party on 22 June 1939, at which colour portrait photographs by Gisèle Freund were projected on the walls. She started making plans for a Museum of Modern Art in London together with the English art historian and art critic Herbert Read. She set aside $40,000 for the museum's running costs. However, these funds were soon overstretched by the organisers' ambitions.


title: Peggy Guggenheim

text: In August 1939, Guggenheim left for Paris to negotiate loans of artworks for the first exhibition. In her luggage was a list drawn up by Herbert Read for this occasion. Shortly after her departure the Second World War broke out, and the events following 1 September 1939 made her abandon the scheme, willingly or not. She then "decided now to buy paintings by all the painters who were on Herbert Read's list. Having plenty of time and all the museum's funds at my disposal, I put myself on a regime to buy one picture a day." When finished, she had acquired 10 Picassos, 40 Ernsts, eight Mirós, four Magrittes, four Ferrens, three Man Rays, three Dalís, one Klee, one Wolfgang Paalen and one Chagall, among others. In the meantime, she had also made new plans and in April 1940 had rented a large space in the Place Vendôme as a new home for her museum.


title: Peggy Guggenheim

text: A few days before the Germans reached Paris, Guggenheim had to abandon her plans for a Paris museum, and fled to the south of France, from where, after months of safeguarding her collection and artist friends, she left Europe for New York in the summer of 1941. There, in the following year, she opened a new gallery—which actually was in part a museum—at 30 West 57th Street. It was called The Art of This Century. Three of the four galleries were dedicated to Cubist and Abstract art, Surrealism and Kinetic art, with only the fourth, the front room, being a commercial gallery. Guggenheim held other important shows, such as the show for 31 Women artists, at the gallery.


title: Peggy Guggenheim

text: Her interest in new art was instrumental in advancing the careers of several important modern artists including the American painters Jackson Pollock and William Congdon, the Austrian surrealist Wolfgang Paalen, the sound poet Ada Verdun Howell and the German painter Max Ernst, whom she married in December 1941. She had assembled her collection in only seven years.


title: Peggy Guggenheim

text: Following World War II – and her 1946 divorce from Max Ernst – she closed The Art of This Century Gallery in 1947, and returned to Europe, deciding to live in Venice, Italy. In 1948, she was invited to exhibit her collection in the disused Greek Pavilion of the Venice Biennale and in 1949 established herself in the Palazzo Venier dei Leoni ('unfinished palazzo of the lions') on the Grand Canal.


title: Peggy Guggenheim

text: Her collection became one of the few European collections of modern art to promote a significant number of works by Americans. In the 1950s she promoted the art of two local painters, Edmondo Bacci and Tancredi Parmeggiani. By the early 1960s, Guggenheim had almost stopped collecting art and began to concentrate on presenting what she already owned. She loaned out her collection to museums in Europe and in 1969 to the Solomon R. Guggenheim Museum in New York City, which was named after her uncle. Eventually, she decided to donate her home and her collection to the Solomon R. Guggenheim Foundation, a gift which was concluded "inter vivos" in 1976, before her death in 1979.


title: Peggy Guggenheim

text: The Peggy Guggenheim Collection is one of the most important museums in Italy for European and American art of the first half of the 20th century. Pieces in her collection embrace Cubism, Surrealism and abstract expressionism.


title: Peggy Guggenheim

text: Guggenheim lived in Venice until her death in Camposampiero near Padua, Italy, after a stroke. Her ashes are interred in the garden (later the Nasher Sculpture Garden) of her home, the Palazzo Venier dei Leoni (inside the Peggy Guggenheim Collection), next to her dogs.


title: Peggy Guggenheim

text: According to both Guggenheim and her biographer Anton Gill, it was believed that while living in Europe, she had "slept with 1,000 men". She claimed to have had affairs with numerous artists and writers, and in return many artists and others have claimed affairs with her. When asked by conductor Thomas Schippers how many husbands she had, she replied, "You mean my own, or other people's?" In her autobiography, Peggy provides the names of some of these lovers, including Yves Tanguy, Roland Penrose and E. L. T. Mesens.


title: Peggy Guggenheim

text: Her first marriage was to Laurence Vail, a Dada sculptor and writer with whom she had two children, Michael Cedric Sindbad Vail (1923–1986) and Pegeen Vail Guggenheim (1925–1967). They divorced in about 1928 following his affair with writer Kay Boyle, whom he later married. Soon after her first marriage dissolved, she had an affair with John Ferrar Holms, a writer with writer's block who had been a war hero. Starting in December 1939, she and Samuel Beckett had a brief but intense affair, and he encouraged her to turn exclusively to modern art. She married her second husband, painter Max Ernst, in 1941 and divorced him in 1946. Among her eight grandchildren is Karole Vail, who was appointed director of the Peggy Guggenheim Collection in 2017.


title: October (2018 film)

text: October is a 2018 Indian Hindi-language coming-of-age drama film directed by Shoojit Sircar, and produced by Ronnie Lahiri and Sheel Kumar under their Rising Sun Films banner. The film stars Banita Sandhu, Gitanjali Rao, and Varun Dhawan. Both Sandhu and Rao debuted as actors with this film. Written by Juhi Chaturvedi and shot by Avik Mukhopadhyay, the film follows the life of a hotel-management intern who takes care of his comatose fellow intern in an unconditional and unconventional manner.


title: October (2018 film)

text: Initially scheduled to release on 1 June 2018, the film was released on 13 April 2018, grossing over 584.1 million worldwide. Upon its release, the filmmakers were accused of plagiarising "Aarti – The Unknown Love Story", a Marathi film directed by Sarika Mene. Screenwriters Association reviewed the case and found some similarities between the two films. However, it cleared "October" of plagiarism charges as the real-life events that likely inspired both the films were not protected by copyright laws.


title: October (2018 film)

text: "October" received positive reviews, with particular praise for Dhawan, whose performance was called 'a massive surprise' by critics in light of the criticism he faced for "Judwaa 2". Rao and Sandhu also received praise for their performances. Despite such acclaim, it was not commercially successful. It received seven nominations at the 64th Filmfare Awards including Best Actor (Critics) for Dhawan, Best Supporting Actress for Rao and Best Female Debut for Sandhu.


title: October (2018 film)

text: Shiuli Iyer and Danish "Dan" Walia work as interns at the same hotel. Shiuli, being very disciplined and responsible towards her job, is the polar opposite of Dan who is careless and irresponsible towards his job. At the beginning of the story, Dan struggles with his job serving various departments of the hotel. He doesn't seem to have a very good relationship with his fellow staff members except for two of his friends who work at the same hotel as interns.


title: October (2018 film)

text: On New Year's Eve, Shiuli and her friends party on the 3rd floor of the hotel, when Dan is nowhere to be found. Shiuli accidentally slips off and is hospitalized. While other members of the hotel staff visit her at the hospital, Dan gets seriously affected when his friends tell him that Shiuli's last words just before her fall were "Where is Dan?". Dan starts visiting the hospital every day, despite that negatively affecting both his job and his relationship with his friends who cover his shifts and help him financially. After a scuffle at the hotel, Dan is terminated. He finds comfort being with Shiuli who slowly starts to improve and Dan's mere presence calms Shiuli. He devotes his entire time to taking care of her.


title: October (2018 film)

text: Seeing Dan's career and personal life drowning due to his devotion towards Shiuli, her mother Vidya decides to make him go and take care of himself. Dan joins another hotel in Kullu as manager but is unable to take his mind off Shiuli. Soon he learns of Shiuli's failing health and visits the hospital. He apologises for leaving her abruptly and promises to stay with her. Seeing Dan, Shiuli calms and begins to improve again. She is soon discharged from the hospital and is brought home where Dan continues taking care of her. He takes her to a park and asks her why she remembered him before her fall. Shiuli responds by trying to say his name aloud. The following night Shiuli suffers a seizure and dies as her lungs collapsed. Emotionally broken, Dan visits Shiuli's home and comforts her despaired family. Afterwards, he is seen collecting her death certificate tearfully.


title: October (2018 film)

text: In a later scene, Vidya tells Dan that she was named Shiuli because of her fondness for the shiuli flower, which she loved collecting as a child with her grandfather. She further remarks how shiuli flowers are short-lived, as they live all night and die by dawn; to which Dan sorrowfully points out, her daughter too, was short-lived like her namesake flowers.


title: October (2018 film)

text: Several months later, Dan is rehired by the hotel where he completes his diploma and works as a sous chef. One day, he notices several missed calls and visits Vidya. They sit in the backyard discussing Shiuli. Pointing at the shiuli plant in the backyard, Vidya tells Dan about her family shifting to their hometown Trichy. She doesn't wish to leave Shiuli's plant, but Dan assures her that he would take care of it.


title: October (2018 film)

text: As the story ends, Shiuli's family has moved and Dan carries the shiuli plant with him, as a symbol of the unconditional and unconventional love which had blossomed in his heart for Shiuli.


title: October (2018 film)

text: The idea behind the film was conceived and inspired by newspaper articles and reports about whether comatose people and those with brain injuries hear when we talk to them and the spiritual exercise which brings them back.


title: October (2018 film)

text: Principal photography began in September 2017, and concluded in November 2017. The film was entirely shot in Delhi at Dwarka with a few portions shot in Connaught Place, New Delhi and Defence Colony, South Delhi. In Delhi, it was also shot in a 5-star hotel for 30 days where Varun Dhawan practiced as a hotel management student, performing his daily chores and the idea behind which was for Varun to grasp body-language and behaviour to bring more authenticity to his character in the film.


