title: Brandon Vera

text: On December 11, 2015, Vera faced Paul Cheng in the main event at . He won the fight via knockout just 26 second into the first round to win the ONE Heavyweight Championship.


title: Brandon Vera

text: After nearly a year away from the cage, Vera returned to face Hideki Sekine at on December 2, 2016. He successfully defended his heavyweight title, winning by TKO in the first round.


title: Brandon Vera

text: Vera successfully defended his title via knockout in the first round against Cage Warriors Heavyweight Champion, Mauro Cerilli who was on his promotional debut at ONE Championship: Conquest of Champions on November 23, 2018.


title: Brandon Vera

text: As the first fight of his new ten-bout contract with ONE, Vera challenged Aung La Nsang for the ONE Light Heavyweight Championship at on October 13, 2019. Vera lost by TKO in the second round.


title: Brandon Vera

text: At on January 31, 2020, Vera announced that he would be defending his ONE Heavyweight Championship on May 29 in Manila, with an opponent yet to be announced. It was later announced that he would be defending his ONE Heavyweight title against Arjan Bhullar at ONE Infinity 2. Their fight was later postponed as a result of the impact of the COVID-19 pandemic on sports.


title: Brandon Vera

text: Vera faced Bhullar at on May 15, 2021. Vera lost to Bhullar by second-round technical knockout, ending his five-year reign as ONE Heavyweight World Champion.


title: Brandon Vera

text: Vera faced Amir Aliakbari on December 3, 2022, at . He lost the fight via technical knockout in the first round and announced his retirement during the post-fight interview.


title: Brandon Vera

text: Vera's former wife, Kerry, is also a mixed martial artist who formerly fought for the now-defunct Strikeforce. She was featured on the second season of Oxygen's "Fight Girls". In September 2014, Kerry filed for divorce.


title: Brandon Vera

text: Vera started dating Jessica Craven and announced their engagement in April 2017. They wed on April 20, 2018 in Guam.


title: Brandon Vera

text: Vera has a tattoo on his back, inked in the Filipino writing system called "Baybayin". Clockwise, it reads "mundo" (earth), "hangin" (wind), "apoy" (fire) and "tubig" (water).


title: Brandon Vera

text: While staying in the Philippines, he trained Filipino actor Richard Gutierrez in martial arts and was given a role as an assassin for Philippine primetime television show, "Kamandag" on the GMA Network.


title: Brandon Vera

text: In the latter part of his training for UFC 89, Vera was reportedly held at gun point by two men attempting to rob the house in which he was staying. Vera stated that the incident did not affect his performance against Keith Jardine.


title: Brandon Vera

text: In 2016, Vera revealed that he was relocating to the Philippines full time, to help grow the sport of mixed martial arts in his ancestral homeland. He has been working on opening a branch of Alliance MMA. Vera holds dual citizenship: American (by "jus solis") and Filipino (by "jus sanguinis").


title: Philippine Declaration of Independence

text: The Philippine Declaration of Independence (; ) was proclaimed by Filipino revolutionary forces general Emilio Aguinaldo on June 12, 1898, in Cavite el Viejo (present-day Kawit, Cavite), Philippines. It asserted the sovereignty and independence of the Philippine Islands from the colonial rule of Spain.


title: Philippine Declaration of Independence

text: In 1896, the Philippine Revolution began. In December 1897, the Spanish government and the revolutionaries signed a truce, the Pact of Biak-na-Bato, requiring that the Spanish pay the revolutionaries $MXN800,000 and that Aguinaldo and other leaders go into exile in Hong Kong. In April 1898, at the outbreak of the Spanish–American War, Commodore George Dewey aboard the U.S.S. "Olympia" sailed into Manila Bay leading the Asiatic Squadron of the U.S. Navy. On May 1, 1898, the United States defeated the Spanish in the Battle of Manila Bay. Emilio Aguinaldo decided to return to the Philippines to help American forces defeat the Spaniards. The U.S. Navy agreed to transport him back aboard the USS "McCulloch", and on May 19, he arrived in Cavite.


