title: Centimetre–gram–second system of units

text: Indeed, both of these mutually exclusive approaches have been practiced by the users of CGS system, leading to the two independent and mutually exclusive branches of CGS, described in the subsections below. However, the freedom of choice in deriving electromagnetic units from the units of length, mass, and time is not limited to the definition of charge. While the electric field can be related to the work performed by it on a moving electric charge, the magnetic force is always perpendicular to the velocity of the moving charge, and thus the work performed by the magnetic field on any charge is always zero. This leads to a choice between two laws of magnetism, each relating magnetic field to mechanical quantities and electric charge:


title: Centimetre–gram–second system of units

text: These two laws can be used to derive Ampère's force law above, resulting in the relationship: formula_25. Therefore, if the unit of charge is based on the Ampère's force law such that formula_26, it is natural to derive the unit of magnetic field by setting formula_27. However, if it is not the case, a choice has to be made as to which of the two laws above is a more convenient basis for deriving the unit of magnetic field.


title: Centimetre–gram–second system of units

text: Furthermore, if we wish to describe the electric displacement field D and the magnetic field H in a medium other than vacuum, we need to also define the constants ε and μ, which are the vacuum permittivity and permeability, respectively. Then we have (generally) formula_28 and formula_29, where P and M are polarization density and magnetization vectors. The units of P and M are usually so chosen that the factors λ and λ′ are equal to the "rationalization constants" formula_30 and formula_31, respectively. If the rationalization constants are equal, then formula_32. If they are equal to one, then the system is said to be "rationalized": the laws for systems of spherical geometry contain factors of 4π (for example, point charges), those of cylindrical geometry – factors of 2π (for example, wires), and those of planar geometry contain no factors of π (for example, parallel-plate capacitors). However, the original CGS system used λ = λ′ = 4π, or, equivalently, formula_33. Therefore, Gaussian, ESU, and EMU subsystems of CGS (described below) are not rationalized.


title: Centimetre–gram–second system of units

text: Of these variants, only in Gaussian and Heaviside–Lorentz systems formula_38 equals formula_39 rather than 1. As a result, vectors formula_40 and formula_41 of an electromagnetic wave propagating in vacuum have the same units and are equal in magnitude in these two variants of CGS.


title: Centimetre–gram–second system of units

text: In each of these systems the quantities called "charge" etc. may be a different quantity; they are distinguished here by a superscript. The corresponding quantities of each system are related through a proportionality constant.


title: Centimetre–gram–second system of units

text: In the electrostatic units variant of the CGS system, (CGS-ESU), charge is defined as the quantity that obeys a form of Coulomb's law without a multiplying constant (and current is then defined as charge per unit time):


title: Centimetre–gram–second system of units

text: The ESU unit of charge, franklin (Fr), also known as statcoulomb or esu charge, is therefore defined as follows: Therefore, in CGS-ESU, a franklin is equal to a centimetre times square root of dyne:


title: Centimetre–gram–second system of units

text: In CGS-ESU, all electric and magnetic quantities are dimensionally expressible in terms of length, mass, and time, and none has an independent dimension. Such a system of units of electromagnetism, in which the dimensions of all electric and magnetic quantities are expressible in terms of the mechanical dimensions of mass, length, and time, is traditionally called an 'absolute system'.


title: Centimetre–gram–second system of units

text: All electromagnetic units in ESU CGS system that do not have proper names are denoted by a corresponding SI name with an attached prefix "stat" or with a separate abbreviation "esu".


title: Centimetre–gram–second system of units

text: In another variant of the CGS system, electromagnetic units (EMU), current is defined via the force existing between two thin, parallel, infinitely long wires carrying it, and charge is then defined as current multiplied by time. (This approach was eventually used to define the SI unit of ampere as well). In the EMU CGS subsystem, this is done by setting the Ampere force constant formula_26, so that Ampère's force law simply contains 2 as an explicit factor.


title: Centimetre–gram–second system of units

text: The EMU unit of current, biot (Bi), also known as abampere or emu current, is therefore defined as follows:


title: Centimetre–gram–second system of units

text: Dimensionally in the EMU CGS system, charge "q" is therefore equivalent to ML. Hence, neither charge nor current is an independent physical quantity in EMU CGS.


title: Centimetre–gram–second system of units

text: All electromagnetic units in EMU CGS system that do not have proper names are denoted by a corresponding SI name with an attached prefix "ab" or with a separate abbreviation "emu".


title: Centimetre–gram–second system of units

text: The ESU and EMU subsystems of CGS are connected by the fundamental relationship formula_17 (see above), where "c" = ≈ is the speed of light in vacuum in centimetres per second. Therefore, the ratio of the corresponding "primary" electrical and magnetic units (e.g. current, charge, voltage, etc. – quantities proportional to those that enter directly into Coulomb's law or Ampère's force law) is equal either to "c" or "c":


title: Centimetre–gram–second system of units

text: The practical CGS system is a hybrid system that uses the volt and the ampere as the units of voltage and current respectively. Doing this avoids the inconveniently large and small electrical units that arise in the esu and emu systems. This system was at one time widely used by electrical engineers because the volt and ampere had been adopted as international standard units by the International Electrical Congress of 1881. As well as the volt and ampere, the farad (capacitance), ohm (resistance), coulomb (electric charge), and henry (inductance) are consequently also used in the practical system and are the same as the SI units. The magnetic units are those of the emu system.


title: Centimetre–gram–second system of units

text: The electrical units, other than the volt and ampere, are determined by the requirement that any equation involving only electrical and kinematical quantities that is valid in SI should also be valid in the system. For example, since electric field strength is voltage per unit length, its unit is the volt per centimetre, which is one hundred times the SI unit.


title: Centimetre–gram–second system of units

text: The system is electrically rationalized and magnetically unrationalized; i.e., and , but the above formula for "λ" is invalid. A closely related system is the International System of Electric and Magnetic Units, which has a different unit of mass so that the formula for "λ"′ is invalid. The unit of mass was chosen to remove powers of ten from contexts in which they were considered to be objectionable (e.g., and ). Inevitably, the powers of ten reappeared in other contexts, but the effect was to make the familiar joule and watt the units of work and power respectively.


title: Centimetre–gram–second system of units

text: The ampere-turn system is constructed in a similar way by considering magnetomotive force and magnetic field strength to be electrical quantities and rationalizing the system by dividing the units of magnetic pole strength and magnetization by 4π. The units of the first two quantities are the ampere and the ampere per centimetre respectively. The unit of magnetic permeability is that of the emu system, and the magnetic constitutive equations are and . Magnetic reluctance is given a hybrid unit to ensure the validity of Ohm's law for magnetic circuits.


title: Centimetre–gram–second system of units

text: There were at various points in time about half a dozen systems of electromagnetic units in use, most based on the CGS system. These include the Gaussian units and the Heaviside–Lorentz units.


title: Centimetre–gram–second system of units

text: In this table, "c" = is the dimensionless numeric value of the speed of light in vacuum when expressed in units of centimetres per second. The symbol "≘" is used instead of "=" as a reminder that the quantities are "corresponding" but not in general "equal", even between CGS variants. For example, according to the next-to-last row of the table, if a capacitor has a capacitance of 1 F in SI, then it has a capacitance of (10 "c") cm in ESU; "but" it is incorrect to replace "1 F" with "(10 "c") cm" within an equation or formula. (This warning is a special aspect of electromagnetism units in CGS. By contrast, for example, it is "always" correct to replace "1 m" with "100 cm" within an equation or formula.)


title: Centimetre–gram–second system of units

text: This explains why SI to ESU conversions involving factors of "c" lead to significant simplifications of the ESU units, such as 1 statF = 1 cm and 1 statΩ = 1 s/cm: this is the consequence of the fact that in ESU system "k" = 1. For example, a centimetre of capacitance is the capacitance of a sphere of radius 1 cm in vacuum. The capacitance "C" between two concentric spheres of radii "R" and "r" in ESU CGS system is:


title: Centimetre–gram–second system of units

text: While the absence of constant coefficients in the formulae expressing some relation between the quantities in some CGS subsystems simplifies some calculations, it has the disadvantage that sometimes the units in CGS are hard to define through experiment. Also, lack of unique unit names leads to a great confusion: thus "15 emu" may mean either 15 abvolts, or 15 emu units of electric dipole moment, or 15 emu units of magnetic susceptibility, sometimes (but not always) per gram, or per mole. On the other hand, SI starts with a unit of current, the ampere, that is easier to determine through experiment, but which requires extra coefficients in the electromagnetic equations. With its system of uniquely named units, the SI also removes any confusion in usage: 1 ampere is a fixed value of a specified quantity, and so are 1 henry, 1 ohm, and 1 volt.


title: Centimetre–gram–second system of units

text: An advantage of the Gaussian CGS system is that electric and magnetic fields have the same units, 4"πε" is replaced by 1, and the only dimensional constant appearing in the Maxwell equations is "c", the speed of light. The Heaviside–Lorentz system has these properties as well (with "ε" equaling 1), but it is a "rationalized" system (as is SI) in which the charges and fields are defined in such a way that there are fewer factors of 4"π" appearing in the formulas, and it is in Heaviside–Lorentz units that the Maxwell equations take their simplest form.


title: Centimetre–gram–second system of units

text: In SI, and other rationalized systems (for example, Heaviside–Lorentz), the unit of current was chosen such that electromagnetic equations concerning charged spheres contain 4π, those concerning coils of current and straight wires contain 2π and those dealing with charged surfaces lack π entirely, which was the most convenient choice for applications in electrical engineering. However, modern hand calculators and personal computers have eliminated this "advantage". In some fields where formulas concerning spheres are common (for example, in astrophysics), it has been argued that the nonrationalized CGS system can be somewhat more convenient notationally.


title: Centimetre–gram–second system of units

text: Specialized unit systems are used to simplify formulas even further than "either" SI "or" CGS, by eliminating constants through some system of natural units. For example, in particle physics a system is in use where every quantity is expressed by only one unit of energy, the electronvolt, with lengths, times, and so on all converted into electronvolts by inserting factors of speed of light "c" and the reduced Planck constant "ħ". This unit system is convenient for calculations in particle physics, but it would be considered impractical in other contexts.