title: October (2018 film)

text: Varun Dhawan and Rising Sun Films first teased "October" in a 10-second clip released on 23 January 2018 to their official Twitter and YouTube handles, respectively. On 14 February 2018, the first-look teaser trailer of the film was released. It was followed by the release of first-look (also theatrical release) poster and official trailer on 9 March 2018 and 12 March 2018. In an interview, Shoojit Sircar said that writers do not get much credit like they do in the West. He said, "It is important to acknowledge all the technicians in the film, especially the one who conceives it, the writers". He feels that a writer's contribution is as important as any actor's or director's. This was the reason which made him "deliberately" give Juhi Chaturvedi's credit in the trailer and "made sure the industry notices". He further added that the Hindi film industry doesn't think writing to be important. For them, it's more "the actor, then the director, how you shoot the film and how expensive".


title: October (2018 film)

text: Initially, the film was scheduled to release on 1 June 2018. But in October 2017, Dhawan, in one of his tweets, revealed that the release date has been advanced. The film was released on 13 April 2018 across 2308 screens worldwide.


title: October (2018 film)

text: The soundtrack is composed by Shantanu Moitra, Abhishek Arora and Anupam Roy, and features playback singers such as Armaan Malik, Rahat Fateh Ali Khan, Sunidhi Chauhan and Monali Thakur. Background score of the film is composed by Shantanu Moitra who also provided music for 3 tracks on the film's soundtrack album. It was released on 28 March 2018 by Zee Music Company and generally received positive reviews from the critics. The album consists of five tracks whose lyrics are penned by Abhiruchi Chand, Tanveer Ghazi and Swanand Kirkire.


title: October (2018 film)

text: Lyrics for "Theher Ja" were written by Abhiruchi Chand, "Tab Bhi Tu" and "Manwaa" by Tanveer Ghazi and "Chal" by Swanand Kirkire.


title: October (2018 film)

text: As of 10 May 2018, "October" has grossed over in India, and as of 6 May 2018, in North America (USA and Canada), in United Kingdom, in Australia and in New Zealand making a worldwide total of , which is more than twice the production budget of the film. It had a domestic opening of , which grew to and on the second and third days. The collection decreased to by the eighth day with spikes of and on the ninth and tenth days. By the fifteenth day, the collection was , The film grossed and on the sixteenth and seventeenth days, then dropped to by the forty-second day of its domestic run.


title: October (2018 film)

text: On review aggregator website "Rotten Tomatoes", the film holds an approval rating of , based on reviews, with an average rating of .


title: October (2018 film)

text: Raja Sen of "NDTV" gave the movie 5 out of 5 stars calling it a wonder. Rajeev Masand of "News18" said that, ""October" is a thoughtful, meditative film about love, grief, mortality, and the making of a man". He praised the performances of the lead actors and gave the film a rating of 3.5 out of 5. Rohit Vats of "Hindustan Times" gave the film a rating of 4.5 out of 5 and appreciated the performances of the cast, with particular praise directed towards Dhawan's performance about whom he said that, "It's a terrific performance, his best for sure". The critic said that ""October", a month in autumn, is more than just a symbol in Shoojit Sircar's new film. It covers a lifetime. It brings haunting images, evokes tears, makes you anxious and then leaves you blank. You’re numb while waiting to return to reality." Shubhra Gupta of "The Indian Express" gave the film a rating of 2.5 out of 5 and said that, "I liked much of "October", but didn't fall in love with it." but she did praise the performances of the cast and the writer of the movie, Juhi Chaturvedi. Madhureeta Mukherjee of "The Times of India" gave the film a rating of 4.5 out of 5 and said that, "It's not a story crafted with heavy doses of dialogues, romantic ballads or bombastic tropes common to the genre. The beauty lies in the simplicity of it all.".


title: October (2018 film)

text: Sarika Mene, a Marathi filmmaker, had claimed that "October" plagiarised plot and characters from her 2017 film "Aarti: The Unknown Love Story". She had filed a non-cognisable criminal complaint against makers of "October" at Vile Parle Police Station, Mumbai. Hemal Trivedi, also a Marathi filmmaker, who was working with Mene on the Bollywood-remake of "Aarti", supported her claim via his facebook post. However, the team of Rising Sun Films had denied the allegations saying " … We have not heard of the film 'Aarti' nor do we have full details of the matter as yet. ... We will look into this and deal with it appropriately".


title: October (2018 film)

text: In an interview that occurred before the plagiarism accusation, Shoojit Sircar said that all the films that he had directed had been very personal to him and "October" explores experiences of the hospital life he had lived when his mother was comatose for three months. Moreover, the film's writer Juhi Chaturvedi also took care of her mother in the hospital for years before she was finally put on ventilator and couldn't be revived. Though "Aarti" is an amateur project but thematic similarities between both the films can't be ignored.


title: October (2018 film)

text: Despite Sircar's given statements in news interviews on the inspiration behind "October", Mene said she won't give up easily and hired a new lawyer for the case because she had requested the makers of "October" to watch "Aarti", to which they didn't respond but to no effect because ScreenWriters Association (SWA) cleared "October" of all the charges in a letter, dated 20 May 2018, written to Rising Sun Films and Juhi Chaturvedi from Dispute Settlement Committee set up by SWA on 5 May 2018 on the basis of facts that though "... both the films may overlap, the treatment ... is very different ... " and " ... most of the details already existed ... in public domain through news articles and reports about Sunny and Aarti's story".


title: October (2018 film)

text: Even after being cleared from all the accusations, on 9 June 2018, Juhi received another legal notice from Mene claiming again that the story of "October" was plagiarised from "Aarti". The notice demands Sunny Pawar to be credited and monetary compensation for her not being able to make a Hindi adaptation of "Aarti", whose rights she had sold to Hemal Trivedi to work on it.


title: Darryl F. Zanuck

text: Darryl Francis Zanuck (September 5, 1902December 22, 1979) was an American film producer and studio executive; he earlier contributed stories for films starting in the silent era. He played a major part in the Hollywood studio system as one of its longest survivors (the length of his career was rivaled only by that of Adolph Zukor). He produced three films that won the Academy Award for Best Picture during his tenure.


title: Darryl F. Zanuck

text: Zanuck was born in Wahoo, Nebraska, the son of Sarah Louise (née Torpin), who later married Charles Norton, and Frank Harvey Zanuck, who owned and operated a hotel in Wahoo. He had an older brother, Donald (1893–1903), who tragically died in an accident when he was only 9 years old. Zanuck was of partial Swiss descent, and raised a Protestant. At age six, Zanuck and his mother moved to Los Angeles, where the better climate could improve her poor health. At age eight, he found his first movie job as an extra, but his disapproving father recalled him to Nebraska. In 1917, despite being 15, he deceived a recruiter, joined the United States Army, and served in France with the Nebraska National Guard during World War I.


title: Darryl F. Zanuck

text: Upon returning to the US, he worked in many part-time jobs while seeking work as a writer. He found work producing movie plots, and sold his first story in 1922 to William Russell and his second to Irving Thalberg. Screenwriter Frederica Sagor Maas, story editor at Universal Pictures' New York office, stated that one of the stories Zanuck sent out to movie studios around this time was completely plagiarized from another author's work.


title: Darryl F. Zanuck

text: Zanuck then worked for Mack Sennett and FBO (where he wrote the serials "The Telephone Girl" and "The Leather Pushers") and took that experience to Warner Bros., where he wrote stories for Rin Tin Tin and under a number of pseudonyms wrote over 40 scripts from 1924 to 1929, including "Red Hot Tires" (1925) and "Old San Francisco" (1927). He moved into management in 1929, and became head of production in 1931.


title: Darryl F. Zanuck

text: In 1933, Zanuck left Warner Bros. over a salary dispute with studio head Jack L. Warner. A few days later, he partnered with Joseph Schenck to form 20th Century Pictures, Inc. with financial help from Joseph's brother Nicholas Schenck and Louis B. Mayer, president and studio head of Loew's, Inc and its subsidiary Metro-Goldwyn-Mayer, along with William Goetz and Raymond Griffith. 20th Century released its material through United Artists.


title: Darryl F. Zanuck

text: During that short time (1933–1935), 20th Century became the most successful independent movie studio of its time, breaking box-office records with 18 of its 19 films, all profitable, including "Clive of India", "Les Miserables", and "The House of Rothschild". After a dispute with United Artists over stock ownership, Schenck and Zanuck negotiated and used their studio to bring out the bankrupt Fox studios in 1935 to form Twentieth Century-Fox Film Corporation.


title: Darryl F. Zanuck

text: Zanuck was Vice President of Production of this new studio and took a hands-on approach, closely involving himself in scripts, film editing, and producing.


title: Darryl F. Zanuck

text: When the U.S. entered World War II at the end of 1941, he was commissioned as a colonel in the Army Signal Corps, but was frustrated to find himself posted to the Astoria studios in Queens, New York, and even worse, serving alongside the spoiled son of Universal's founder, Carl Laemmle Jr., who was chauffeured by limousine to the facility each morning from a luxury Manhattan hotel.


title: Darryl F. Zanuck

text: Appalled by such privileged cosseting, Zanuck stormed down to Washington, DC, and into the War Department, demanding a riskier assignment from Chief of Staff, General George C. Marshall. Since American forces were not yet fighting anywhere, Marshall had Zanuck posted to London as chief U.S. liaison officer to the British Army film unit, where at least he would be studying army training films while under Nazi bombardment by Hitler's Luftwaffe in the still-ongoing Blitz.


title: Darryl F. Zanuck

text: Zanuck cheerfully endured the bombs, refusing to leave his room at Claridge's for its air-raid shelter during nightly raids and instead hosting "blitz parties" because he had such a splendid view of anti-aircraft fire from his hotel room, not to mention coveted PX food and drink long missing from Britain's highly rationed shelves. He even persuaded Lord Mountbatten to allow him along on a secret coastal raid across the Channel to occupied France. The daring nighttime attack on a German radar site was a success. Zanuck, ever the showman, sent his wife in Santa Monica a package of "Nazi-occupied sand", writing her "I've just been swimming on an enemy beach" – not allowed, of course, to tell her where he had been, let alone that they had been under Nazi gunfire and helped the wounded back to the ship.