title: Philippine Declaration of Independence

text: Independence was proclaimed on June 12, 1898, between four and five in the afternoon in Cavite at the ancestral home of General Emilio Aguinaldo some south of Manila. The event saw the unfurling of the Flag of the Philippines, made in Hong Kong by Marcela Agoncillo, Lorenza Agoncillo, and Delfina Herboza, and the performance of the "Marcha Filipina Magdalo", as the national anthem, now known as "Lupang Hinirang", which was composed by Julián Felipe and played by the "San Francisco de Malabon" marching band.


title: Philippine Declaration of Independence

text: The Act of the Declaration of Independence was prepared, written, and read by Ambrosio Rianzares Bautista in Spanish. The Declaration was signed by 98 people, among them a United States Army officer who witnessed the proclamation. The final paragraph states that there was a "stranger" ("stranger" in English translation—"extranjero" in the original Spanish, meaning "foreigner") who attended the proceedings, Mr. L. M. Johnson, described as "a citizen of the U.S.A., a Colonel of Artillery". Despite his prior military experience, Johnson had no official role in the Philippines.


title: Philippine Declaration of Independence

text: The proclamation of Philippine independence was, however, promulgated on August 1, when many towns had already been organized under the rules laid down by the Dictatorial Government of General Aguinaldo. 190 municipal presidents of different towns from 16 provinces—Manila, Cavite, Laguna, Batangas, Bulacan, Bataan, Infanta, Morong, Tayabas, Pampanga, Pangasinan, Mindoro, Nueva Ecija, Tarlac, La Union and Zambales—ratified the Proclamation of Independence in Bacoor, Cavite.


title: Philippine Declaration of Independence

text: Later at Malolos, Bulacan, the Malolos Congress modified the declaration upon the insistence of Apolinario Mabini who objected to that the original proclamation essentially placed the Philippines under the protection of the United States.


title: Philippine Declaration of Independence

text: The declaration was never recognized by either the United States or Spain. Later in 1898, Spain ceded the Philippines to the United States in the 1898 Treaty of Paris that ended the Spanish–American War.


title: Philippine Declaration of Independence

text: The Philippine Revolutionary Government did not recognise the treaty or American sovereignty, and subsequently fought and lost a conflict with the United States originally referred to by the Americans as the "Philippine Insurrection" but now generally and officially called the Philippine–American War, which ended when Emilio Aguinaldo was captured by U.S. forces, and issued a statement acknowledging and accepting the sovereignty of the United States over the Philippines. This was then followed on July 2, 1902, by U.S. Secretary of War Elihu Root telegraphing that the insurrection the United States had come to an end and that provincial civil governments had been established everywhere except those areas inhabited by Moro tribes. Pockets of resistance continued for several years.


title: Philippine Declaration of Independence

text: Following the end of World War II, the United States granted independence to the Philippines on July 4, 1946, via the Treaty of Manila. July 4 was observed in the Philippines as "Independence Day" until August 4, 1964, when, upon the advice of historians and the urging of nationalists, President Diosdado Macapagal signed into law Republic Act No. 4166 designating June 12 as the country's "Independence Day". June 12 had previously been observed as "Flag Day" and many government buildings are urged to display the Philippine Flag in their offices.


title: Philippine Declaration of Independence

text: The Declaration is currently housed in the National Library of the Philippines. It is not on public display but it can be viewed with permission like any other document held by the National Library.


title: Philippine Declaration of Independence

text: During the Philippine–American War, the American government captured and sent to the United States about 400,000 historical documents. In 1958, the documents were given to the Philippine government along with two sets of microfilm of the entire collection, with the U.S. Federal Government keeping one set.


title: Philippine Declaration of Independence

text: Sometime in the 1980s or 1990s, the Declaration was stolen from the National Library. As part of a larger investigation into the widespread theft of historical documents and a subsequent public appeal for the return of stolen documents, the Declaration was returned to the National Library in 1994 by historian and University of the Philippines professor Milagros Guerrero, who mediated the return of the documents.


title: Philippine Declaration of Independence

text: The Act of the Proclamation of Independence of the Filipino People (; ) is part of a long line of declarations of independence including the United States Declaration of Independence. It includes a list of grievances against the Spanish government stretching back to Ferdinand Magellan's arrival in 1521 and confers upon "our famous Dictator Don Emilio Aguinaldo all the powers necessary to enable him to discharge the duties of Government, including the prerogatives of granting pardon and amnesty."