title: All-time tennis records – Men's singles

text: This article covers the period from 1877 to present. Before the beginning of the Open Era in April 1968, only amateurs were allowed to compete in established tennis tournaments, including the four Grand Slam tournaments (also known as the majors). Wimbledon, the oldest of the majors, was founded in 1877, followed by the US Open in 1881, the French Open in 1891 and the Australian Open in 1905. Beginning in 1905 and continuing to the present day, all four majors have been played yearly, with the exception of during the two World Wars, 1986 for the Australian Open, and 2020 for Wimbledon. The Australian Open is the first major of the year (January), followed by the French Open (May–June), Wimbledon (June–July) and the US Open (August–September). There was no prize money and players were compensated for travel expenses only. A player who wins all four majors, in singles or as part of a doubles team, in the same calendar year is said to have achieved a "Grand Slam". If the player wins all four consecutively, but not in the same calendar year, it is called a "Non-Calendar Year Grand Slam". Winning all four at some point in a career, even if not consecutively, is referred to as a "Career Grand Slam". Winning the four majors and a gold medal in tennis at the Summer Olympics in the same calendar year has been called a "Golden Slam" since 1988. Winning all four majors plus an Olympic gold at some point in a career, even if not consecutively, is referred to as a "Career Golden Slam". Winning the year-end championship while also having won a Golden Slam is referred to as a "Super Slam". Winning all four majors, an Olympic gold, and the year-end championships at some point in a career, even if not consecutively, is referred to as a "Career Super Slam". Winning the four majors in all three disciplines a player is eligible for–singles, doubles and mixed doubles–is considered winning a "boxed set" of Grand Slam titles.


title: All-time tennis records – Men's singles

text: Prior to 1924, the major tennis championships, governed by the International Lawn Tennis Federation (ILTF), were the World Hard Court Championships, World Grass Court Championships (Wimbledon), and World Covered Court Championships.


title: All-time tennis records – Men's singles

text: Many top tennis players turned professional before the Open Era to play legally for prize money. They played in separate professional events and were banned from competing any of the four Grand Slam tournaments. They mostly competed on pro tours involving head-to-head competition, but also in professional tournaments as the biggest events on the pro tour. In addition to the head-to-head tours, there were the annual professional tournaments called "Championship tournaments" (known retrospectively as "professional majors" or "professional Grand Slams" where the world's top professional players usually played. These tournaments held a certain tradition and longevity.


title: All-time tennis records – Men's singles

text: The oldest of these three professional majors, was the U.S. Pro Tennis Championships, played at a variety of different venues and on a variety of different surfaces, between 1925 and 1999, although it was no longer a major after 1967. Between 1954 and 1962, the U.S. Pro was played indoors in Cleveland and was billed as the World Professional Championships. The most prestigious of the three was generally the Wembley Championship. Played between 1934 and 1990, at the Wembley Arena in England, it was unofficially usually considered the world's championship until 1967. The third professional major was the French Pro Championship, played between 1934 and 1968, on the clay courts of Roland Garros, apart from 1963 to 1967, when it was played on the indoor wood courts of Stade Coubertin.


title: All-time tennis records – Men's singles

text: The Open Era of tennis began in 1968, when the Grand Slam tournaments agreed to allow professional players to compete with amateurs. A professional tennis tour was created for the entire year, where everyone could compete. This meant that the division that had existed for many years between these two groups had finally come to an end, which made the tennis world into one unified competition.


title: All-time tennis records – Men's singles

text: The first tournament to go "Open" started on 22 April 1968, at The West Hants Club in Bournemouth, England. The first Grand Slam tournament to do so was the 1968 French Open, starting on 27 May.


title: All-time tennis records – Men's singles

text: Today, the ultimate pursuit in tennis is to win the Grand Slam; winning all four Grand Slam tournaments in the same calendar year. In 1982, the International Tennis Federation (ITF) broadened the definition of the Grand Slam as meaning any four straight major victories, including the ones spanning two calendar years that became known as the non-calendar year Grand Slam, though it later reversed its definition.


title: All-time tennis records – Men's singles

text: In the history of men's tennis, only two players have won the calendar Grand Slam, Don Budge (1938) and Rod Laver (1962 and 1969). Budge remains the sole player to have won six majors in a row (1937–1938). In the Open Era, only one player has achieved the non-calendar year Grand Slam, Novak Djokovic (2015–2016). This is followed by a career Grand Slam, a feat achieved by a player winning each of the majors during their career, which eight players have done. Winning just one of these major tournaments in a year is a sought-after achievement but winning all four or more consecutively, if we apply "Prochnow's (2018)" analysis retrospectively in Budge's case, transforms a player into a legend.


title: All-time tennis records – Men's singles

text: When we reflect on the modern era of the sport, tennis has clear separations during its history, such as the first official majors sanctioned by the world governing body of tennis its separate tours (amateur and professional), the eligibility to compete at Grand Slam majors or the surface aspects of the tournaments. In 1913, the ILTF created its first tennis majors, three world championship tournaments that were abolished by 1923. In the history of those early majors, only one player won all three in the same year, Anthony Wilding, arguably the first world champion. In 1927, the men's game was separated, leading to the creation of what are now referred to as the pro majors. During a period of 40 years, only two players achieved the calendar Pro Grand Slam in the history of the professional tour, Ken Rosewall (1963) and Laver (1967). Prior to 1968, only amateurs could enter the Grand Slam tournaments. This was changed in 1968, after which both professionals and amateurs could compete for the tennis majors.


title: All-time tennis records – Men's singles

text: There are also several other facets to take into consideration in defining great tennis players, such as winning all calendar year majors consecutively on offer at the time (World Champs and Pro Slams) on three different surfaces. Three players achieved this distinction between 1913 and 1967, Wilding, Rosewall and Laver. Only those same three players did so not only by surface, but also different environments (indoors and outdoors). When the professional majors were abolished in 1967, the Grand Slam majors were still only being played on two exclusive surfaces, grass and clay. In 1978, the US Open switched surface to a hardcourt thus re-creating a third unique surface. This is arguably the best date in defining the beginning of the modern era of tennis. In this new modern era, only one player (Djokovic) has won all four majors in a row. Only two players have achieved the new term, a "Surface Slam", winning three consecutive majors on three distinct surfaces, that being Rafael Nadal in 2010 and Novak Djokovic in 2021. To have accomplished any of these feats in a group of tournaments originating over 100 years ago underscores the degree of difficulty involved.


title: All-time tennis records – Men's singles

text: These are some of the important records since the start of the first Grand Slam tournament held at the Wimbledon Championships. All statistics are based on data provided by the ATP Tour website, the ITF and other available sources, even if this isn't a complete list due to the time period involved.


title: All-time tennis records – Men's singles

text: Note: "The draw of Pro majors was significantly smaller than the traditional Grand Slam tournaments; usually they only had 16 or even fewer professional players. Though they were the top 16 ranked players in the world at the time, this meant only four (or even fewer) rounds of play instead of the modern six or seven rounds."


title: All-time tennis records – Men's singles

text: The following are tennis players who have reached the final of single tournament at least eleven times.


title: All-time tennis records – Men's singles

text: (1990–present) The Grand Slam tournaments, the Masters events and the ATP Finals are the Big Titles of the annual ATP Tour calendar, in addition to the Olympics.


title: We Never Learn

text: , also known as , is a Japanese manga series written and illustrated by Taishi Tsutsui. The series follows the story of Nariyuki Yuiga, a high school student tasked with tutoring three female geniuses as they start to gradually develop romantic feelings for him. It was serialized in "Weekly Shōnen Jump" magazine from February 2017 to December 2020, with its individual chapters collected and published by Shueisha in twenty-one "tankōbon" volumes.


title: We Never Learn

text: An anime television series adaptation by Studio Silver and Arvo Animation aired from April to June 2019. A second season aired from October to December of the same year. The manga also spawned two light novel spin-offs released in 2019.


title: We Never Learn

text: Viz Media licensed the manga in North America and serialized it in their digital "Weekly Shonen Jump" magazine and started releasing it in print in 2018. Shueisha simultaneously published the series in English on the website and app "Manga Plus" in January 2019. The anime series is licensed by Aniplex of America.


title: We Never Learn

text: Nariyuki Yuiga is a senior high school student attending Ichinose Academy who, in order to secure a university scholarship, must tutor three female geniuses in different subjects: Fumino Furuhashi is a genius in literature, but horrible at mathematics; Rizu Ogata is a genius in mathematics, but terrible at literature; and Uruka Takemoto is a genius on the athletic field, but dreadful at all other subjects. As the girls work with Nariyuki to achieve their academic goals, they must also deal with their growing feelings for him. As the story progresses, two other girls are focused upon: Mafuyu Kirisu, their teacher who despite her professionalism, is a slob at home, and Asumi Kominami, a rōnin who has the appearance of a middle schooler despite her age.


title: We Never Learn

text: Near the middle of the story, at the Ichinose School Festival, rumor has it that people who are touching when the first firework goes off are destined to become a couple. During this event, Nariyuki encounters one of the girls, but her identity is obscured upon the chapter's first release. The story has five separate endings with Nariyuki ending up with one of the five girls. While their endings vary, the focused girl is the one who Nariyuki encountered at the fireworks. The final chapter shows instead another continuity where all the girls, including various secondary characters, end up touching Nariyuki during the festival, and the fireworks school legend is revealed to have been created by Nariyuki's late father in his youth. Flashes of the other endings are seen by the girls, signifying that in this new reality any of the events leading up to them have the same probability to occur.


title: We Never Learn

text: Written and illustrated by Taishi Tsutsui, "We Never Learn" was launched in the 10th issue of Shueisha's "Weekly Shōnen Jump" magazine on February 6, 2017. The series "Ephemeral Mermaid Princess" arc finished in "Weekly Shōnen Jump" on March 9, 2020. It was followed by the series' last arc, the "Parallel Story" arc, featuring Nariyuki having endings with other characters in the series, which started in "Weekly Shōnen Jump" on March 16, 2020. The series finished on December 21, 2020. Shueisha has collected its chapters twenty-one into individual "tankōbon" volumes. The first volume was released on June 2, 2017 and the last on March 4, 2021.


title: We Never Learn

text: Viz Media announced in April 2017 that they had licensed the manga for English release in North America, and serialized it digitally in their "Weekly Shonen Jump" magazine. On March 30, 2018, Viz Media announced the print release of the manga later that year. Shueisha began to simultaneously publish the series in English on the website and app Manga Plus in January 2019.


title: We Never Learn

text: A light novel titled written by Hamubane and illustrated by Tsutsui was published on April 4, 2019 by Shueisha under their JUMP j-BOOKS imprint. A second light novel titled "Bokutachi wa Benkyō ga Dekinai: Mitaiken no Jikanwari" with the same writer and artist was released on December 4, 2019.