title: Darryl F. Zanuck

text: While Zanuck was on duty, 20th Century-Fox, like the other studios, contributed to the war effort by releasing a large number of their male stars for overseas service and many of their female stars for USO and war bond tours — while creating patriotic films under the often contentious supervision of a fledgling Office of War Information. Jack L. Warner, whose studio lot happened to be next door to a Lockheed factory, was made a colonel in the Army Air Corps without ever actually having to leave the studio, let alone put on a uniform. Not so Zanuck, who pleaded with the War Department, as soon as American troops were posted for action in North Africa, and was rewarded with the assignment of covering the invasion for the Signal Corps.


title: Darryl F. Zanuck

text: Director John Ford, a longtime adversary of Zanuck despite the latter's having shepherded Ford's "The Grapes of Wrath" (1940) past the censorious Hays office into production, had been making films as a commander in the U.S. Navy even before the U.S. entered the war, and he was horrified to discover himself drafted into Zanuck's Africa unit. "Can't I ever get away from you?" he growled. "I bet if I die and go to heaven, you'll be waiting for me under a sign reading 'Produced by Darryl F. Zanuck'."


title: Darryl F. Zanuck

text: Ford's chagrin turned to real outrage when Zanuck, after three months, took all their footage from battles in Tunisia, most of which Ford had shot, and hastily assembled it into a picture that went into American theaters without Ford's name appearing anywhere. The movie, released as "At The Front" with Zanuck credited as producer, was poorly received in the States, called amateurish, dull, and even lacking in realism, prompting the affronted Zanuck to counter in "The New York Times" that he had resisted the temptation to stage events for a more convincing film. Unfortunately, this controversy landed Zanuck into a Senate subcommittee headed by Senator Harry S. Truman, investigating "instant" colonels who were popping up and concentrating on famous Hollywood names.


title: Darryl F. Zanuck

text: Unlike Col. Warner, most colonels from the studio system — Col. Frank Capra, Col. Anatole Litvak, Col. Hal Roach—were actually doing their cinematic jobs, often, like Zanuck, under enemy fire. Nonetheless, when Col. Zanuck was named in this investigation in 1944, the usually combative mogul uncharacteristically and abruptly resigned his commission and left the Army. Biographer Leonard Mosley suggests this to be because of an inadvertent security leak when Zanuck had mentioned a top-secret, brand new, massively powerful bomb the size of a "golf ball" to a fellow officer from his Hollywood world. Whatever the reason, despite having published his own first-person account of his wartime adventures ("The New York Times" critic Bosley Crowther actually liked this book better than the film), he resigned.


title: Darryl F. Zanuck

text: Zanuck returned to 20th Century-Fox in 1944 a changed man. He avoided the studio and instead read books at home, surrounded by his growing family, and caught up on all the films he had missed while overseas in his private screening room. He did not return to take the reins until William Goetz, the man Zanuck had left in charge when he went off to war, left for a job at Universal.


title: Darryl F. Zanuck

text: Zanuck's tenure in the 1940s and '50s resonated with his astute choices. He first personally rescued a cumbersome cut of "The Song of Bernadette" (1943), recutting the completed film into a surprise hit that made a star of newcomer Jennifer Jones, who won the Oscar. He relented to actor Otto Preminger's fervent wish to direct a modest thriller called "Laura" (1944), casting Clifton Webb in his Oscar-nominated role as Gene Tierney's controlling mentor, with David Raksin's haunting score.


title: Darryl F. Zanuck

text: Leading theater director Elia Kazan was carefully nurtured through his first film, "A Tree Grows in Brooklyn" (1945), based on a popular novel. It did so well, he chose Kazan to direct the first studio film on antisemitism, "Gentleman's Agreement" (1947), with Gregory Peck playing a Gentile reporter whose life falls apart due to implacable antisemitism emerging from friends and family when he pretends to be Jewish for an exposé. After Kazan triumphed in Tennessee Williams' Broadway hit, "A Streetcar Named Desire", he brought Kazan back to direct "Pinky" (1949), another film about prejudice, this time racial.


title: Darryl F. Zanuck

text: The scathing theater world of Bette Davis's aging actress in "All About Eve" (1950) went on to win six Oscars at the Academy Awards; the disturbing questions of a bomber squadron leader Gregory Peck in "Twelve O'Clock High" (1949) challenged wartime patriotism. Both showed Zanuck's ability to create box-office hits via brilliant films with unflinching examinations of demanding, hierarchical worlds. Zanuck continued to tackle social issues other studios would not touch, but he stumbled with idealistic projects. "Wilson" (1944), an expensive picture that was unsuccessful at the box office, and an attempt to make a film of "One World", a memoir by politician Wendell Willkie of his tour of war-damaged Europe, a project that was aborted before shooting began.


title: Darryl F. Zanuck

text: As television began to erode Hollywood's audiences in the early 1950s, widescreen presentation was thought to be a potential solution. The 1950 television set duplicated the near-square shape of the 35 mm format in which all movies were shot—and this was no accident. Standardization of film size meant all theaters everywhere could play all films. Even the projection of film formats—i.e. any attempt to break out of the 35 mm format were under the control of the Hays Office, which limited any wide-screen experiments to the 10 largest cities in America. This severely limited the future of any widescreen format.


title: Darryl F. Zanuck

text: Zanuck was an early advocate of widescreen projection. One of the first things Zanuck did when he returned to Fox in 1944 was to restart the research on a 50 mm film, shelved in the early 1930s as a cost-cutting measure (a larger-sized film print in the projector meant higher resolution). Impressed by a screening in Cinerama, a three-projector widescreen process, unveiled in 1952 that promised to envelop the viewer in a wrap-around image, Zanuck wrote an essay extolling widescreen's virtues, seeing the new formats as a "participatory" form of recreation, rather than mere passive entertainment, such as television. Cinerama was cumbersome, though, and used three projectors simultaneously, potentially a hugely expensive investment. Fox, like every other studio, had rejected Cinerama when the innovative new process was pitched to them for investment. In retrospect, this looked like a mistake, but nothing could be done. Cinerama was no longer for sale.


title: Darryl F. Zanuck

text: Zanuck now urged the studio to keep the same principle, but find a more feasible approach. He approved a massive investment into a system that would be called CinemaScope—$10 million in its first year alone. The urgency was increased when an aggressive appliance tycoon and shareholder, Charles Green, began threatening a proxy takeover, claiming the current Fox administration was wasting stockholders' money. He attempted to conspire with Zanuck to oust the New York-based president of Fox since 1942, Greek-American Spyros Skouras. Zanuck refused; instead, Skouras and he decided to gamble on CinemaScope to save their jobs, and perhaps, their studio.


title: Darryl F. Zanuck

text: Skouras made a bold announcement in February; Fox not only had a new and vastly more economical and efficient wide-screen process, but all Fox films would be released in CinemaScope—a format which had yet to be perfected. "The Robe" (1953), a Biblical epic, would be its first released feature film. Skouras now began to oversee Fox's somewhat startled research scientists, based on the East Coast and accustomed to Hollywood executives who thought R&D was a waste of money. Then Skouras flew to Paris to meet with a French inventor, Henri Chretien, who had created a new lens that just might be suitable.


title: Darryl F. Zanuck

text: Though Fox shares immediately went up, Green found this an even more damning indication of Zanuck and Skouras's leadership and began readying his proxy fight for the May shareholder meeting. This meant that a CinemaScope process had to be publicly demonstrated to the industry's studios, theater owners, manufacturers, to stockholders and the press—by mid-March, to give them enough time to impress their shareholders with their new product and thus win the proxy fight.


title: Darryl F. Zanuck

text: With Chretien's new lens, the Fox engineers pulled it together—a widescreen, Cinerama-like picture projected using merely one projector, not three. Zanuck carried out presentations of CinemaScope to the press in cities across the country throughout April, as Skouras and he gathered their forces for the proxy fight. "The enthusiastic response of those who attended these screenings and the laudatory reviews of CinemaScope in the trade press," writes John Belton in his book, "Widescreen" (1992), "undoubtedly played a major role in Green's defeat" at the May 5 meeting. CinemaScope's need for a wider screen was because of an anamorphic lens attached to the camera which squeezed the image while filming, and another lens on the projector which reverted the process, widening the image during screening.


title: Darryl F. Zanuck

text: Implementing this was no easy matter. Directors, cameramen, and production designers were baffled by what to do with all that space. Zanuck encouraged them to spread the action across the screen, to take full advantage of the new proportions. Committed to its all-widescreen slate, Fox had to drop several projects that were deemed unsuitable for CinemaScope—one of them being Elia Kazan's "On the Waterfront" (1954), which Zanuck could not visualize being in color and widescreen. (Kazan took the project to Columbia, which had thus far stayed on the sidelines of the widescreen debate.) The public demonstrations that spring had already included excerpts from "The Robe" and "How to Marry a Millionaire" (also 1953), a glossy star package with Marilyn Monroe and Lauren Bacall.


title: Darryl F. Zanuck

text: Of the other studios, MGM had immediately abandoned its own attempts and committed to CinemaScope and United Artists and Walt Disney Productions announced they would make films in the same widescreen process, but the other studios hesitated, and some announced their own rival systems: Paramount's VistaVision, which would prove a worthy rival, and Warner Bros.'s WarnerScope which vanished overnight. The November 3, 1953, premiere of "The Robe" brought Warner Bros. and Columbia around, though Warner's plan was a full slate of 3-D features for 1954, instead. Zanuck began to make compromises, and eventually capitulated. Smaller theaters rented conventional versions of the studio's films; stereo they could live without altogether. Todd-AO came out in 1955, and after its developer, Mike Todd, died in 1958, Zanuck invested in the process for Fox's most exclusive roadshows. Although pictures continued to be shot in CinemaScope until 1967, it ironically became relegated to Fox's conventional releases.