title: Ticket to Ride (song)

text: "Ticket to Ride" is a song by the English rock band the Beatles, written primarily by John Lennon and credited to Lennon–McCartney. Issued as a single in April 1965, it became the Beatles' seventh consecutive number 1 hit in the United Kingdom and their third consecutive number 1 hit (and eighth in total) in the United States, and similarly topped national charts in Canada, Australia and Ireland. The song was included on their 1965 album "Help!" Recorded at EMI Studios in London in February that year, the track marked a progression in the Beatles' work through the incorporation of drone and harder-sounding instrumentation relative to their previous releases. Among music critics, Ian MacDonald describes the song as "psychologically deeper than anything the Beatles had recorded before" and "extraordinary for its time".


title: Ticket to Ride (song)

text: "Ticket to Ride" appears in a sequence in the Beatles' second feature film, "Help!", directed by Richard Lester. Live performances by the band were included in the "Beatles at Shea Stadium" concert film, on the live album documenting their concerts at the Hollywood Bowl, and on the 1996 "Anthology 2" box set. In 1969, "Ticket to Ride" was covered by the Carpenters, whose version peaked at number 54 on the "Billboard" Hot 100.


title: Ticket to Ride (song)

text: "Ticket to Ride" was primarily written by John Lennon,<ref name="Fontenot/About"></ref> and credited to Lennon–McCartney. In 1965, Lennon claimed that the song was "three-quarters mine and Paul [McCartney] changed it a bit. He said let's alter the tune." However, speaking in 1980, Lennon said that McCartney's contribution was limited to "the way Ringo [Starr] played the drums" on the recording. In his 1997 , Paul McCartney contradicts this, providing an account more similar to Lennon's 1965 assessment: "we sat down and wrote it together … give him 60 percent of it … we sat down together and worked on that for a full three-hour songwriting session."


title: Ticket to Ride (song)

text: The song is written in the key of A major. The structure of the composition is in an expanded variation of the AABA pop song format, with eight bars of verse and eight bars of chorus forming the A section, and a nine-bar primary bridge forming the B section. The sustained A chord over the verses creates an implied drone common in Indian music and supports a melody that author Ian MacDonald terms "raga-like".


title: Ticket to Ride (song)

text: The song's coda features a change of tempo. In the view of musicologist Walter Everett, the latter section marks a progression on previous Beatles songs that similarly revisit aspects of a composition when ending with a coda. In the case of "Ticket to Ride", the section consists of a repeated refrain similar to the last line of the chorus ("My baby don't care"), played over a constant A major chord and set to the double-time rhythm used in the bridge. Lennon said this closing section was one of his "favourite bits" in the song. He also claimed that "Ticket to Ride" was the first heavy metal record ever made. According to MacDonald, the track's heavy sound may have been influenced by Lennon and George Harrison's first encounter with LSD, the precise date for which varies among Beatles biographers. Author Simon Philo calls the song "avant-garde masquerading as pop".


title: Ticket to Ride (song)

text: While the lyrics describe a girl "riding out of the life of the narrator", the inspiration of the title phrase is unclear, as is the meaning of the song. McCartney said the title referred to "a British Railways ticket to the town of Ryde on the Isle of Wight", and Lennon said it described cards indicating a clean bill of health carried by Hamburg prostitutes in the 1960s. The Beatles played in Hamburg early in their musical career, and a "ride" was British slang for having sex.<ref name="Black/Blender"></ref> Gaby Whitehill and Andrew Trendall of "Gigwise" have interpreted the song to be about a woman leaving her boyfriend to become a prostitute.


title: Ticket to Ride (song)

text: The Beatles recorded "Ticket to Ride" on 15 February 1965 at EMI Studios in London. It was the band's first recording session since completing the "Beatles for Sale" album on 26 October 1964, after which they had toured the UK and played a season of Christmas shows in London until mid-January. The session inaugurated what author Mark Lewisohn describes as "a more serious application in the recording studio" by the group, which included taping rehearsals of each song they worked on and concentrating on backing or rhythm tracks, after which they would overdub more detailed instrumental parts. Everett views the recording as a radical departure for the Beatles, due to the vocals and lead guitar parts being overdubbed for the first time.