title: We Never Learn

text: An anime television series adaptation was announced in the 39th issue of "Weekly Shōnen Jump" on August 27, 2018. The anime series was directed by Yoshiaki Iwasaki and written by Gō Zappa, featuring co-animation by Studio Silver and Arvo Animation and character designs by Masakatsu Sasaki. Masato Nakayama composed the music. The series aired from April 7 to June 30, 2019 on Tokyo MX, GTV, GYT, BS11, AT-X, MBS, and TV Aichi. The opening theme is and the ending theme is "Never Give It Up!!", both performed by Haruka Shiraishi, Miyu Tomita, and Sayumi Suzushiro under the name Study. Aniplex of America licensed the series for distribution under the title "We Never Learn: BOKUBEN", and streamed it on Crunchyroll, Hulu, and FunimationNow. In Australia and New Zealand, AnimeLab streamed the series in the region.


title: We Never Learn

text: After the final episode of the first season aired, a second season was announced, premiering on October 6, 2019. The second opening theme is "Can now, Can now", performed by Study, while the ending theme is , performed by Halca. The second season ran for 13 episodes. An OVA episode was bundled with the manga's fourteenth volume, which was released on November 1, 2019. Another OVA episode was bundled with the manga's sixteenth volume, which was released on April 3, 2020.


title: We Never Learn

text: In May 2018, the manga reached 1 million volumes in circulation. In February 2019, the circulation reached 2 million volumes, including digital sales. As of March 2021, the total circulation of the series exceeded 4.4 million copies.


title: Intersection (set theory)

text: In set theory, the intersection of two sets formula_1 and formula_2 denoted by formula_3 is the set containing all elements of formula_1 that also belong to formula_5 or equivalently, all elements of formula_5 that also belong to formula_7


title: Intersection (set theory)

text: Intersection is written using the symbol "formula_8" between the terms; that is, in infix notation. For example:


title: Intersection (set theory)

text: The intersection of two sets formula_1 and formula_2 denoted by formula_16, is the set of all objects that are members of both the sets formula_1 and formula_18


title: Intersection (set theory)

text: That is, formula_20 is an element of the intersection formula_16 if and only if formula_20 is both an element of formula_1 and an element of formula_18


title: Intersection (set theory)

text: We say that if there exists some formula_20 that is an element of both formula_1 and formula_2 in which case we also say that . Equivalently, formula_1 intersects formula_5 if their intersection formula_16 is an , meaning that there exists some formula_20 such that formula_32


title: Intersection (set theory)

text: We say that if formula_1 does not intersect formula_18 In plain language, they have no elements in common. formula_1 and formula_5 are disjoint if their intersection is empty, denoted formula_37


title: Intersection (set theory)

text: For example, the sets formula_38 and formula_39 are disjoint, while the set of even numbers intersects the set of multiples of 3 at the multiples of 6.


title: Intersection (set theory)

text: Binary intersection is an associative operation; that is, for any sets formula_40 and formula_41 one has


title: Intersection (set theory)

text: formula_42Thus the parentheses may be omitted without ambiguity: either of the above can be written as formula_43. Intersection is also commutative. That is, for any formula_1 and formula_2 one hasformula_46


title: Intersection (set theory)

text: The intersection of any set with the empty set results in the empty set; that is, that for any set formula_1,


title: Intersection (set theory)

text: Also, the intersection operation is idempotent; that is, any set formula_1 satisfies that formula_50. All these properties follow from analogous facts about logical conjunction.


title: Intersection (set theory)

text: Intersection distributes over union and union distributes over intersection. That is, for any sets formula_40 and formula_41 one has


title: Intersection (set theory)

text: Inside a universe formula_54 one may define the complement formula_55 of formula_1 to be the set of all elements of formula_57 not in formula_7 Furthermore, the intersection of formula_1 and formula_5 may be written as the complement of the union of their complements, derived easily from De Morgan's laws:formula_61


title: Intersection (set theory)

text: If formula_62 is a nonempty set whose elements are themselves sets, then formula_20 is an element of the of formula_62 if and only if for every element formula_1 of formula_66 formula_20 is an element of formula_7


title: Intersection (set theory)

text: The notation for this last concept can vary considerably. Set theorists will sometimes write "formula_70", while others will instead write "formula_71".


title: Intersection (set theory)

text: The latter notation can be generalized to "formula_72", which refers to the intersection of the collection formula_73


title: Intersection (set theory)

text: In the case that the index set formula_74 is the set of natural numbers, notation analogous to that of an infinite product may be seen:


title: Intersection (set theory)

text: When formatting is difficult, this can also be written "formula_79". This last example, an intersection of countably many sets, is actually very common; for an example, see the article on σ-algebras.


title: Intersection (set theory)

text: Note that in the previous section, we excluded the case where formula_62 was the empty set (formula_81). The reason is as follows: The intersection of the collection formula_62 is defined as the set (see set-builder notation)


title: Intersection (set theory)

text: If formula_62 is empty, there are no sets formula_1 in formula_66 so the question becomes "which formula_20<nowiki>'</nowiki>s satisfy the stated condition?" The answer seems to be . When formula_62 is empty, the condition given above is an example of a vacuous truth. So the intersection of the empty family should be the universal set (the identity element for the operation of intersection),


title: Intersection (set theory)

text: In type theory however, formula_20 is of a prescribed type formula_90 so the intersection is understood to be of type formula_91 (the type of sets whose elements are in formula_92), and we can define formula_93 to be the universal set of formula_91 (the set whose elements are exactly all terms of type formula_92).


title: Rumpole of the Bailey

text: Rumpole of the Bailey is a British television series created and written by the British writer and barrister John Mortimer. It starred Leo McKern as Horace Rumpole, a middle-aged London barrister who defended a broad variety of clients, often underdogs. The TV series led to the stories being presented in other media, including books and radio.


title: Rumpole of the Bailey

text: While certain biographical details are slightly different in the original television series and the subsequent book series, Horace Rumpole has a number of definite character traits that are constant. First and foremost, he loves the courtroom. Despite attempts by his friends and family to get him to move on to a more respectable position for his age, such as a Queen's Counsel (QC) or a Circuit Judge (positions Rumpole sarcastically calls "Queer Customers" and "Circus Judges"), he only enjoys defending his clients (who are often legal aid cases) at the Old Bailey, London's Central Criminal Court: "the honour of being an Old Bailey Hack," as he describes his work. A devotee of Arthur Quiller-Couch's "Oxford Book of English Verse", he often quotes Wordsworth (and other poets less frequently, e.g. Shakespeare). He privately calls his wife Hilda "She Who Must Be Obeyed", a reference to the fearsome queen in H. Rider Haggard's adventure novel "She".


title: Rumpole of the Bailey

text: His skill at defending his clients is legendary among the criminal classes. The Timson clan of "minor villains" (primarily thieves) regularly rely on Rumpole to get them out of their latest bit of trouble with the law. Rumpole is proud of his successful handling of the Penge Bungalow Murders "alone and without a leader" (that is, as a "junior" barrister without a QC) early in his career and of his extensive knowledge of bloodstains and typewriters. Cross-examination is one of his favourite activities, and he disdains barristers who lack either the skill or courage to ask the right questions. His courtroom zeal gets him into trouble from time to time. Often, his investigations reveal more than his client wants him to know. Rumpole's chanciest encounters stem from arguing with judges, particularly those who seem to believe that being on trial implies guilt or that the police are infallible.


title: Rumpole of the Bailey

text: Rumpole enjoys smoking inexpensive cigars (cheroots), drinking cheap red wine (claret), and a diet of fried breakfasts, overboiled vegetables and steak and kidney pudding. Every day he visits "Pomeroy's", a wine bar on Fleet Street within walking distance of the Old Bailey and his chambers at Equity Court, at which he contributes regularly to an ever-increasing bar tab by purchasing glasses of red wine of questionable quality, which he calls variously "Cooking Claret", "Pomeroy's Plonk", "Pomeroy's Very Ordinary", "Chateau Thames Embankment", or "Chateau Fleet Street". (The last two terms are particularly derogatory: the subterranean Fleet river, which flows below Farringdon Street in a culvert and crosses under one end of Fleet Street at Ludgate Circus, served as the main sewer of Victorian London, while the Thames Embankment in central London was a reclamation of marshy land that, until the 1860s, was notably polluted). "Pomeroy's" is thought to be Mortimer's version of El Vino, Fleet Street, a popular haunt of barristers and journalists.


title: Rumpole of the Bailey

text: His cigar smoking is often the subject of debate within his Chambers. His peers sometimes criticise his attire, noting his old hat (a battered Homburg), imperfectly aligned clothes, cigar ash trailing down his waistcoat and faded barrister's wig, "bought second hand from a former Chief Justice of Tonga" (or the Windward Islands: Rumpole is occasionally an unreliable narrator).


title: Rumpole of the Bailey

text: Despite his affection for the criminal classes, Rumpole has firm ethics. He is a staunch believer in the presumption of innocence, the "Golden Thread of British Justice". He often reinforces this by proclaiming that it is better for 10 guilty men to go free than for one innocent to be convicted (basically Blackstone's formulation).


title: Rumpole of the Bailey

text: Accordingly, Rumpole's credo is "I never plead guilty", although he has qualified that credo by stating on several occasions that he is morally bound to enter a guilty plea if he knows "for a fact" that the defendant is guilty of the crime of which he/she is accused. (In fact, he enters a plea of guilty on behalf of his clients in "Rumpole's Last Case".) But if he has any doubt whatsoever about the facts surrounding the commission of the crime, even if the defendant has confessed to the deed (having stated, and proved, on one occasion that "there is no piece of evidence more unreliable than a confession!"), Rumpole feels equally honour-bound to enter a plea of "not guilty" and offer the best defence possible. His "never plead guilty" credo also prevents him from making deals that involve pleading guilty to lesser charges (again, with some exceptions; in "Rumpole and the Tap End" he persuades his client to plead guilty to assault in exchange for the dismissal of a charge of attempted murder).


title: Rumpole of the Bailey

text: Rumpole also refuses to prosecute, feeling it more important to defend the accused than to work to imprison them. (There was one exception, when Rumpole took on a private prosecution, working for a private citizen rather than for the crown, but he proved that the defendant was innocent and then reaffirmed, "from now on, Rumpole only defends".)


title: Rumpole of the Bailey

text: Some of Rumpole's clients feel that things would have been better for them if they had been found guilty and resent him for getting them off.