title: Darryl F. Zanuck

text: Nonetheless, the Battle of the Screens seemed to leave Zanuck emotionally exhausted. He began an affair with a young Polish woman, who was actually a guest of his wife, changing her name to Bella Darvi. When he cast Darvi in "The Egyptian" (1954), she was so mediocre and the script so unsatisfactory, that star Marlon Brando walked off the picture after the first read-through. He agreed to give Fox two other pictures rather than return. Her unintelligible accent helped sink not only the ponderous film, but also his long-enduring marriage, and indeed his life at the studio itself.


title: Darryl F. Zanuck

text: In 1956, Zanuck withdrew from the studio and left his wife, Virginia Fox, to move to Europe and concentrate on independent producing with a generous contract from Fox that gave him directing and casting control on any projects Fox financed. Eventually, in his absence, Fox began to fall to pieces due to the ballooning budget of "Cleopatra" (1963), whose entire set constructed at Pinewood Studios had to be scrapped before shooting even started.


title: Darryl F. Zanuck

text: Meanwhile, Zanuck picked up a hefty book by Cornelius Ryan called "The Longest Day", which promised to fulfill his dream of making the definitive film of D-Day. Flying back to the States, he had to convince a Fox board, staggering under the still-unfinished "Cleopatra"s $15 million cost, to finance what he was sure would be a box-office hit, as indeed it was, despite skeptics that included his son Richard. He seethed at the $8 million ceiling imposed on him, knowing he would have to dip into his own pocket to finish the film, as he soon did.


title: Darryl F. Zanuck

text: To the all-star all-male cast, he added an unknown French beauty, Irina Demick, as a Resistance fighter. She had become his mistress after her casting session for the film's only female speaking part. She would be followed by Geneviève Gilles and the French singer Juliette Gréco. Greco, who in fact had her own recording career, published a kiss-and-tell memoir in the French press which Zanuck managed to suppress.


title: Darryl F. Zanuck

text: Probably for reasons like this, though he stayed in Europe for some years, Zanuck would not divorce his wife Virginia, nor she him. She stayed patiently in Santa Monica, a neglected but effective "Maginot Line" against the claims of her rivals. This would later prove to have costly consequences.


title: Darryl F. Zanuck

text: Fearing the studio's profligacy would sink his cherished "The Longest Day" (1962) as it readied for release, Zanuck returned to control Fox. He replaced Spyros Skouras as president, who had failed to control perilous cost overruns on the still-unfinished "Cleopatra" and had been forced to shelve Marilyn Monroe's last vehicle, "Something's Got to Give" after principal photography had started, at a loss of $2 million. Zanuck promptly made his son, Richard D. Zanuck, head of production.


title: Darryl F. Zanuck

text: Richard quickly displayed his own flair for picking fresh, new hits, helped by his trusted fellow producer, David Brown. He plucked Rodgers and Hammerstein's least successful Broadway show from obscurity and turned it into the highly successful "The Sound of Music" (1965), committed to the science-fiction hit "Planet of the Apes" (1968), unleashed maverick director Robert Altman to create his antiwar comedy "MASH" (1970) and hired the little-known Francis Coppola to write "Patton" (1970) into a project for George C. Scott.


title: Darryl F. Zanuck

text: However, Zanuck Sr's next all-star World War II film "Tora! Tora! Tora!" (1970) was plagued with production problems from the start. First, director David Lean pulled out of the Pearl Harbor retelling, and had to be hastily replaced by Richard Fleischer; storms destroyed expensive exteriors, closing down production while they were rebuilt; then the Japanese co-director Akira Kurosawa, miffed by criticism of his early rushes, either really had or merely faked a nervous breakdown before his cast and crew and had to be hospitalized, shutting down production again.


title: Darryl F. Zanuck

text: When finally finished, the relentlessly authentic film could not disguise its downbeat nature as a chronicle of American defeat, the last thing critics and audiences wanted to revisit at the height of the Vietnam War in Asia.


title: Darryl F. Zanuck

text: As the tumultuous decade wore on, Richard also began to falter with lavish costume musicals that expensively tanked: Rex Harrison as the man who could talk to the animals in "Doctor Dolittle" (1967), Julie Andrews in the period film "Star!" (1968), and Barbra Streisand in "Hello Dolly" (1969).


title: Darryl F. Zanuck

text: By the decade's end, Zanuck Sr. was spending millions on expensive vehicles in Europe for his new girlfriend, Genevieve Gilles. Barely 20 years old, she had her own contract to produce and star in Zanuck's films. Her first acting effort, "Hello-Goodbye" (1970), died on release. The studio lost $4 million.


title: Darryl F. Zanuck

text: From her Paris apartment, Gilles interviewed directors for her next script which she had written herself. Zanuck was never at the studio, seldom even in America. He seemed to have nothing on but more projects for Gilles. Quietly, eyeing a debt level whose interest they could hardly afford to pay, the nervous board members moved Richard to president and promoted his father to chairman, or more accurately, kicked the older man upstairs, which is how Zanuck began to perceive it. When Gilles' contract came up for renewal, Richard, for the first time, had the power to cancel it and he did. The stage was set for a showdown of Oedipus proportions.


title: Darryl F. Zanuck

text: At the end of 1970, Zanuck hurriedly assembled the board the day before New Year's. Zanuck denounced his son's incompetence in front of the entire board and summarily fired him. Richard, stunned and humiliated, flew back to Los Angeles on New Year's Day; a studio guard stood watch at his office; it was left to his secretary to tell him he had until 6:00 pm to be off the lot.


title: Darryl F. Zanuck

text: Zanuck remained chairman and appointed underlings to replace his son as president; an outraged Virginia Zanuck rushed to her son's side with her 100,000 shares of stock. Guilty gifts of stock from her faithless husband had made her one of Fox's major shareholders. She signed them over to a group of disgusted shareholders who staged a rebellion at the annual spring meeting that May. Zanuck was ousted from the studio he had founded and commanded for so long. He was the last Hollywood tycoon to fall.


title: Darryl F. Zanuck

text: Richard went to work for Warner Brothers and forgave his father. They spoke on the phone. Virginia put her foot down and Gilles was gone. After so much blood on the floor, Darryl Zanuck was now back in the fold of his original family. When his health failed and he suffered a stroke, Zanuck returned to California and moved in with Virginia. They lived together again and celebrated their 50th wedding anniversary. Richard moved to Universal Pictures with his producing partner, David Brown. They gave 26-year-old Steven Spielberg his first feature; their second movie was "The Sting". Darryl predicted it would win the Oscar, and it did.


title: Darryl F. Zanuck

text: An October 2017 article by "The Daily Beast" following the reporting of several sexual abuse cases committed by Harvey Weinstein reported that "For an origin to all this ugliness, one must turn to Darryl F. Zanuck, the titan who rose from working as the head of production at Warner Bros. to running Twentieth Century Fox. It was in the latter position that he supposedly begat the modern casting couch, holding conferences with a variety of starlets in his office every afternoon from 4-4:30 p.m. As some have argued, he may have learned this malicious practice from fellow studio head Harry Cohn, chief of Columbia Pictures during the first half of the 20th century, as Cohn reportedly even had a private room next to his office where he conducted his unofficial 'business'" and went on to blame both for having "helped foster the industry's corrosive atmosphere of sexualized misconduct." A "New York Times" article in February 2020 following Weinstein's conviction repeated similar claims, while also adding that Zanuck also "had a well-documented habit of flashing his penis at women."


title: Darryl F. Zanuck

text: A long-time cigar smoker, he died of pneumonia in 1979, aged 77. He is interred at the Westwood Village Memorial Park Cemetery, near his wife, Virginia Fox in Westwood, Los Angeles, California.


title: Darryl F. Zanuck

text: Zanuck began tackling serious issues, breaking new ground by producing some of Hollywood's most important and controversial films . Long before it was fashionable to do so, Zanuck addressed issues such as racism ("Pinky"), antisemitism ("Gentleman's Agreement"), poverty ("The Grapes of Wrath", "Tobacco Road"), unfair labor exploitation and destruction of the environment ("How Green Was My Valley"), and institutionalized mistreatment of the mentally ill ("The Snake Pit"). After "The Snake Pit" (1949) was released, 13 states changed their laws. For his contributions to the motion picture industry, Zanuck earned three Irving G. Thalberg Awards from the Academy of Motion Picture Arts and Sciences (including the first ever awarded); after Zanuck's third win, the rules were changed to limit one Thalberg Award to one person. 20th Century Fox, the studio he co-founded and ran successfully for so many years, screens movies in its Darryl F. Zanuck Theater.


title: Darryl F. Zanuck

text: On February 8, 1960, Zanuck received a star on the Hollywood Walk of Fame, for his contribution to the motion picture industry, at 6336 Hollywood Blvd.


title: Icelandair

text: Icelandair is the flag carrier airline of Iceland, with its corporate head office on the property of Reykjavík Airport in the capital city Reykjavik.


title: Icelandair

text: It is part of the Icelandair Group and operates to destinations on both sides of the Atlantic Ocean from its main hub at Keflavík International Airport. The geographical position of Iceland is convenient for one-stop transatlantic flights, which is one pillar of the airline's business strategy, along with traffic to, from, and within the country.


title: Icelandair

text: Icelandair traces its roots back to 1937, when Flugfélag Akureyrar was founded in Akureyri on the north coast of Iceland. Flight operations started in 1938 with a single Waco YKS-7 configured as a floatplane. In 1939 the airline was grounded when this aircraft was destroyed in a capsizing accident. The company moved to Reykjavík, where it acquired another Waco aircraft and was relaunched in 1940 as Flugfélag Íslands, which translates as "Flight Company of Iceland". Previously, two unrelated airlines of the same name had existed in the country (from 1919 to 1920, and between 1928 and 1931). For international purposes, the name Iceland Airways was adopted.