title: Ticket to Ride (song)

text: The song's main guitar riff was played by Harrison on his Rickenbacker 12-string guitar and was among the parts taped with the rhythm track. Author Mark Hertsgaard highlights the idea for this riff and for Starr's "jagged, whack-and-jump" drum pattern as examples of McCartney's increasing importance as the Beatles' musical director. According to Harrison, however, the Rickenbacker riff was his own idea, based on the way Lennon strummed the chord when introducing the song to the band. Harrison also said that the "staggered" motion of the riff then inspired the pattern that Starr decided to play. In addition to Lennon's lead vocal and McCartney's harmony, the overdubs included further electric guitar parts by Lennon and Harrison (on Rickenbacker 325 and Fender Stratocaster, respectively), over the verses, and by McCartney (on Epiphone Casino), who supplied the fills that close the bridges and the solo over the coda.


title: Ticket to Ride (song)

text: In March 1965, the Beatles and their manager, Brian Epstein, selected "Ticket to Ride" and "Yes It Is" to be the A- and B-sides, respectively, of the group's first single release of the year. The record was issued by EMI's Parlophone label on 9 April 1965 in the United Kingdom, and by Capitol Records on 19 April in the United States. A contemporary news report stated that the Beatles were due to promote the single on television shows such as "Top of the Pops" and "Thank Your Lucky Stars", and that the band were forming an independent production company with their producer, George Martin, which would earn them a more favourable financial return on their recordings. A portion of the group's "Top of the Pops" performance of "Ticket to Ride" survived only because it was later used in the "Doctor Who" episode "The Executioners", which aired on BBC1 on 22 May. The episode was part of the serial "The Chase" and sees the Doctor using a time–space machine in the future to observe historical figures such as William Shakespeare, Abraham Lincoln and the Beatles. In addition to their television promotion, the group performed the song during their last session for BBC Radio, on 26 May, which was broadcast as "The Beatles (Invite You to Take a Ticket to Ride)".


title: Ticket to Ride (song)

text: "Ticket to Ride" topped Britain's official singles chart for three weeks. It went straight in at number 1 on the national listings compiled by "Melody Maker", where it also stayed for three weeks, and similarly topped Ireland's singles chart in its first week of release there. In America, the song was number 1 on the "Billboard" Hot 100 chart for one week. According to "Billboard"s Hits of the World listings for 15 May 1965, "Ticket to Ride" was also the top-selling single in Australia. The US single's face label stated that the A-side was from the forthcoming United Artists release "Eight Arms to Hold You", which was the original title of the Beatles' second film, directed by Richard Lester. The title was changed to "Help!" after the single's release. In the film, the song plays over a sequence during which the Beatles attempt to ski and frequently fall over. The track appeared on the band's 1965 album "Help!", which was issued on 6 August in the UK and on 13 August in the US.


title: Ticket to Ride (song)

text: "Ticket to Ride" was the seventh consecutive chart-topping single for the Beatles in the UK and the first Beatles track released with a running time exceeding three minutes. On the American charts, it was the third of six number 1 singles in a row, a record at the time, along with "I Feel Fine", "Eight Days a Week", "Help!", "Yesterday" and "We Can Work It Out" – all achieved in the space of twelve months from January 1965. Everett writes that although the song achieved "classic" status, it was a surprise among Beatles singles in that it failed to achieve gold accreditation from the Recording Industry Association of America. When the song hit number 1 there, the Beatles became the fourth consecutive English group to hold down the top spot, after the Mancunian groups Freddie and the Dreamers, Wayne Fontana and the Mindbenders, and Herman's Hermits. As part of EMI's plan to exploit the 20th anniversary of each Beatles single, "Ticket to Ride" was reissued in the UK in April 1985 and peaked at number 70 on the UK Singles Chart.


title: Ticket to Ride (song)

text: "Ticket to Ride" features in a scene in the film "Help!" The Beatles are seen attempting to ski and avoiding a team of assassins from a cult whose quest is to murder Starr. The scene was filmed at Obertauern in the Austrian Alps in March 1965.