title: Rumpole of the Bailey

text: Mortimer's 2009 obituary in "The Daily Telegraph" confirmed that Rumpole was, in part, based on a chance meeting in court with James Burge QC:


title: Rumpole of the Bailey

text: In the television series, where Rumpole first appeared, there is some consistency with regard to Rumpole's backstory. The original play is set in 1974, and Rumpole says he is 64 years old, suggesting a birthdate of 1910 (Leo McKern, the actor who played Rumpole, was born in 1920). Rumpole's "Oxford Book of English Verse" is inscribed "Horace Rumpole, Little Wicks School 1923. Cursed be he who steals this book," (Series 4 – 1987); in "Rumpole and the Fascist Beast" it is mentioned that he studied at Birkenshaw School, which he calls 'a wind-blasted penal colony on the Norfolk coast'; he bought his barrister's wig in 1932; first appeared in court in 1937; first met Hilda on 14 August 1938; served in the RAF Ground Staff in World War II; married Hilda in approximately 1944; won the Penge Bungalow Murder case in 1947; and had his son Nick in 1951. The series itself takes place between 1967 and 1992, when Rumpole is getting on in years.


title: Rumpole of the Bailey

text: Within many short stories and occasional novels, which were written over a 29-year period (1978–2007), Rumpole's biographical details fluctuated. For example, in the first book, published in 1978, Rumpole mentions buying his wig in 1932, and another time to proposing to Hilda in 1938, and his "sixty-eight next birthday". In "Rumpole and the Fascist Beast" it is mentioned that Rumpole was born sometime before the outbreak of World War I. These last two pieces of information would indicate a birth year of 1911, but later books contradict this. "Rumpole and the Primrose Path", for instance, appeared in 2003 and was set in the present day, but Rumpole was in his seventies, not 92. Nonetheless, when in "Rumpole and the Primrose Path" Erskine-Brown asks Rumpole what he sings to himself when he is alone, Rumpole replies, "A ballad of the war years."


title: Rumpole of the Bailey

text: In general, in the book series, it would seem that Rumpole has been frozen at an age of around 70 years, and past events in his life have been retconned to fit each story's time frame. Thus, in the books published in 1996 and before, he proposed to Hilda in 1938, and in books published in 2003 and after, it appears that he neither became a barrister nor met Hilda until after World War II ended in 1945. "Rumpole and the Penge Bungalow Murders", containing his first unled case and his engagement to Hilda, takes place in the early 1950s, entirely inconsistent with the early stories. Since 1988, when Phyllida Erskine-Brown became a QC and Soapy Sam Ballard became Head of Chambers, the other characters seem to be similarly frozen in time. In "Rumpole and the Reign of Terror", Rumpole was still practising in 2006, and Judge Bullingham was still in post – unless this is a different Bullingham, but that is never stated explicitly. In the 1990 story "Rumpole at Sea", Rumpole says of Bullingham: "But now we have lost him." The prior "Mad Bull" was Roger Bullingham, and this Bullingham's name is Leonard.


title: Rumpole of the Bailey

text: The son of Reverend Wilfred Rumpole and his wife Alice, and born at Dulwich, Rumpole attended "Linklater's" (a fictional minor public school) and studied law at either Keble College or the fictional "St Joseph's College", Oxford, coming away with "a dubious third" (Oxford then awarded fourths, so a third is equivalent to a 2:2). Rumpole was called to the bar at the "Outer Temple" (a fictional Inn of Court, named on the analogy of the Inner Temple, where John Mortimer was called, and the Middle Temple).


title: Rumpole of the Bailey

text: Apart from the legal drama in each story, Rumpole also has to deal with his relationships with family and friends. His wife Hilda was proud of her daddy (as she calls him), C. H. Wystan, who was Rumpole's Head of Chambers, and she frequently advocates that Rumpole seek a higher position in the legal world such as Head of Chambers, Queen's Counsel or a judgeship. The Rumpoles reside in a cavernous, underheated mansion flat at 25B Froxbury Mansions (sometimes called Froxbury Court), Gloucester Road, London.


title: Rumpole of the Bailey

text: Rumpole raises tensions with his American daughter-in-law Erica (Deborah Fallender) because of their differing views (such as her disapproval of his cross-examining a rape victim he believed to be lying). His associates' dynamic social positions contrast with his relatively static views, which causes feelings between him and the others to shift over time.


title: Rumpole of the Bailey

text: Rumpole retired for a short period of time, moving to Florida to be near his son Nick, a sociology professor and now department head at the University of Miami.


title: Rumpole of the Bailey

text: Nick is described by Rumpole as "the brains of the family". Nick was educated at public school as a teenager, then studied at Oxford University and Princeton. His academic visit to Baltimore University was determinant for staying in the US. Rumpole often says that Nick is proud of his father's work in criminal law, and enjoyed his accounts of his cases and "harmless legal anecdotes".


title: Rumpole of the Bailey

text: In total, seven series of "Rumpole of the Bailey" were made from 1978 to 1992, each consisting of six episodes. A special two-hour film, "Rumpole's Return", was made and aired in 1980, between the 2nd and 3rd series. The author, John Mortimer, occasionally appeared as an extra.


title: Rumpole of the Bailey

text: The origins of "Rumpole of the Bailey" lie in "Infidelity Took Place", a one-off television play for the BBC's 1960s television anthology drama series, "The Wednesday Play" that was written by John Mortimer and broadcast by BBC TV on 18 May 1968. This satirical play, a comment on newly enacted English divorce laws, told the story of a happily married couple who decide to get divorced to take advantage of the more beneficial tax situation they would enjoy if legally separated. The play features a character, Leonard Hoskins (played by John Nettleton), a divorce lawyer with a domineering mother, who can be seen as an early prototype of Rumpole. Mortimer also drew parallels with his 1957 radio play "The Dock Brief", in which elderly and unsuccessful barrister Morganhall (Michael Horden) is called upon to defend a man, Fowle (David Kossoff), accused of murder. Morganhall hopes that a not guilty verdict will bring him the fame that has so far eluded him, but when Fowle is convicted and sentenced to death, he is granted a reprieve on the grounds of Morganhall's desultory performance in court.


title: Rumpole of the Bailey

text: In the mid-1970s, Mortimer approached BBC producer Irene Shubik, who had overseen "Infidelity Took Place" and who was now one of the two producers overseeing "Play For Today" – the successor series to "The Wednesday Play" as the BBC's strand for contemporary drama. Mortimer presented an idea for a new play, titled "My Darling Prince Peter Kropotkin", that centred on a barrister called Horace Rumbold. Rumbold would have a particular interest in nineteenth-century anarchists, especially the Russian Peter Kropotkin from whom the title of the play was drawn. The character's name was later changed to Horace Rumpole when it was discovered that there was a real barrister called Horace Rumbold. The title of the play was briefly changed to "Jolly Old Jean Jacques Rousseau" before settling on the less esoteric "Rumpole of the Bailey".


title: Rumpole of the Bailey

text: Mortimer was keen on Michael Hordern for the role of Rumpole. When Hordern proved unavailable, the part went to Australian-born actor Leo McKern. Mortimer was initially unenthusiastic about McKern's casting but changed his opinion upon seeing him at rehearsal. Cast as Hilda was Joyce Heron, who played the character as a much tougher individual than that later seen in the eventual series. Aside from Rumpole and his family, no other characters who would eventually be series regulars were seen in the "Play For Today" production of "Rumpole of the Bailey"—with the possible exception of a fellow lawyer named George, who could be an early version of eventual series character George Frobisher. (Note that in the series, George Frobisher was played in a very different style by a different actor).


title: Rumpole of the Bailey

text: "Rumpole of the Bailey" made its television debut on 17 December 1975 to good reviews by the critics.


title: Rumpole of the Bailey

text: Aware of the potential for further stories centred on Rumpole, Irene Shubik approached the BBC's Head of Plays, Christopher Morahan, and obtained permission from him to commission a further six "Rumpole of the Bailey" scripts from John Mortimer. However, Morahan left his post at the BBC a short time later and his successor was not interested in turning "Rumpole of the Bailey" into a series. At around this time, Shubik was contacted by Verity Lambert, Head of Drama at Thames Television, who was looking for ideas for an up-market drama series. Impressed with "Rumpole of the Bailey", Lambert offered Shubik the opportunity to bring the series to Thames. John Mortimer readily agreed, since it would mean more money, and Shubik (and "Rumpole") duly left the BBC in late 1976.


title: Rumpole of the Bailey

text: "Rumpole of the Bailey" made its Thames Television debut on 3 April 1978 in a series of six episodes. These introduced and established the supporting characters including Guthrie Featherstone (Peter Bowles), Claude Erskine-Browne (Julian Curry) and Phyllida Trant (Patricia Hodge). The role of Hilda was recast, with Peggy Thorpe-Bates taking on the part. Other than McKern, David Yelland (who played Rumpole's son Nick) was the only cast member from the BBC "Play For Today" who also became a regular in the series.


title: Rumpole of the Bailey

text: Rob Page's title sequence, featuring amusing caricatures of Rumpole, was inspired by the nineteenth-century cartoonist George Cruikshank, who had illustrated the works of Charles Dickens. The music was composed by Joseph Horovitz, whose extensive use of the bassoon for Rumpole's theme complemented Leo McKern's portly stature and sonorous voice. Mortimer continued to work as a barrister while writing the series, rising at 5:30am to write scripts before going to work at the Old Bailey. The series was critically acclaimed ("Not to be missed. Leo McKern is superb as the wild and witty barrister Rumpole" – "The Times"; "I wouldn't say the BBC threw away a pearl richer than all its tribe but it has mislaid a tasty box of kippers" – Nancy Banks-Smith, "The Guardian") and Thames quickly commissioned a second series. However, upset to see that her pay had reduced while McKern and Mortimer had received increases for the second series, Shubik's relationship with Verity Lambert deteriorated and, in the end, she quit Thames after commissioning three of the six scripts for the second series. Shubik moved to Granada Television, where she produced an adaptation of Paul Scott's "Staying On" and set up, but did not produce, "The Jewel in the Crown", the follow-up adaptation of Scott's "Raj Quartet". "Rumpole of the Bailey" continued under a new production team.


title: Rumpole of the Bailey

text: When "Rumpole of the Bailey" returned for its fourth series in 1987, Marion Mathie took over as Hilda when Peggy Thorpe-Bates retired because of poor health.


title: Rumpole of the Bailey

text: "Number 3 Equity Court", Rumpole's chambers, are in King's Bench Walk in the Inner Temple Inns of Court.


title: Rumpole of the Bailey

text: The seven series of the programme and the "Rumpole's Return" special episode are available on DVD and as part of a single DVD box set, published by Fremantle Media. The "Play for Today" ("The Confession of Guilt") is also available on DVD, released separately by Acorn Media.