title: Icelandair

text: The fleet was expanded with a Beechcraft Model 18 in 1942; and with two de Havilland Dragon Rapides and a Consolidated PBY Catalina in 1944, the latter being the first ever aircraft registered in Iceland to be flown to Iceland by an Icelandic crew from North America. On 11 July 1945, this aircraft operated the first commercial flight over the Atlantic Ocean for the airline, which led from Reykjavík to Largs in Scotland, with four passengers and four crew members on board. Regular flights to Prestwick Airport in Scotland and Copenhagen in Denmark, using Consolidated B-24 Liberator aircraft leased from Scottish Airlines were launched in 1946.


title: Icelandair

text: In the same year, comfort and performance of domestic flights in Iceland could be improved with the introduction of the Douglas DC-3. A total of six were purchased, which remained in service with the airline until 1972. Until the late 1960s, Flugfélag concentrated mostly on domestic flights, where it initially faced fierce competition from Loftleiðir, another airline which had been founded in 1944. When a merger proposal of the Icelandic government was rejected by the two airlines, the domestic routes were split among them as a measure to ease competition. When Loftleiðir pulled out of the domestic market in 1952 to fully concentrate on international flights, Flugfélag became the main domestic carrier of the country.


title: Icelandair

text: International services stayed part of the business model of Flugfélag, though to a far lesser extent compared to Loftleiðir. In 1948, the Douglas DC-4 was introduced on those routes, and in 1957 two new Vickers 759 Viscounts were acquired, the first turboprop airliners to be operated by an Icelandic airline. In the 1950s, Flugfélag began to use the 'Icelandair' branding for its international flights.


title: Icelandair

text: In 1967, Flugfélag was the first Icelandic airline to join the jet age, when a Boeing 727-100 dubbed "Gullfaxi" was put into service. Another 727 was acquired in 1971, and the aircraft type was operated until 1990. In 2008, the cockpit section of "Gullfaxi" was put on display at the Akureyri Aviation Museum.


title: Icelandair

text: Another company, Loftleiðir, called Icelandic Airlines internationally, had been formed in 1944 by three young pilots returning from their flight training in Canada. Their company, whose name roughly means "Skyways", concentrated on Icelandic domestic air services for the first few years. The first aircraft used were two Stinson Reliants, and then a Grumman Goose amphibious aircraft.


title: Icelandair

text: At first, Loftleiðir, like Flugfélag Íslands, concentrated on domestic air services. Loftleiðir began scheduled international operations in 1947.


title: Icelandair

text: By 1952, the Icelandic authorities were very worried that fierce competition between both Icelandic airlines would ruin both companies, and attempted to force a merger between them. This did not happen at the time, but instead the authorities split up the domestic routes between the two airlines. As a result, Loftleiðir ceased domestic flights in Iceland entirely, concentrating instead on international flights. Loftleiðir's pioneering low-fare services across the North-Atlantic then commenced in 1953. In a way, Loftleiðir can even be considered a sort of precursor of the low-cost carriers that started popping up all over the globe in the 1970s, in particular the long-haul budget carrier like Norwegian Air Shuttle. This made it a popular airline for travel between Europe and North America.


title: Icelandair

text: The late 1960s were an exciting time for Loftleiðir. In 1969 the company acquired International Air Bahama, a small airline operating Douglas DC-8 jet aircraft out of the Bahamas with transatlantic nonstop service between Nassau and Luxembourg, and a year later Loftleiðir became one of the founders of Cargolux, a cargo airline. Also in 1970, Loftleiðir entered the jet age with its first two Douglas DC-8 aircraft.


title: Icelandair

text: During those years, Loftleiðir was often referred to, even by the company's own staff, as "the Hippie Airline" or even "the Hippie Express". Loftleiðir was not famous for speed or punctuality, but flying with the company became a sort of rite of passage for young "hippies" from America travelling to Europe, one of whom was future president of the United States Bill Clinton.


title: Icelandair

text: During the 1970s energy crisis, the economic situation for both Flugfélag Íslands and Loftleiðir worsened. The government of Iceland initiated a new attempt to merge the two airlines, which could be realized in 1973 following lengthy and difficult negotiations. In 1975, the Icelandic government provided a $13.5 million loan to Flugleiðir. The staff of Loftleiðir complained that Flugfélag Íslands, although smaller, had gained the upper hand in the united company. A holding company called "Flugleiðir" was created, which combined the two companies and began to streamline staff and operations. At the time of the merger, two thirds of the passenger traffic of the airline were international transatlantic crossings, and Flugfélag Íslands's fleet of Douglas DC-3s and Boeing 727s was enlarged by the Douglas DC-8s of Loftleiðir. In 1979, the two airlines Flugfélag Íslands and Loftleiðir merged into one airline Flugleiðir, and the airline was renamed Icelandair.


title: Icelandair

text: In 1980, the Icelandic government provided a loan to Icelandair due to the company's bad financial situation.


title: Icelandair

text: The aircraft fleet of Icelandair remained mainly unchanged until the Boeing 757-200 became the new backbone for transatlantic flights during the 1990s. The domestic Fokker F27s were replaced by Fokker 50s and Boeing 737s deployed on European routes. The European hub at Luxembourg Airport had been taken over from Loftleiðir. Passenger count topped one million in 1997 as the company's business grew on a reputation as a "backpacker airline", similar to Loftleiðir, which had been referred to as "Hippie Airline" since the late 1960s. In the same year, it was begun to dismantle the Luxembourg hub in favor of today's decentralized European network, linking the largest cities non-stop to Reykjavík, closing it down altogether by 1999.


title: Icelandair

text: In 1997 the domestic operations of Icelandair, part of which had previously been operated under the 'Flugfélag Nordurlands' branding, were combined with small airline Nordurflug to form the Air Iceland Connect subsidiary, allowing mainline Icelandair to fully concentrate on international flights since then. On 20 November 1999, a new aircraft livery was introduced, as part of an image campaign designed to retire Icelandair's "backpacker" label in favor of an emphasis on business travel. From 2001, the Icelandair hub was moved to Keflavík International Airport. As Icelandair particularly focuses on flights to North America, the company was significantly affected by the airspace closure following the September 11 attacks in the same year.


title: Icelandair

text: The Flugleiðir holding was reorganized as Icelandair Group (for aviation business) and FL Group (for non-aviation finance and investment business) between 2002 and 2005, with Icelandair becoming the largest and most important of eleven subsidiaries. The wet-lease and charter department, which was founded in 2003, was named "Loftleiðir Icelandic", thus re-introducing a familiar name.


title: Icelandair

text: Like most Icelandic companies, Icelandair was hit quite hard by the 2008 financial crisis in the country, but was well on the road to recovery when another crisis of a very different kind hit in 2010. The air traffic restrictions following the 2010 eruptions of Eyjafjallajökull resulted in large parts of the European airspace being closed down. The air travel disruption coincided with the start of the important summer season for the company. The in-house crisis management organization began assessing the situation once the scale of the problem had become known. Thrice-daily crisis meetings were held at the airline's headquarters. Icelandair tried to operate as many passenger flights as possible, keeping its hub at Keflavík open and diverting European flights to airports that were still open. The eventual closure of Keflavík due to the volcanic ash cloud coincided with an improvement of the situation towards Europe, which allowed Icelandair to move its headquarters with 200 staff to Glasgow and operate flights from there for ten days, with shuttle flights to Iceland's Akureyri Airport and round-the-clock bus shuttles onwards to Reykjavík.


title: Icelandair

text: In the aftermath of the eruption, the government of Iceland launched the successful "Inspired by Iceland" campaign to regain confidence in travelling to Iceland for tourists and business people, of which Icelandair was a leading participant and initiator.


title: Icelandair

text: When the Grímsvötn volcano erupted in 2011, Icelandair once again had to cope with airspace closures in Europe, though this time to a lesser extent due to a higher level of political preparedness. Weekly newspaper "The Economist" claimed that Icelandair could even take advantage when catering for disaster tourists.


title: Icelandair

text: In February 2011 Icelandair was chosen "The Knowledge Company" of the year and Icelandair CEO Birkir Hólm Guðnason was picked as "Man of the Year" in the Icelandic business community. In both categories the panel of judges of the Association of Economists and Business Graduates in Iceland said that "the fine results of the company in the previous year showed both a high degree of skill and specialist knowledge within the company as well as excellent leadership." In October of the same year, the airline was awarded the title "Marketing Firm of the Year in Iceland", by a judging panel from IMARK, the Marketing Association in Iceland.


title: Icelandair

text: After having launched scheduled flights to Washington, D.C., in 2011, Denver was announced as a new U.S. destination for 2012, followed by Anchorage in 2013, bringing the total number of cities served in the country up to eight, along with Boston, Minneapolis, New York City, Orlando and Seattle. Also in 2012, Icelandair resumed domestic services, with regular flights linking Akureyri to its Keflavík hub through subsidiary company Air Iceland.


title: Icelandair

text: From 2009 to 2014, operations had doubled. New destinations in 2014 were Edmonton and Vancouver in Canada; and Geneva. Twice weekly flights to Vancouver commenced on 13 May 2014 and continued until October that year. Flights to Edmonton started on 4 March 2014, with a year-round service operating five times a week. The Geneva service started on 24 May 2014 and continued twice weekly until September.


title: Icelandair

text: On 9 December 2014, Icelandair revealed a northern lights themed Boeing 757-200 (registration TF-FIU) named "Hekla Aurora". The aircraft was officially launched in February 2015 as part of the company's "#MyStopover campaign". The exterior, which was hand-painted by a team of highly skilled airbrush artists from the UK, features artwork depicting an Icelandic winter scene complete with the Aurora Borealis. An installation of LED mood lighting in the cabin continues the theme by emulating both the colours and dancing patterns of the aurora. As part of Icelandair's transatlantic fleet, the "Hekla Aurora" began operating to all of Icelandair's destinations at the time, and has a three-day advance schedule available for passengers and observers.


title: Icelandair

text: On 5 February 2015, Birmingham became Icelandair's 5th gateway in the UK, and the 39th overall, with flights operating twice weekly, on Thursdays and Mondays. On 19 May 2015, Icelandair launched scheduled flights to and from Portland, Oregon in the US: its 14th destination in North America. Flights were set to operate twice weekly, on Tuesdays and Thursdays, until 20 October. Further expansion of Icelandair's global network was announced on 12 May 2015 with new, year-round services from Chicago O’Hare International Airport. Services commenced on 16 March 2016, with flights to Iceland operating four days a week. On 17 August 2015 Icelandair announced the augmentation of its global flight network with a new service between Keflavik and Aberdeen, the company's second Scottish destination. The new service, operated by Air Iceland Connect (a subsidiary of Icelandair Group), commenced in March the following year, with flights scheduled four times per week.


title: Icelandair

text: Icelandair commenced scheduled flights to Paris Orly Airport beginning on 29 March 2016. Services to Montreal Airport began on 26 May 2016. In September 2016, Icelandair announced services to Philadelphia, US, starting in May 2017 and Tampa, US starting in Sep 2017.


title: Icelandair

text: In May 2017, Icelandair unveiled a glacier-themed special livery on Boeing 757-200 (registration TF-FIR) named Vatnajökull, the name of Europe's largest glacier. The special livery was created in order to commemorate Icelandair's 80th anniversary. In August 2017, Icelandair announced service five days per week to Cleveland, US, which began on 16 May 2018. The route was cut in early 2019. In August 2017, the Cape Verdean government signed an agreement with Loftleiðir Icelandic, part of the Icelandair Group, which turned the administration of TACV to the Icelandic group. The new administration plans include discontinue the hub at Praia International Airport focusing all of the airline's operations at Amílcar Cabral International Airport and from there serve as a connecting hub between the Americas, Europe and Africa. On 5 November 2017, the company Icelandair (the new TACV administrator) passed the first Boeing 757-200 to TACV to reinforce existing routes, such as daily flights to Lisbon, Fortaleza and Recife (which increases to 4 weekly flights as of 3 December).


title: Icelandair

text: Since the 1960s, Icelandair has offered passengers travelling on transatlantic flights between North America and Europe an opportunity to stopover in Iceland for up to seven days, at no additional cost. In order to raise awareness about its stopover offer, the company launched a new social media initiative in 2014, with the hashtag "#MyStopover".


title: Icelandair

text: On 9 January 2018, Icelandair announced that it would provide three non-stop flights a week from Kansas City International Airport to Keflavík International Airport, which commenced on 25 May 2018. Icelandair commenced four weekly flights to and from Dallas Ft. Worth on 30 May 2018. It ended on 6 March 2019. On 5 November 2018, Icelandair announced plans to take over its low-cost competitor, WOW air, with the two airlines to be operated as separate brands. On 29 November, Icelandair abandoned this endeavour as the shareholders’ meeting pre-conditions were unlikely to be met.


title: Icelandair

text: On 18 September 2020, the company´s share capital was increased with the issue of 23,000,000,000 new shares with nominal value of 1 Icelandic króna following a public share offering. In addition the Icelandic government decided to guarantee a line of credit for Icelandair. The guarantee amounts to $120 million.


title: Icelandair

text: On 9 March 2021, Icelandair Group announced that Air Iceland Connect is to merge with Icelandair by uniting domestic and international services from 16 March 2021 and continuing the current flight operations under Icelandair brand.


title: Icelandair

text: Icelandair offers three booking classes: Economy Light, Economy, and Saga Class (the last being equivalent to business class). Free meals are only available in Saga Class, and a buy on board service is provided for the Economy classes. The airline offered Economy Comfort until April 2018.


title: Icelandair

text: All of Icelandair's aircraft are equipped with a free of charge AVOD in-flight entertainment system that includes seatback, touch-screen monitors for each passenger. The airline claims to be especially children-friendly. Free meals, blankets, pillows and headsets are provided to children, and the inflight system hosts a selection of children's movies.


title: Icelandair

text: Almost all of Icelandair's fleet is equipped with in-flight WiFi, provided by Row 44 and Zodiac Inflight Innovations. The installation of WiFi in all Boeing aircraft was completed.


title: Icelandair

text: Special assistance is provided for travelling with pets, young travellers and infants, and special service, for example for blind people with seeing-eye dogs, expectant mothers, wheelchair service, POC systems.


title: Icelandair

text: "Icelandair Info", the inflight magazine of Icelandair, is printed four times a year in Icelandic and English. First published in 2008, it is also the product catalogue for the airline's "Saga Shop".


title: Icelandair

text: On 1 April 2013 Icelandic band Sigur Rós debuted its latest album, "Valtari", exclusively onboard Icelandair's aircraft, two months before the album's general release. "Biophilia", Björk's 2011 album, had earlier been released on Icelandair's fleet in the same way.


title: Icelandair

text: Captain Ingvar Mar Jónsson flew a flight to Washington D.C., with the cabin crew consisting of his wife and their three daughters.


title: Icelandair

text: Icelandair's frequent-flyer program is "Saga Club", a program where members can earn Saga points for traveling on Icelandair or partner airlines, and redeem points toward travel or "Saga Shop" inflight purchases. As of January 2021, Alaska Airlines and JetBlue are the only partner airlines of Icelandair eligible to earn Saga points through Saga Club, while Alaska Airlines is the only partner airline that allows for redeeming points towards travel.


title: Icelandair

text: Icelandair flies between Iceland and several destinations across Europe and North America. A few of these destinations are seasonal.


title: Icelandair

text: , Icelandair operates a fleet of Boeing and Bombardier aircraft, with more Boeing aircraft on order. Most of the aircraft in Icelandair's fleet are named after Icelandic volcanoes.


title: Icelandair

text: In 2005, the airline, on behalf of its parent company Icelandair Group, announced an order for ten Boeing 737-800 aircraft with options for five more. Those options were later exercised. These were not placed into service by the airline but leased to other airlines. During that same year, Icelandair announced an order for two Boeing 787 Dreamliners. In 2006, Icelandair announced an order for two more Boeing 787s. In 2011, it was announced that orders for three of the 787s had been cancelled.


title: Icelandair

text: On 13 February 2013, Icelandair Group announced that the company had finalized an order with Boeing for sixteen new Boeing 737 MAX aircraft. Purchase rights for eight additional 737s had also been signed. The value for all sixteen aircraft was US$1.6 billion at Boeing list prices, but the actual purchase price was confidential. The aircraft will be delivered in 2018–2021. The order is for nine 737 MAX 8s configured for 153 passengers; and seven 737 MAX 9s to hold 172 passengers. In comparison, Icelandair Group's current Boeing 757-200 aircraft hold 183 passengers.


title: Icelandair

text: On 8 May 2019, Icelandair announced that the company was considering ordering the Airbus A321neo and Airbus A321LR as a replacement for their aging fleet of Boeing 757s, or to run alongside their Boeing 737 MAX 8 or to even replace the MAX 8s entirely, due to the Boeing 737 MAX groundings.


title: Icelandair

text: On 22 January 2020 Icelandair announced that the airline would lease three Boeing 737-800 airliners to enter service from spring 2020. The aircraft were to be dry leased and flown by Icelandair pilots. However this never took place.


title: Icelandair

text: On 12 August 2020 Icelandair reached a settlement with Boeing over the MAX groundings. The settlement included reducing the carrier's order for future MAX aircraft by four.


title: Icelandair

text: As of September 2018, Icelandair operates three aircraft with special liveries. Two depict the natural beauty of Iceland. One showcases the largest glacier in Europe, Vatnajökull, as well as celebrating the independence of Iceland for 100 years. The other highlights the Aurora Borealis (Northern Lights), also part of Icelandair's #IcelandStopover campaign. The third aircraft (Boeing B757 TF-ISX 'Þingvellir') is painted in the red, white, and blue livery of Iceland's flag and celebrates both the 100th anniversary of Icelandic National Sovereignty (1918-2018) and the National Men's Football Team's World Cup debut in 2018.


title: Icelandair

text: Icelandair Cargo is a sister airline to Icelandair; it is Icelandair Group's cargo airline subsidiary. Flugfélag Íslands and Loftleiðir used their aircraft to carry freight as well as passengers; and when Icelandair was established in 1973 a freight division was set up within the airline. After years of operating freighter aircraft as part of Icelandair, Icelandair Cargo was established as a separate entity in 2000. The airline uses available space in the baggage compartments of Icelandair's passenger aircraft, as well as operating two Boeing 757 freighters between New York (US), East Midlands (UK), Liège (Belgium) and its base at Keflavík International Airport. In 2021, Icelandair Cargo announced Boeing 767-300ER passenger aircraft would be converted to freighters.


title: Icelandair

text: As one of Iceland's largest companies, Icelandair sponsors many events and charities. The company is, together with the City of Reykjavík, one of two main sponsors of the immensely popular Iceland Airwaves, the annual music festival held in Reykjavík on the first weekend in November.


title: Icelandair

text: The festival spans five days (Wednesday–Sunday) and its main focus is showcasing new music, both Icelandic and international.


title: Ismaïla Sarr

text: Ismaïla Sarr (born 25 February 1998) is a Senegalese professional footballer who plays as a winger for EFL Championship club Watford and the Senegal national team.


title: Ismaïla Sarr

text: Born in Saint-Louis, Senegal, Sarr started his football career with Senegalese football club Génération Foot.