title: Rumpole of the Bailey

text: A&E Home Video released the entire series on DVD in Region 1 between 2004 and 2006. It was initially released in season sets then on 28 February 2006, they released "Rumpole of the Bailey" a 14-disc box set with all 42 episodes.


title: Rumpole of the Bailey

text: Since 1980 there were a number of different BBC radio productions derived from the Rumpole stories. Essentially there were two different series and three Christmas specials – yielding a grand total of 40 episodes. Five different actors portrayed Horace Rumpole in these episodes: Leo McKern, Maurice Denham, Timothy West, Benedict Cumberbatch, and Julian Rhind-Tutt.


title: Rumpole of the Bailey

text: In 1997, abridged readings of two "Rumpole" stories from "Rumpole for the Defence" ("Rumpole and the Dearly Departed" and "Rumpole and the Boat People"), abridged by Bob Sinfield and performed by Leo McKern, were broadcast on BBC Radio 2, subsequently rebroadcast on BBC Radio 4 Extra.


title: Rumpole of the Bailey

text: John Mortimer adapted his television scripts into a series of short stories and novels starting in 1978. A series of anthologies and omnibus editions were also released.


title: Jael

text: Jael or Yael ( "Yāʿēl") is the name of the heroine who delivered Israel from the army of King Jabin of Canaan in the Book of Judges of the Hebrew Bible. After Barak demurred at the behest of the prophetess Deborah, God turned Sisera over to Jael, who killed him by driving a tent peg through his skull after he entered her tent near the great tree in Zaanannim near Kedesh.


title: Jael

text: The Hebrew "ya'el" means ibex, a nimble, sure-footed mountain goat native to that region. It literally translates to "he shall ascend or go up".


title: Jael

text: Jael has often been understood to be the wife of Heber the Kenite. However, the Hebrew phrase translated this way could also mean "a woman of the group of the Kenites". The Kenites were a nomadic tribe, some of whom lived in close proximity to the Israelites. The Bible records a number of cases of intermarriage; the father-in-law of Moses was apparently a Kenite, but it is not clear whether this was Jethro. The Kenites may have been a part of the Midianite group.


title: Jael

text: Heber the Kenite () was, according to the Book of Judges in the Bible, a descendant of Reuel the Midianite, the father-in-law of Moses. He had separated himself and his wife Jael from the other Kenites and pitched their tent in the plain of Zaanaim, which is near Kedesh in the tribal territory of Naphtali. Heber lived approximately during the 12th century BC in the Hula Valley (anciently known as Zaanaim) of northern Israel during the time of the Israelite judges. According to Jack Sasson, there are reasons to doubt whether the events narrated in Judges 4 ever occurred.


title: Jael

text: Deborah, a prophetess and judge, advised Barak to mobilize the tribes of Naphtali and Zebulon on Mount Tabor to do battle against King Jabin of Canaan. Barak demurred, saying he would go, provided she would also. Deborah agreed, but prophesied that the honor of defeating Jabin's army would then go to a woman. Jabin's army was led by Sisera (Judg. 4:2). The armies met on the plain of Esdraelon, where Sisera's iron-bound chariots became hampered by the mud caused by a downpour during the night that caused the Wadi Kishon to overflow its banks. The Canaanites were defeated, and Sisera fled the scene.


title: Jael

text: Sisera arrived on foot at the tent of Heber on the plain of Zaanaim. Heber and his household were at peace with Jabin, the king of Canaan, who reigned in Hazor. Jael, however, sympathized with the Israelites because of the twenty-year period of harsh oppression inflicted on them by Jabin, his commander Sisera, and his nine hundred iron chariots. Jael (whose tent would have been separate from Heber's) welcomed Sisera into her tent and covered him with a blanket. Sisera asked Jael for a drink of water; she gave him milk instead. He commanded Jael to watch over the tent and tell any inquirers that no one was there. Quietly, Jael took a mallet and drove a tent peg through Sisera's temple into the ground while he was sleeping, killing him instantly. Jael was then the woman with the honor of defeating Jabin's army, as prophesied by Deborah, and she showed Barak Sisera's dead body in her tent. The "Song of Deborah" (Judg. 5:24–26) recounts:


title: Jael

text: Scholars have long recognized that the Song of Deborah, on the basis of linguistic evidence (archaic biblical Hebrew), is one of the oldest parts of the Bible, dating back to the 12th century BCE.


title: Jael

text: Now Jael took a stake in her left hand and approached him, saying, "If God will work this sign with me, I know that Sisera will fall into my hands. Behold I will throw him down on the ground from the bed on which he sleeps; and if he does not feel it, I know that he has been handed over." And Jael took Sisera and pushed him onto the ground from the bed. But he did not feel it, because he was very groggy.


title: Jael

text: And Jael said, "Strengthen in me today, Lord, my arm on account of you and your people and those who hope in you." And Jael took the stake and put it on his temple and struck it with a hammer.


title: Jael

text: And while he was dying, Sisera said to Jael, "Behold pain has taken hold of me, Jael, and I die like a woman."


title: Jael

text: And Jael said to him, "Go, boast before your father in hell and tell him that you have fallen into the hands of a woman."


title: Jael

text: There is also a reference to the story of Jael in Geoffrey Chaucer's "The Canterbury Tales". During the Wife of Bath's Prologue, and whilst discussing her fifth husband's "book of wikked wives", Chaucer mentions some wives who "han drive nailes in hir brain, / Whil that they slepte, and thus they had hem slain."


title: Jael

text: Judges 4:17 states that there was peace between the Canaanites and Heber's clan. They were familiar to the Israelites through the connection of Jethro to Moses, and their skill as metalworkers was welcomed wherever they camped. Both sides in the conflict would have considered the Kenites a neutral party. C.E. Schenk notes that Sisera was Jael's guest, "was in the sanctuary of her home, and protected by the laws of hospitality." According to Herbert Lockyer she may have acted out of practical necessity. Sisera was in flight and Barak in pursuit. It would not have been wise to allow Barak to find Sisera in her tent. She also knew that Sisera would be killed if captured; therefore, she would kill him and thus cement a friendship with the victor. Biblical commentaries have viewed Jael as either a heroine or someone much less so. Newsom and Ringe consider her a survivor caught up in her husband's politics. Parallels between the details of Jael's actions and Ehud's assassination of Eglon have led van Wijk-Bos to propose Jael as killing Sisera in a manner similar to his conquering army's use of rape. Jael, along with Ehud, is an example in Judges of the contrast between marginal heroes and well-armed enemies conquered by wit and stealth. Noting the maternal and erotic undertones of the text and some commentators' qualms about Jael's seductive and violent act, Bachmann points out that the Bible itself has nothing but praise for Jael, called most blessed of women in the Song of Deborah.


title: Jael

text: Christian moral theorists during the Renaissance extensively referred to Jael as an example of tyrannicide.


title: Jael

text: Medieval images of Jael, mostly in illuminated manuscripts, depicted her as both a defender of Israel and a prefiguration of the Virgin Mary. This can be seen in the Stavelot Bible, the Speculus Darmstadt, as well as several other texts. When not shown in the act of killing Sisera, she carries her hammer and sometimes the spike, making her easy to identify.


title: Jael

text: In Renaissance works the subject is one of the most commonly shown in the Power of Women "topos", with other biblical women who triumphed over men, such as Judith or Delilah. Here she was used to show the risk for men in following women, in groupings including positive figures and scenes such as Judith beheading Holofernes, but mostly ones with females depicted as over-powerful, such as Phyllis riding Aristotle, Samson and Delilah, Salome and her mother Herodias and the Idolatry of Solomon. More positively, Jael was included in sets of the female Nine Worthies, such as the prints by Hans Burgkmair. Ladies sometimes chose to have their portraits painted as Jael, a transformation achieved by holding a hammer and spike.


title: Jael

text: In the Baroque period, Jael continued to be a sexual figure in art. Works by Gregorio Lazzarini and Artemisia Gentileschi are two examples of an attractive Jael, shown in the act of killing her foe.


title: Fanny (band)

text: Fanny was an American rock band, active in the early to mid 1970s. They were one of the first all-female rock groups to achieve critical and commercial success, including two "Billboard" Hot 100 Top 40 singles.


title: Fanny (band)

text: The group was founded by guitarist June Millington and her sister, bassist Jean, who had been playing music together since they moved from the Philippines to California in the early 1960s. After playing through several variations of the band, they attracted the interest of producer Richard Perry who signed them to Reprise Records in 1969 as Fanny. The band recorded four albums together before June Millington quit the group, leading to the original line-up splitting. Following a final album, Fanny disbanded in 1975. The Millington sisters have continued to play music together since the split, and with a former drummer, Brie Howard-Darling, formed the spin-off group Fanny Walked the Earth in 2018.


title: Fanny (band)

text: The group has continued to attract critical acclaim for rejecting typical girl group styles and expectations of women in the rock industry generally, and emphasizing their musical skills. Later groups such as the Go-Go's, the Bangles, and the Runaways cited Fanny as a key influence.


title: Fanny (band)

text: Sisters June and Jean Millington moved with their family from the Philippines to Sacramento, California in 1961. They began to play music together on ukuleles, which helped them gain friends. In high school they formed an all-female band called the Svelts with June on guitar, Jean on bass, Addie Lee on guitar, and Brie Brandt on drums. Brandt left to get married and was later replaced by Alice de Buhr.


title: Fanny (band)

text: Lee and de Buhr later formed another all-female band, Wild Honey. The Millington sisters later joined this band as well. Wild Honey played Motown covers and eventually moved to Los Angeles.<ref name="msmagazine/Fanny"></ref><ref name="dailynews/female-rock"></ref> Frustrated by a lack of success or respect in the male-dominated rock scene, Wild Honey decided to disband after one final open-mic appearance at the Troubadour Club in Los Angeles in 1969. They were spotted at this gig by the secretary of producer Richard Perry, who had been searching for an all-female rock band to mentor.


title: Fanny (band)

text: Perry convinced Warner Bros. Records to sign the band, still known as Wild Honey, to Reprise Records. The group won the contract without the label hearing them play, on the grounds of being a novelty act, despite their genuine musical talent.<ref name="teentalkingcircles/Wolf/June"></ref> Warner Bros. installed the band in a rented mansion formerly owned by Hedy Lamar, on Marmont Lane near Sunset Boulevard. Prior to recording their first album, the band recruited keyboardist Nickey Barclay while bringing in early Svelts member Brandi Brandt.


title: Fanny (band)

text: The band was then renamed Fanny, not with a sexual connotation but to denote a female spirit. The initial lineup consisted of June Millington on guitar, Jean Millington on bass, de Buhr on drums, Barclay on keyboards, and Brandt on lead vocals and percussion. Perry dismissed Brandt because he wanted the group to be a self-contained four-piece band like the Beatles. The Millingtons and Barclay all assumed lead vocal duties on alternating songs, while de Buhr sang lead occasionally on later albums.


title: Fanny (band)

text: Perry produced the band's first three albums, beginning with "Fanny" in 1970. Because of the connection to Perry and Reprise Records, Barclay was invited to tour with Joe Cocker as a backing singer, and consequently appeared on the album "Mad Dogs and Englishmen". The group's cover of Cream's "Badge" from the first album earned significant radio airplay. The follow-up album, "Charity Ball" was released the following year, and its title track reached #40 on the "Billboard" Hot 100. The members of Fanny also worked as session musicians, and played on Barbra Streisand's 1971 album "Barbra Joan Streisand", after Streisand had wanted to record with a small band.


title: Fanny (band)

text: The group continued to pick up well-known fans; David Bowie sent the group a letter admiring their work and invited the band to a post-show party where he showed them mime techniques. With young engineer Leslie Ann Jones as their road manager and live sound mixer, Fanny toured worldwide, opening for Slade, Jethro Tull and Humble Pie, gaining widespread popularity in the United Kingdom. A 1971 article in "Sounds" remarked that the group "seems that they are the support group to everyone these days". The group made several live television appearances during tours, including "The Sonny and Cher Show", "American Bandstand", "The Old Grey Whistle Test" and "Beat-Club".


title: Fanny (band)

text: The group's third album, "Fanny Hill" (1972) featured the Beatles' engineer Geoff Emerick in addition to Perry's production. It included covers of the Beatles' "Hey Bulldog" and Marvin Gaye's "Ain't That Peculiar". The latter featured regular Rolling Stones saxophonist Bobby Keys, and was released as a single, reaching #85 on the "Billboard" Hot 100. Fellow Stones sideman Jim Price also played brass on the album. "Rolling Stone" wrote a rave review of the album, praising the group's musical skills and particularly June Millington's ability to play both lead and rhythm guitar.


title: Fanny (band)

text: Their fourth album, "Mothers Pride" (1973), was produced by Todd Rundgren. By the time "Mothers Pride" was released, June Millington was feeling constrained by the group format. The record label wanted her to wear certain designer clothes and adopt a hard rock image, which she resisted. She decided to quit the group, later saying "I needed to figure out who I was" and regularly clashed with Barclay due to conflicting personalities. June moved to Woodstock to study Buddhism, but insisted that the group continue without her.


title: Fanny (band)

text: De Buhr also left the band, with a returning Brandt replacing her on drums. Patti Quatro (sister of Suzi Quatro) replaced June on guitar. This lineup signed with Casablanca Records and released the final Fanny album, "Rock and Roll Survivors", in 1974. The first single, "I've Had It" reached #79 on the "Billboard" Hot 100. Brandt left the band shortly after the album's completion when she married composer James Newton Howard, and was briefly replaced by Cam Davis. Barclay quit the group at the end of 1974, thinking it was not working without June Millington. The second single, "Butter Boy" was written by Jean Millington about Bowie, and became their biggest hit, reaching #29 on the "Billboard" Hot 100 in April 1975. By the time that single was released, the group had split.


title: Fanny (band)

text: After the breakup, in 1975 the Millington sisters put together a new line-up of Fanny for a short tour, though no older Fanny material was played. This group ultimately morphed into a new all-women band called the L.A. All-Stars, which generated some interest from record labels, but with the stipulation that the band tour as Fanny and play only old Fanny songs, which June Millington opposed.


title: Fanny (band)

text: June Millington subsequently released three solo albums in the 1980s and has had a career as a producer for artists including Holly Near, Cris Williamson and Bitch and Animal. She operates the Institute for Musical Arts, a non-profit organization supporting girls and women in music. Jean Millington was married to Bowie's guitarist Earl Slick for a time and later became an herbalist. The Millingtons continued to record together after Fanny as well, most recently on the 2011 album "Play Like a Girl" on June's label Fabulous Records. Nickey Barclay released a solo album titled "Diamond in a Junkyard" in 1976 then withdrew from the music industry. De Buhr later worked in marketing for several major record labels, and promoted the Go-Go's, who cited Fanny as an influence. She collaborated with Real Gone Music in a reissue program for the group's albums.


title: Fanny (band)

text: Patti Quatro continued to work as a session musician for her sister Suzi and was involved in the reissue of material by the Quatro sisters' early band the Pleasure Seekers. Brie Brandt, later known as Brie Howard-Darling and currently as Brie Darling, had an active post-Fanny career, fronting the bands American Girls, which released one album in 1986, and Boxing Gandhis, which has released four albums since the mid-1990s. She has also acted in films such as 1982's "Android" and is the mother of Playboy Playmate Brandi Brandt. Quatro and Brandt both toured with Electric Light Orchestra and appeared on the album "A New World Record" in 1976.


title: Fanny (band)

text: In 2002, Rhino Records released the limited edition 4-CD box set "First Time in a Long Time", which collected Fanny's first four studio albums along with live recordings, outtakes, and promotional items. A reunion concert featuring the Millington sisters and de Buhr (Barclay declined to appear for health reasons) was held at Berklee College of Music on April 20, 2007, where the band members received the "Rockrgrl" Women of Valor award for their achievements. The first four original Fanny albums are available on Real Gone records, with updated liner notes, pictures, and new mixes.


title: Fanny (band)

text: In 2016, Brie Howard joined a live performance by the Millington sisters. This inspired the formation of a new band called Fanny Walked the Earth. An album also titled "Fanny Walked the Earth" was released in March 2018. The album marks the first time June, Jean, and Brie all recorded at the same time in nearly 50 years. Fanny is the subject of the documentary film "", released in 2021 and directed by Bobbi Jo Hart.


title: Fanny (band)

text: Though Fanny was not the first all-female rock band to sign with a major label (after Goldie & the Gingerbreads and the Pleasure Seekers), they were the first to release an album on a major label and one of the first to achieve top 40 success on the "Billboard" Hot 100. Fanny's music was influenced by the Beatles and the Funk Brothers, the loose studio musician collective on Motown records.


title: Fanny (band)

text: The band resisted suggestions by the record company to dress in a typical girl group style, or emphasise any sex appeal, and rehearsed regularly, wanting to acquire a reputation based on their musical talent. Jean Millington later said that Fanny had to have a strong live presence in order to overcome audience's perceptions that women could not play rock music well. June added, "We knew we had to prove we could play and deliver live. Otherwise, no one would believe it." The group were more successful in the UK and Europe, where audiences appreciated their music and respected their work, as opposed to the US. De Buhr was disappointed to discover that some record company executives merely treated Fanny as a gimmick that should not be taken seriously. Promoter Bill Graham was reluctant to give the group a headlining slot at venues, for fear the group would split up as the members got married and had children, though the group have stressed this was due to business pragmatics and not chauvinism. During tours, female fans would ask the group how to form a band. Later all-female bands such as the Runaways and the Bangles have cited Fanny as a key influence.


title: Fanny (band)

text: A retrospective review of the group's career in "Rebeat" stressed that Fanny were simply a good band, irrespective of gender. June Millington has been praised for her guitar skills, and was described by "Guitar Player" as the hottest female guitar player in the music industry. During her time in Fanny, she initially favored the Gibson ES-355 and Fender Twin Reverb amp, before acquiring a Gibson Les Paul Junior guitar and Traynor amplifiers. She used the Les Paul primarily for slide guitar playing. Jean Millington's main instrument in Fanny was a 1963 Fender Precision Bass, which is still in her possession.


title: Fanny (band)

text: Little Feat bandleader Lowell George was a fan of Fanny and jammed with the group when they were in Los Angeles. In a 1999 interview with "Rolling Stone", Bowie revealed his respect for the band:


title: Friday the 13th Part VII: The New Blood

text: Friday the 13th Part VII: The New Blood is a 1988 American slasher film directed by John Carl Buechler and starring Lar Park Lincoln, Kevin Blair, Susan Blu, Terry Kiser, and Kane Hodder in his first appearance as Jason Voorhees, a role he would reprise in three subsequent films. It is the seventh installment in the "Friday the 13th" franchise. Set years after the events of "", the plot follows a psychokinetic teenage girl (Lincoln) who unwittingly releases Jason from his tomb at the bottom of Crystal Lake, allowing him to go on another killing spree in the area.


title: Friday the 13th Part VII: The New Blood

text: "The New Blood" was intended to have a higher standard of quality than that of the previous installments, with high-profile directors being considered to helm the project. Paramount Pictures sought a partnership with New Line Cinema to create a crossover film between the "Friday the 13th" and "Nightmare on Elm Street" series which would not come to fruition until New Line bought the rights to the franchise, releasing "Freddy vs. Jason" in 2003. After several failed concepts, screenwriter Daryl Haney suggested an idea akin to "Jason vs. Carrie", in which Jason would battle a teenage girl with psychokinetic abilities.


title: Friday the 13th Part VII: The New Blood

text: The film was released on May 13, 1988 to mostly negative reviews from critics, and grossed $19.1 million at the U.S. box office on a budget of $2.8 million. It was followed by "" one year later.


title: Friday the 13th Part VII: The New Blood

text: After witnessing her alcoholic father physically abusing her mother, a young Tina Shepard attempts to escape the chaos at home and heads out onto Crystal Lake in a boat. When her father follows her in an attempt to stop her, Tina's dormant telekinetic abilities emerge, and she accidentally destroys the dock her father is standing on, causing him to fall into the lake and drown.


title: Friday the 13th Part VII: The New Blood

text: Years later, a teenage Tina is still struggling with remorse surrounding her father's death. Her mother, Amanda, takes her to the same lakeside residence as part of her treatment from her psychiatrist, Dr. Crews. He begins a series of experiments (verbal assaults) designed to agitate Tina's mental state, forcing her powers to become more pronounced. In reality, he is only trying to exploit her psychic powers. After a particularly upsetting session with Dr. Crews, Tina runs from the cabin and to the dock thinking about her father's death. While thinking about him, she wishes he would come back. Her powers unwittingly awaken mass murderer Jason Voorhees, who was , and he emerges from the water to commit another killing spree.