title: Ismaïla Sarr

text: On 13 July 2016, Sarr signed his first professional contract with FC Metz for five years. He made his league debut on 13 August 2016 against Lille OSC at Stade Saint-Symphorien, the FC Metz's home ground, which Metz won by 3–2. In this match, he played 20 minutes, after he was substituted for Florent Mollet.


title: Ismaïla Sarr

text: On 26 July 2017, Sarr signed a four-year contract with Ligue 1 side Rennes. The transfer fee paid to Metz was reported as €17 or 20 million, depending on the source. He picked the transfer to Rennes over a move to FC Barcelona.


title: Ismaïla Sarr

text: On 13 December 2018, Sarr scored twice in the second half (including a penalty), as Rennes clinched their place in the 2018–19 UEFA Europa League knockout phase with a (Group K, Matchday 6) 2–0 home win over FC Astana.


title: Ismaïla Sarr

text: On 8 August 2019, Sarr joined Premier League club Watford on a five-year contract. The transfer fee paid to Rennes was a club record for Watford and reported as "in the region of £30 million. He scored his first goal for Watford in an EFL Cup tie against Coventry City on 27 August 2019.


title: Ismaïla Sarr

text: On 29 February 2020, Sarr picked up two goals and an assist in Watford's 3–0 home victory over defending UEFA Champions League winners Liverpool, handing them their first defeat of the 2019–20 season and ending the club's 44-match unbeaten league run.


title: Ismaïla Sarr

text: On 24 April 2021, Sarr scored from the penalty spot in Watford’s 1–0 home win over Millwall in the Championship, sealing Watford’s return to the Premier League after one season.


title: Ismaïla Sarr

text: He continued from where he left off as he scored in Watford's 3–2 win against Aston Villa in their opening game of the 2021–22 Premier League season.


title: Ismaïla Sarr

text: Sarr has represented his country with the Senegal U23 national team. In 2015, he played in 2015 Africa U-23 Cup of Nations. At that time, his age was only 17. He contributed that Senegal finished the competition in a fourth place, playing three games.


title: Ismaïla Sarr

text: He played for the first time with Senegal national team for a match against Namibia in September 2016 in Dakar (2–0) for 2017 Africa Cup of Nations qualification, for which Senegal had already qualified. As a symbol, he came into play in the 67th minute in place of the former resident of Génération Foot and Metz, Sadio Mané. On 8 January 2017, Sarr scored his first international goal in a friendly match against Libya in Stade Municipal de Kintélé, Brazzaville.


title: Ismaïla Sarr

text: In 2019, Sarr was part of the Senegal squad that reached the final of the Africa Cup of Nations, for only the second time in the nation's history. He played the full 90 minutes of the final on 19 July 2019, as they lost 1–0 to Algeria.


title: Ronnie Lane

text: Ronald Frederick Lane (1 April 1946 – 4 June 1997) was an English musician and songwriter who is best known as the bass guitarist and founding member of Small Faces (1965–69) and subsequently Faces (1969–73).


title: Ronnie Lane

text: Lane formed Small Faces in 1965 after meeting Steve Marriott, with whom he subsquently wrote many of their hit singles including "All or Nothing", "Itchycoo Park" and "Lazy Sunday". After Marriott left Small Faces in 1968, bandmembers Lane, Ian McLagan and Kenny Jones were joined by Rod Stewart and Ronnie Wood to form Faces. Like Small Faces, the band achieved critical and commercial success. Lane quit the Faces in 1973 and subsequently collaborated with other musicians, leading his own bands and pursuing a solo career. In 1977, he was diagnosed with multiple sclerosis. He was supported by charity projects and financial contributions from friends, former bandmates and fans. After living with the disease for 21 years, he died in June 1997, aged 51.


title: Ronnie Lane

text: For his work in both Small Faces and Faces, Lane was inducted posthumously into the Rock and Roll Hall of Fame in 2012.


title: Ronnie Lane

text: Lane was born in Plaistow Maternity Hospital, Plaistow, back then a working class area in East London, to Elsie Lane and Stanley Lane, a lorry driver. Lane later described his father as a "saint" who would work a long work day and then return home to nurse his wife and two sons, all of whom were diagnosed with multiple sclerosis (MS) at different points in their lives. Doctors assured Lane as a child that the destructive disease was not necessarily inherited, although he found out later in his life that he had indeed inherited it.


title: Ronnie Lane

text: After leaving school at the age of 16, Lane met Kenney Jones at a local pub, and they formed a group they named The Outcasts. Initially playing lead guitar, Lane quickly switched to bass. When shopping for a Harmony bass guitar, Lane visited the J60 Music Bar in Manor Park, London, where he met employee Steve Marriott. Lane bought his bass, and went to Marriott's house after work, where Marriott introduced him to his Motown and Stax record collection. Lane and Marriott set out to form a band, recruiting friends Jimmy Winston, who switched from guitar to organ, and Jones. Marriott was chosen to be the frontman and singer.


title: Ronnie Lane

text: The Small Faces consisted of Lane on bass guitar, Marriott as guitarist and lead vocalist, Jones as drummer, and Winston on keyboards. (The name "Small" was chosen as they were each no taller than 5' 6" in height.) They made their debut in 1965, with Ian McLagan replacing Winston in November 1965. They had a successful chart career; Lane and Marriott wrote hit singles consistently, including "Itchycoo Park" and "All or Nothing". He co-wrote all but one of the tracks on their 1968 concept album "Ogdens' Nut Gone Flake". The album stayed at number one on the UK Albums Chart for six weeks. When Marriott left the group in 1969, they disbanded; they reformed in the late 1970s, but without Lane.


title: Ronnie Lane

text: Lane formed Faces with McLagan, Jones, Ronnie Wood and Rod Stewart in 1969. He shared primary songwriting duties with Stewart and Wood, composing or co-composing many of their best-loved pieces. By 1972, with the band's frontman Stewart focusing on his own solo career, Lane took a central role during the recording of their fourth and final album, "Ooh La La". Unhappy due to poor reviews of the album and Stewart's lack of commitment, Lane quit in 1973, making his last appearance on 4 June at the Sundown Theatre in Edmonton, London. He was replaced by Tetsu Yamauchi but tellingly the group made no further studio albums following Lane's departure, and split in 1975. According to McLagan, Lane would later regret leaving Faces. "Debris" was one of his more famous vocalist songs.


title: Ronnie Lane

text: In 1973, Lane moved to Fishpool Farm in the village of Hyssington, Montgomeryshire, Wales, just over the border from England. In the late 1970s, already beginning to feel the effects of MS, he moved back to London.


title: Ronnie Lane

text: After leaving the Faces, Lane formed his own band, Slim Chance, who recorded the singles "How Come" (UK No. 11) and "The Poacher" (UK No. 36) and the album "Anymore for Anymore", showcasing a blend of British rock, folk and country music. The original line-up of this band included Scottish singer-songwriters Benny Gallagher and Graham Lyle, who provided harmony vocals and played a variety of instruments including keyboards, accordion, acoustic guitar, mandolin, banjo and harmonica. They left in May 1974 to continue their career as a duo, though they would appear on 1977's "Rough Mix" as guests.


title: Ronnie Lane

text: After initial success he toured the UK with "The Passing Show", a circus-type carnival complete with tents and barkers. Viv Stanshall, from the Bonzo Dog Doo Dah Band, served briefly as ringmaster (of sorts). Gallagher & Lyle were replaced with Scottish duo Lucas & McCulloch who provided accordion, mandolin, guitars and banjo. They also acted as support act along with fiddle player Kenny Slaven who multi tracked all the string parts on "The Poacher." Lane moved to Island Records and issued "Ronnie Lane's Slim Chance" and "One for the Road". In late 1976 he joined a short-lived reformation of Small Faces but quit after two rehearsals, to be replaced by Rick Wills (who later played alongside former Small Faces drummer Kenney Jones in the Jones Gang). However, Lane had signed a contract with Atlantic Records as part of the Small Faces, and was informed that he owed the company an album. His ensuing album with Pete Townshend, "Rough Mix", produced by Glyn Johns, which was released in 1977, was lauded as contender for best album of the year by many critics, but the label did not promote it and sales were lacklustre.


title: Ronnie Lane

text: During the recording of "Rough Mix", Lane's multiple sclerosis was diagnosed. Nonetheless, he toured, wrote and recorded (with Eric Clapton among others) and in 1979 released another album, "See Me", which features several songs written by Lane and Clapton. Around this time Lane travelled the highways and byways of England and lived a 'passing show' modern nomadic life in full Gypsy traveller costume and accommodation.


title: Ronnie Lane

text: In 1983 his girlfriend Boo Oldfield contacted Glyn Johns with a view to organising a concert to help fund Action for Research into Multiple Sclerosis. Johns was already arranging Clapton's Command Performance for Prince Charles so they decided to book the Royal Albert Hall for a further two nights and host a benefit concert. The resulting ARMS Charity Concerts. featured Eric Clapton, Jimmy Page, Jeff Beck, Bill Wyman, Charlie Watts, Ronnie Wood, Kenney Jones, Andy Fairweather Low, Steve Winwood, Ray Cooper, James Hooker, Fernando Saunders, Chris Stainton, Tony Hymas, Simon Phillips and others. With the addition of Joe Cocker and Paul Rodgers they toured the US.


title: Ronnie Lane

text: Lane emigrated to Texas in 1984 (first to Houston, then Austin), where the climate was more beneficial to his health and he continued playing, writing, and recording. He formed an American version of Slim Chance, which was, as before, a loose-knit conglomeration of available musicians. For much of the time, membership included Alejandro Escovedo. For close to a decade Lane enjoyed "rock royalty" status in the Austin area. He toured Japan but his health continued to decline. His last performance was in 1992 at a Ronnie Wood gig alongside Ian McLagan.


title: Ronnie Lane

text: In 1994 Ronnie and his wife Susan moved to the small town of Trinidad, Colorado. Jimmy Page, Rod Stewart and Ronnie Wood funded his medical care as no royalties from the Small Faces work were forthcoming – until Kenney Jones and Ian McLagan were eventually able to secure payments, by which time Steve Marriott had died in a house fire and Lane had also died.


title: Ronnie Lane

text: Lane succumbed to pneumonia, in the final stages of his progressive multiple sclerosis, on 4 June 1997 and was buried in the Masonic Cemetery in Trinidad, Colorado. An album of live BBC recordings was about to be released to raise money for his care when Lane died.


title: Ronnie Lane

text: Ride recorded "A Trip Down Ronnie Lane" as a b-side to their single "Black Nite Crash" in 1996. The Ocean Colour Scene song "Travellers Tune" on their 1997 studio album "Marchin' Already" was inspired by and written in the memory of Lane, a strong influence on the group, which appeared at the tribute concert for Ronnie Lane. Likewise Lane had been such a source of inspiration to the members of Poi Dog Pondering that they created a tribute page for him and in 1995 band member Susan Voelz covered Lane's song, "Glad and Sorry" on her 1995 album, "Summer Crashing", "out of her respect and affection for Ronnie Lane".<ref name="Poidogpondering/Lane"></ref>


title: Ronnie Lane

text: In 2000, Paul Weller recorded "He's the Keeper", a song dedicated to Lane's memory. An album of live and in-studio recordings from Lane's Austin days was later culled, and released as "Live in Austin".


title: Ronnie Lane

text: A street was named after him, "Ronnie Lane", in Manor Park in 2001. In January 2006 BBC Four broadcast an extensive documentary about Lane, "The Passing Show" that had been in preparation since 2000 and included footage of vintage concerts by the Faces and Slim Chance. In October 2006 the documentary was also shown on BBC Two. In 2012, former Small Faces bandmate Ian MacLagan interpreted some of Lane's best-known songs in a record entitled "Spiritual Boy: In Appreciation of Ronnie Lane". McLagan died in 2014.


title: Ronnie Lane

text: Longtime collaborator Charlie Hart compiled a six-CD set of Lane's composed, after his death, that included many unreleased songs.


title: Wilma Rudolph

text: Wilma Glodean Rudolph (June 23, 1940 – November 12, 1994) was an American sprinter, who became a world-record-holding Olympic champion and international sports icon in track and field following her successes in the 1956 and 1960 Olympic Games. Rudolph competed in the 200-meter dash and won a bronze medal in the 4 × 100-meter relay at the 1956 Summer Olympics at Melbourne, Australia. She also won three gold medals, in the 100- and 200-meter individual events and the 4 x 100-meter relay at the 1960 Summer Olympics in Rome, Italy. Rudolph was acclaimed the fastest woman in the world in the 1960s and became the first American woman to win three gold medals in a single Olympic Games.


title: Wilma Rudolph

text: Due to the worldwide television coverage of the 1960 Summer Olympics, Rudolph became an international star along with other Olympic athletes such as Cassius Clay (later known as Muhammad Ali), Oscar Robertson, and Rafer Johnson who competed in Italy.


title: Wilma Rudolph

text: As an Olympic champion in the early 1960s, Rudolph was among the most highly visible black women in America and abroad. She became a role model for black and female athletes and her Olympic successes helped elevate women's track and field in the United States. Rudolph is also regarded as a civil rights and women's rights pioneer. In 1962 Rudolph retired from competition at the peak of her athletic career as the world record-holder in the 100- and 200-meter individual events and the 4 × 100-meter relays. After competing in the 1960 Summer Olympics, the 1963 graduate of Tennessee State University became an educator and coach. Rudolph died of brain and throat cancer in 1994, and her achievements are memorialized in a variety of tributes, including a U.S. postage stamp, documentary films, and a made-for-television movie, as well as in numerous publications, especially books for young readers.


title: Wilma Rudolph

text: Rudolph was born prematurely to Blanche Rudolph at on June 23, 1940, in Saint Bethlehem, Tennessee (now part of Clarksville). She was the twentieth of 22 children from her father Ed Rudolph's two marriages. Shortly after Wilma's birth, her family moved to Clarksville, Tennessee, where she grew up and attended elementary and high school. Her father, Ed, who worked as a railway porter and did odd jobs in Clarksville, died in 1961; her mother, Blanche, worked as a maid in Clarksville homes and died in 1994.


title: Wilma Rudolph

text: Rudolph had several early childhood illnesses, including pneumonia and scarlet fever, and she contracted infantile paralysis (caused by the poliovirus) at the age of five. She recovered from polio but lost strength in her left leg and foot. Physically disabled for much of her early life, Rudolph wore a leg brace until she was twelve years old. Because there was little medical care available to African American residents of Clarksville in the 1940s, Rudolph's parents sought treatment for her at the historically black Meharry Medical College (now Nashville General Hospital at Meharry) in Nashville, Tennessee, about from Clarksville.


title: Wilma Rudolph

text: For two years, Rudolph and her mother made weekly bus trips to Nashville for treatments to regain the use of her weakened leg. She also received subsequent at-home massage treatments four times a day from members of her family and wore an orthopedic shoe for support of her foot for another two years. Because of the treatments she received at Meharry and the daily massages from her family members, Rudolph was able to overcome the debilitating effects of polio and learned to walk without a leg brace or orthopedic shoe for support by the time she was twelve years old.


title: Wilma Rudolph

text: Rudolph was initially homeschooled due to the frequent illnesses that caused her to miss kindergarten and first grade. She began attending second grade at Cobb Elementary School in Clarksville in 1947, when she was seven years old. Rudolph attended Clarksville's all-black Burt High School, where she excelled in basketball and track. During her senior year of high school, Rudolph became pregnant with her first child, Yolanda, who was born in 1958, a few weeks before her enrollment at Tennessee State University in Nashville. In college, Rudolph continued to compete in track. She also became a member of the Delta Sigma Theta sorority. In 1963, Rudolph graduated from Tennessee State with a bachelor's degree in education. Rudolph's college education was paid for through her participation in a work-study scholarship program that required her to work on the TSU campus for two hours a day.


title: Wilma Rudolph

text: Rudolph was first introduced to organized sports at Burt High School, the center of Clarksville's African American community. After completing several years of medical treatments to regain the use of her left leg, Rudolph chose to follow in her sister Yvonne's footsteps and began playing basketball in the eighth grade. Rudolph continued to play basketball in high school, where she became a starter on the team and began competing in track. In her sophomore year, Rudolph scored 803 points and set a new record for high school girls' basketball. Rudolph's high school coach, C. C. Gray, gave her the nickname of "Skeeter" (for mosquito) because she moved so fast.


title: Wilma Rudolph

text: While playing for her high school basketball team, Rudolph was spotted by Ed Temple, Tennessee State's track and field coach, a major break for the active young athlete. The day that Temple saw the tenth grader for the first time, he knew she was a natural athlete. Rudolph had already gained some track experience on Burt High School's track team two years earlier, mostly as a way to keep busy between basketball seasons. As a high school sophomore Rudolph competed at Alabama's Tuskegee Institute in her first major track event. Although she lost the race, Rudolph was determined to continue competing and win.


title: Wilma Rudolph

text: Temple invited fourteen-year-old Rudolph to join his summer training program at Tennessee State. After attending the track camp, Rudolph won all nine events she entered at an Amateur Athletic Union track meet in Philadelphia, Pennsylvania. Under Temple's guidance she continued to train regularly at TSU while still a high school student. Rudolph raced at amateur athletic events with TSU's women's track team, known as the Tigerbelles, for two more years before enrolling at TSU as a student in 1958.


title: Wilma Rudolph

text: When Rudolph was sixteen and a junior in high school, she attended the 1956 U.S. Olympic track and field team trials in Seattle, Washington, and qualified to compete in the 200-meter individual event at the 1956 Summer Olympics in Melbourne, Australia. Rudolph, the youngest member of the U.S. Olympic team, was one of five TSU Tigerbelles to qualify for the 1956 Melbourne Olympics.


title: Wilma Rudolph

text: Rudolph was defeated in a preliminary heat of the 200-meter race at the Melbourne Olympic Games, but ran the third leg of the 4 × 100 m relay. The American team of Rudolph, Isabelle Daniels, Mae Faggs, and Margaret Matthews, all of whom were TSU Tigerbelles, won the bronze medal, matching the world-record time of 44.9 seconds. The British team won the silver medal. The Australian team, with the 100- and 200-meter gold medalist Betty Cuthbert as their anchor leg, won the gold medal in a time of 44.5 seconds. After Rudolph returned to her Tennessee home from the Melbourne Olympic Games, she showed her high school classmates the bronze medal that she had won and decided to try to win a gold medal at the 1960 Summer Olympics in Rome, Italy.


title: Wilma Rudolph

text: In 1958 Rudolph enrolled at Tennessee State, where Temple continued as her track coach. In 1959, at the Pan American Games in Chicago, Illinois, Rudolph won a silver medal in the 100-meter individual event, as well as a gold medal in the 4 × 100-meter relay with teammates Isabelle Dan, Barbara Joe, and Lucinda Williams. She also won the AAU 200-meter title in 1959 and defended it for four consecutive years. During her career, Rudolph also won three AAU indoor titles.


title: Wilma Rudolph

text: While she was still a sophomore at Tennessee State, Rudolph competed in the U.S. Olympic track and field trials at Abilene Christian University in Abilene, Texas, where she set a world record in the 200-meter dash that stood for eight years. She also qualified for the 1960 Summer Olympics in the 100-meter dash.


title: Wilma Rudolph

text: At the 1960 Summer Olympics in Rome, Italy, Rudolph competed in three events on a cinder track in Rome's Stadio Olimpico: the 100- and 200-meter sprints, as well as the 4 × 100-meter relay. Rudolph, who won a gold medal in each of these events, became the first American woman to win three gold medals in a single Olympiad.