title: Friday the 13th Part VII: The New Blood

text: Next door to the Shepard residence is a group of teens who are throwing a birthday party for their friend Michael. The group includes Michael's cousin Nick, preppy Russell and his girlfriend Sandra, Ben and his girlfriend Kate, science-fiction writer Eddie, stoner David, perky Robin, shy Maddy, and snobby socialite Melissa. Nick, who has arrived just for the party, becomes attracted to Tina, much to Melissa's chagrin. Melissa attempts to break up Nick and Tina, even going as far as kissing Eddie to make Nick jealous, but her schemes are to no availother than making Eddie feel spurned thereafter. Tina tells Nick about Jason and has a vision of him murdering Michael. Meanwhile, Jason actually kills Michael and his girlfriend Jane, later murdering another couple camping in the woods as well.


title: Friday the 13th Part VII: The New Blood

text: When Tina goes off with Nick to find her mother, Jason proceeds to kill the other teens one by one. Russell and Sandra go to the lake for a swim. While Sandra goes skinny-dipping, Russell is killed with an axe to his face. Sandra discovers his body before she is pulled under the water and drowned. Maddy goes looking for David but finds Russell's body. She runs for help, but Jason attacks her in a nearby barn and kills her with a sickle. Jason then kills Ben by crushing his skull and then Kate by driving a party horn into her eye. Inside the house, Jason stabs David and slices Eddie's neck open. Upstairs, Robin finds David's severed head and is thrown out through a window to her death. When Jason attacks Dr. Crews, he saves himself by using Amanda as a human shield, but Jason eventually kills him with a pole chainsaw. Tina finds her mother's body shortly afterwards and uses her powers to electrocute Jason and to crash part of the house down onto him. When Nick and Tina try to tell Melissa what happened, she thinks that they are crazy and tries to leave, but Jason kills her with an axe to the face.


title: Friday the 13th Part VII: The New Blood

text: Nick tries to fight off Jason, but he is quickly subdued. Tina unleashes her powers, breaking Jason's mask and exposing his disfigured and decomposed face. As the battle rages on, the Shepard lakeside cabin is destroyed by an explosive fire and the attack continues on the dock. Although Tina is unable to kill Jason, she unknowingly summons the spirit of her father, who rises from the lake and drags Jason back down with him into the depths of Crystal Lake, chaining the serial killer once more.


title: Friday the 13th Part VII: The New Blood

text: The following morning, Tina and Nick are taken away in an ambulance. Someone finds Jason's broken mask in the wreckage and the screen fades to black as Jason's whispers can be heard in the distance.


title: Friday the 13th Part VII: The New Blood

text: After the previous installment, "", which reintroduced the Jason Voorhees character, "Part VII" was originally intended to be a crossover film between Jason Voorhees and Freddy Krueger. With each "Friday the 13th" sequel, the box office profits were diminishing, with the films in the "Nightmare on Elm Street" series grossing nearly twice the amount of the "Friday" films. Paramount Pictures proposed the crossover idea to New Line Cinema, the rival company who held the rights to the "Elm Street" films, with Paramount controlling domestic distribution and New Line controlling international distribution. The idea was abandoned after the two companies failed to come to an agreement, with the concept only coming to fruition after New Line purchased the rights to the "Friday the 13th" franchise, releasing "Freddy vs. Jason" in 2003.


title: Friday the 13th Part VII: The New Blood

text: One of the concepts for "Part VII" was conceived by associate producer Barbara Sachs, and was noted as being similar to the plot of "Jaws", wherein a corporate land developer covers up the previous Jason Voorhees massacres in order to profitably build condos on Crystal Lake. Executive producer Frank Mancuso Jr. resisted the idea, and screenwriter Daryl Haney stated "There’s always a teenage girl who’s left to battle Jason by herself. What if the girl had telekinetic powers?" Sachs, who considered the "Jason vs. Carrie" concept to be "an interesting idea", wanted the installment to be more respectable than the previous entries in the series. Haney stated that "She wanted it to be unlike any other "Friday the 13th" movie. She wanted it to win an Academy Award". Several high-profile directors were considered for the job, including Italian filmmaker Federico Fellini.


title: Friday the 13th Part VII: The New Blood

text: The film's original working title was "Birthday Bash," chosen to conceal its identity as a "Friday the 13th" film. The entire production of this film was scheduled, completed, and released within seven months. Shooting took place from October to November 1987 in Baldwin County, Alabama, at Byrnes Lake off SR 225, and in nearby Mobile in February of 1988.


title: Friday the 13th Part VII: The New Blood

text: This film marks the first of four appearances by Kane Hodder as Jason, the only actor to ever reprise the role. Although C. J. Graham, who had portrayed Jason in "Part VI", was initially considered, Hodder was ultimately chosen based on his work in the film "Prison", for which "The New Blood" director, Carl Buechler, had worked on as the special effects make-up artist. In that movie, Hodder filmed a scene in which his character, a prisoner executed in the electric chair, rises from the grave; Hodder himself had suggested to Buechler that he have maggots coming out of his mouth during the scene to heighten the effect of decomposition, and went on to film the sequence with live maggots spilling out of his mouth. Buechler remembered Hodder's commitment to the part when casting "The New Blood", and chose Hodder over Graham. Graham expressed disappointment, as he had hoped to reprise the role of Jason and make himself synonymous with the character, as Boris Karloff had with Frankenstein's monster, but ultimately expressed satisfaction with Hodder's portrayal and said that he bore no ill will about not being asked to return. Hodder would go on to make cinematic history for the longest uninterrupted onscreen controlled burn in Hollywood history. For the scene in which Tina causes the furnace to shoot flames at Jason, Hodder was actually set on fire by an apparatus rigged so that the ignition could be captured on film (as opposed to being edited in later with trick photography). Hodder was on fire for a full forty seconds, a record at the time.


title: Friday the 13th Part VII: The New Blood

text: Though one contemporary critic noted that the film is "nearly devoid of blood and gore by '80s slasher standards," several explicit scenes of gore were cut in order to avoid an X rating. Among these were the murder sequences of Judy, who was originally bashed a against a tree in her sleeping bag six times instead of one; Maddy, who originally had a sickle jammed through her neck; Ben's death, which showed Jason crushing his head into a bloody pulp; Kate's death revealed the gory aftermath of a party horn to her eyeball; Eddie's head hit the floor; a shot of Russell's face splitting open with a large blood spurt; Dan's original death had Jason ripping out his guts; Amanda Shepard's death originally showed Jason stabbing her from behind, with the resulting blade going through her chest and subsequent blood hitting Dr. Crews; Dr. Crews's death showed Jason's tree-trimming saw violently cutting into his stomach, sending a fountain of blood and guts in the air; Melissa's original death had Jason cleaving her head in half with an axe with a close-up of her eyes still wriggling in their sockets. The boxed set DVD release of all of the films and the single deluxe edition have all these scenes available as deleted scenes in rough workprint footage; however, the deluxe edition features more additional footage than the boxed set.


title: Friday the 13th Part VII: The New Blood

text: On , BSX records released a limited edition CD of Fred Mollin's "Friday the 13th Part VII" and "VIII" scores. A vinyl release of the soundtrack including the complete Fred Mollin cues, along with material by Harry Manfredini was released by Waxwork Records in July 2020 and on CD by La-La Land Records in the United States on October 30, 2020.


title: Friday the 13th Part VII: The New Blood

text: "Friday the 13th Part VII: The New Blood" opened on Friday, May 13, 1988 in 1,796 theaters, debuting at number 1 and earning $8.2 million in its opening weekend. Ultimately, the film would go on to gross a total of $19.1 million at the U.S. box office, placing it at number 53 on the list of the year's top earners.


title: Friday the 13th Part VII: The New Blood

text: "Friday the 13th Part VII: The New Blood" was not screened in advance for critics. On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 35% based on 26 reviews, with an average rating of 4.6/10. The site's critics consensus reads: "As lumbering and bereft of conscious thought as its unstoppable star, "Friday the 13th Part VII - The New Blood" finds the franchise in desperate need of the title ingredient." On Metacritic, it has a weighted average score of 13 out of 100, based on nine critics, indicating "overwhelming dislike." Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.


title: Friday the 13th Part VII: The New Blood

text: Gene Siskel gave the film one star in the "Chicago Tribune", citing its weak finale and predictable killings, as well as a perceived misogynistic subtext to the entire "Friday the 13th" series. Steve Davis's review in "The Austin Chronicle", written entirely in verse, characterized the repetitive plotline of the series as tiresome and implausible, with campers repeatedly coming to Crystal Lake despite the repeated slaughter of visitors. He gave it a bomb. Susy Flory of the Santa Clarita "Signal" wrote: "It's Hollywood's idea of every teenager's dream—a bunch of lovely, nubile young girls, a rustic cabin in the woods, a stash of marijuana, and, gore galore courtesy of a zombie superhuman psycho killer." The "Star-Gazette"s Amnon Kabatchnik wrote that the film is "geared to appeal to the viewers' baser instincts, horrific moments of graphic mutilation are interwoven with nude-and-sex sequences," adding: "The offbeat Tina is reminiscent of Stephen King's "Carrie", but unlike Sissy Spacek, Lar Park Lincoln is unable to flesh out a human dimension. Cult devotees of the series probably won't care."


title: Friday the 13th Part VII: The New Blood

text: The film is mentioned in the novels "American Psycho" by Bret Easton Ellis and "The Time Traveler's Wife" by Audrey Niffenegger.


title: L. S. Lowry

text: Laurence Stephen Lowry ( ; 1 November 1887 – 23 February 1976) was an English artist. His drawings and paintings mainly depict Pendlebury, Lancashire (where he lived and worked for more than 40 years) as well as Salford and its vicinity.


title: L. S. Lowry

text: Lowry is famous for painting scenes of life in the industrial districts of North West England in the mid-20th century. He developed a distinctive style of painting and is best known for his urban landscapes peopled with human figures, often referred to as "matchstick men". He painted mysterious unpopulated landscapes, brooding portraits and the unpublished "marionette" works, which were only found after his death. He was fascinated by the sea, and painted pure seascapes, depicting only sea and sky, from the early 1940s.


title: L. S. Lowry

text: His use of stylised figures which cast no shadows, and lack of weather effects in many of his landscapes led critics to label him a naïve "Sunday painter".


title: L. S. Lowry

text: Lowry holds the record for rejecting British honours—five, including a knighthood (1968). A collection of his work is on display in The Lowry, a purpose-built art gallery on Salford Quays. On 26 June 2013, a major retrospective opened at the Tate Britain in London, his first at the gallery; in 2014 his first solo exhibition outside the UK was held in Nanjing, China.


title: L. S. Lowry

text: Lowry was born on 1 November 1887 at 8 Barrett Street Stretford, which was then in Lancashire. It was a difficult birth, and his mother Elizabeth, who hoped for a girl, was uncomfortable even looking at him at first. Later she expressed envy of her sister Mary, who had "three splendid daughters" instead of one "clumsy boy". Lowry's father Robert, who was of Northern Irish descent, worked as a clerk for the Jacob Earnshaw and Son Property Company and was a withdrawn and introverted man. Lowry once described him as "a cold fish" and "(the sort of man who) realised he had a life to live and did his best to get through it."


title: L. S. Lowry

text: After Lowry's birth, his mother's health was too poor for her to continue teaching. She is reported to have been a religious woman who was talented and respected, with aspirations of becoming a concert pianist. She was also an irritable, nervous woman brought up to expect high standards by her stern father. Like him, she was controlling and intolerant of failure. She used illness as a means of securing the attention and obedience of her mild and affectionate husband and she dominated her son in the same way. Lowry maintained that he had an unhappy childhood, growing up in a repressive family atmosphere. Although his mother demonstrated no appreciation of her son's gifts as an artist, a number of books Lowry received as Christmas presents from his parents are inscribed to ""Our dearest Laurie"". At school he made few friends and showed no academic aptitude. His father was affectionate towards him but was, by all accounts, a quiet man who was at his most comfortable fading into the background as an unobtrusive presence.


title: L. S. Lowry

text: Much of Lowry's early years were spent in the leafy Manchester suburb of Victoria Park, Rusholme, but in 1909, when he was 22, due to financial pressures, the family moved to 117 Station Road in the industrial town of Pendlebury. Here the landscape comprised textile mills and factory chimneys rather than trees. Lowry later recalled: "At first I detested it, and then, after years I got pretty interested in it, then obsessed by it ... One day I missed a train from Pendlebury – [a place] I had ignored for seven years – and as I left the station I saw the Acme Spinning Company's mill ... The huge black framework of rows of yellow-lit windows standing up against the sad, damp charged afternoon sky. The mill was turning out ... I watched this scene — which I'd looked at many times without seeing — with rapture ..."


title: L. S. Lowry

text: After leaving school, Lowry began a career working for the Pall Mall Company, later collecting rents. He would spend some time in his lunch hour at Buile Hill Park and in the evenings took private art lessons in antique and freehand drawing. In 1905, he secured a place at the Manchester School of Art, where he studied under the French Impressionist, Pierre Adolphe Valette. Lowry was full of praise for Valette as a teacher, remarking "I cannot over-estimate the effect on me of the coming into this drab city of Adolphe Valette, full of French impressionists, aware of everything that was going on in Paris". In 1915 he moved on to the Royal Technical Institute, Salford (later to become the Royal Technical College, Salford and now the University of Salford) where his studies continued until 1925. There he developed an interest in industrial landscapes and began to establish his own style.


title: L. S. Lowry

text: Lowry's oil paintings were originally impressionistic and dark in tone but D. B. Taylor of the "Manchester Guardian" took an interest in his work and encouraged him to move away from the sombre palette he was using. Taking this advice on board, Lowry began to use a white background to lighten the pictures. He developed a distinctive style of painting and is best known for his urban landscapes peopled with human figures, often referred to as "matchstick men". He also painted mysterious unpopulated landscapes, brooding portraits and the unpublished "marionette" works, which were only found after his death.


title: L. S. Lowry

text: His father died in 1932, leaving debts. His mother, subject to neurosis and depression, became bedridden and dependent on her son for care. Lowry painted after his mother had fallen asleep, between 10:00 p.m. and 2:00 or 3:00 a.m. Many paintings produced during this period were damning self-portraits (often referred to as the ""Horrible Heads"" series), which demonstrate the influence of expressionism and may have been inspired by an exhibition of Vincent van Gogh's work at Manchester Art Gallery in 1931. He expressed regret that he received little recognition as an artist until his mother died (1939) and that she was not able to enjoy his success. From the mid-1930s until at least 1939, Lowry took annual holidays at Berwick-upon-Tweed. After the outbreak of the Second World War Lowry served as a volunteer fire watcher and became an official war artist in 1943. In 1953, he was appointed Official Artist at the Coronation of Queen Elizabeth II. After his mother's death in October 1939, he became depressed and neglected the upkeep of his house to such a degree that the landlord repossessed it in 1948. He was not short of money and bought "The Elms" in Mottram in Longdendale then in Cheshire. The area was much more rural but Lowry professed to dislike both the house and the area:


title: L. S. Lowry

text: Although he considered the house ugly and uncomfortable, it was spacious enough both to set up his studio in the dining room and to accommodate the collection of china and clocks that he had inherited from his mother; he stayed there until his death almost 30 years later.


title: L. S. Lowry

text: In later years, Lowry spent holidays at the Seaburn Hotel in Sunderland, painting scenes of the beach and nearby ports and coal mines. When he had no sketchbook, Lowry drew scenes in pencil or charcoal on the back of envelopes, serviettes and cloakroom tickets and presented them to young people sitting with their families. Such serendipitous pieces are now worth thousands of pounds.


title: L. S. Lowry

text: He was a secretive and mischievous man who enjoyed stories irrespective of their truth. His friends observed that his anecdotes were more notable for humour than accuracy and in many cases he set out deliberately to deceive. His stories about the fictional Ann were inconsistent and he invented other people as frameworks on which to hang his tales. The collection of clocks in his living room were all set at different times: to some people, he said that this was because he did not want to know the real-time; to others, he claimed that it was to save him from being deafened by their simultaneous chimes. The owner of an art gallery in Manchester who visited him at his home, The Elms, noted that while his armchair was sagging and the carpet frayed, Lowry was surrounded by items such as his beloved Rossetti drawing, "Proserpine", as well as a Lucian Freud drawing located between two Tompion clocks.


title: L. S. Lowry

text: Lowry had many long-lasting friendships, including the Salford artist Harold Riley, and made new friends throughout his adult life. He bought works from young artists he admired, such as James Lawrence Isherwood, whose "Woman with Black Cat" hung on his studio wall. He was friends with some of these artists; he befriended the 23-year-old Cumberland artist Sheila Fell in November 1955, describing her as "the finest landscape artist of the mid-20th century". He supported Fell's career by buying several pictures that he gave to museums. Fell later described him as "A great humanist. To be a humanist, one has first to love human beings, and to be a great humanist, one has to be slightly detached from them". As he never married, this affected his influence but he did have several female friends. At the age of 88 he said that he had "never had a woman". Although seen as a mostly solitary and private person, Lowry enjoyed attending football matches and was an ardent supporter of Manchester City F.C..


title: L. S. Lowry

text: Lowry retired from the Pall Mall Property Company in 1952 on his 65th birthday. In 1957 an unrelated 13-year-old schoolgirl called Carol Ann Lowry wrote to him at her mother's urging to ask his advice on becoming an artist. He visited her home in Heywood and befriended the family. His friendship with Carol Ann Lowry lasted for the rest of his life. BBC Radio 4 broadcast in 2001 a dramatisation by Glyn Hughes of Lowry's relationship with Carol Ann.


title: L. S. Lowry

text: Lowry joked about retiring from the art world, citing his lack of interest in the changing landscape. Instead, he began to focus on groups of figures and odd imaginary characters. Unknown to his friends and the public, Lowry produced a series of erotic works that were not seen until after his death. The paintings depict the mysterious ""Ann"" figure, who appears in portraits and sketches produced throughout his lifetime, enduring sexually charged and humiliating tortures. When these works were exhibited at the Art Council's Centenary exhibition at the Barbican in 1988, art critic Richard Dorment wrote in "The Daily Telegraph" that these works "reveal a sexual anxiety which is never so much as hinted at in the work of the previous 60 years." The group of erotic works, which are sometimes referred to as "the mannequin sketches" or "marionette works", are kept at the Lowry Centre and are available for visitors to see on request. Some are also brought up into the public display area on a rotation system. Manchester author Howard Jacobson has argued that the images are just part of Lowry's melancholy and tortured view of the world and that they would change the public perception of the complexity of his work if they were more widely seen.


title: L. S. Lowry

text: Lowry died of pneumonia at the Woods Hospital in Glossop, Derbyshire, on 23 February 1976, aged 88. He was buried in the Southern Cemetery in Manchester, next to his parents. He left an estate valued at £298,459, and a considerable number of artworks by himself and others to Carol Ann Lowry, who, in 2001, obtained trademark protection of the artist's signature.


title: L. S. Lowry

text: Lowry left a cultural legacy, his works often sold for millions of pounds and inspired other artists. The Lowry art gallery in Salford Quays was opened in 2000 at a cost of £106 million; named after him, the gallery houses 55 of his paintings and 278 drawings – the world's largest collection of his work – with up to 100 on display. In January 2005, a statue of him was unveiled in Mottram in Longdendale 100 yards away from his home from 1948 until his death in 1976. The statue has been a target for vandals since it was unveiled. In 2006 the Lowry Centre in Salford hosted a contemporary dance performance inspired by his work.


title: L. S. Lowry

text: To mark the centenary of his birth in 1987, Royston Futter, director of the L. S. Lowry Centenary Festival, on behalf of the City of Salford and the BBC commissioned the Northern Ballet Theatre and Gillian Lynne to create a dance drama in his honour. "A Simple Man" was choreographed and directed by Lynne, with music by Carl Davis and starred Christopher Gable and Moira Shearer (in her last dance role). It was broadcast on BBC, for which it won a BAFTA award as the best arts programme in 1988, and also performed live on stage in November 1987. Further performances were held in London at Sadler's Wells in 1988, and again in 2009.


title: L. S. Lowry

text: In February 2011 a bronze statue of Lowry was installed in the basement of his favourite pub, Sam's Chop House.


title: L. S. Lowry

text: In 2013 a retrospective was held at the Tate Britain in London, his first there. In 2014 his first solo exhibition outside the UK was held in Nanjing, China. One of the 'houses' at Wellacre Academy in Manchester is named after him.


title: L. S. Lowry

text: Lowry was awarded an honorary Master of Arts degree by the University of Manchester in 1945, and Doctor of Letters in 1961. In April 1955 Lowry was elected as an Associate Member of the Royal Academy of Arts and in April 1962 became a full Royal Academician. At the end of December of the same year his membership status evolved to that of Senior Academician having reached the age of 75. He was given the freedom of the city of Salford in 1965.