title: Ticket to Ride (song)

text: On 23 November 1965, the Beatles filmed promotional clips for "Ticket to Ride" and four other songs, including both sides of their upcoming single at the time, "Day Tripper" / "We Can Work It Out", at Twickenham Film Studios in south-west London. The films were directed by Joe McGrath, who had worked on "Help!" as an assistant to Lester. In the case of "Ticket to Ride", the clip was made for inclusion in "Top of the Pops" round-up of the biggest hits of 1965.


title: Ticket to Ride (song)

text: Against a backdrop of oversized tickets, the Beatles are shown miming to the song, with Starr standing at his drum kit and the other band members sitting in director's chairs. Part of the clip appeared in the 1995 documentary "The Beatles Anthology". In 2015, it was included in full on the Beatles' video compilation "1".


title: Ticket to Ride (song)

text: In his contemporary review of the single, Derek Johnson of the "NME" admired the "depth of sound" and "tremendous drive" of the recording. Music critics Richie Unterberger of AllMusic and Ian MacDonald both feel that "Ticket to Ride" is an important milestone in the evolution of the musical style of the Beatles. Unterberger said, "the rhythm parts on 'Ticket to Ride' were harder and heavier than they had been on any previous Beatles outing, particularly in Ringo Starr's stormy stutters and rolls." MacDonald describes it as "psychologically deeper than anything the Beatles had recorded before ... extraordinary for its time – massive with chiming electric guitars, weighty rhythm, and rumbling floor tom-toms", and he views the production as a signal of the band's next major change of musical direction, with "Tomorrow Never Knows" in April 1966. MacDonald also comments that, while the Kinks' "See My Friends" has been identified as the inspiration for the Beatles' use of Indian instrumentation later in 1965, the subtle drone in "Ticket to Ride" could equally have influenced the Kinks when they recorded "See My Friends".


title: Ticket to Ride (song)

text: Writing for "Mojo" in 2002, musician and journalist Bob Stanley said the track was "where moptop Beatlemania ends and [the Beatles]' weightless, ageless legend begins". In his song review for "Blender", Johnny Black similarly described it as a "watershed" recording and attributed its relatively poor US sales to the song's "weird soup of hypnotically chiming, droning guitars, stuttering drums and contrasting vocal textures that, in the context of the 1965 charts, was far ahead of its time". Neil McCormick of "The Daily Telegraph" sees a darker edge to Lennon's lyric writing during the "Help!" period and he cites "the drone of riffing, proto-heavy-rock song Ticket to Ride" as an example of the band's more sophisticated sound, and of how the album "contains some of their greatest early songs".<ref name="McCormick/Tele"></ref> Writing for Rough Guides, Chris Ingham similarly views the track as "magnificently brooding" and "the most intense music The Beatles had yet recorded". In his review of "Help!" for BBC Music, David Quantick includes "Ticket to Ride" among the album's "flashes of brilliance" and describes it as "the song that saw The Beatles take on The Kinks, the Stones and The Who at their own, more rocky game".


title: Ticket to Ride (song)

text: "Ticket to Ride" has been included in many critics' best-song lists, including top 500 "all-time" lists compiled by "Rolling Stone" in 2010 (at number 394) and the "NME" in 2014 (number 311). Dave Marsh ranked it 29th on his 1989 list "The 1001 Greatest Singles Ever Made". The track appeared at number 17 on "Rolling Stone"s list of the "100 Greatest Beatles Songs" and at number 23 on a similar list compiled by "Mojo". In his commentary for "Mojo", John Harris said that "Ticket to Ride" was "the sound of a four-piece group hurtling way beyond the beat-pop being churned out by their peers" but also showed the band developing the same sound that the Byrds adopted on their "pivotal" debut single, "Mr. Tambourine Man".<ref name="Harris/Mojo"></ref> In 2009, the staff of "PopMatters" ranked "Ticket to Ride" at number 10 in their list of the 25 "Classic" Beatles tracks, which they defined as "not necessarily the 'best songs'" by the band, but those "through which (perhaps) we might gain the deepest appreciation for their popular genius". David Gassman said the track was most notable as an early example of the Beatles incorporating Indian sounds, anticipating "Norwegian Wood" and "Within You Without You". He also described the song as "Exhibit A that Ringo Starr is one of the greatest rock 'n' roll drummers of all time" and said it was among the band's best singles. In 2014, "USA Today" named it the best Beatles song, saying: "No single better reflects the ambition, tension and pure pop genius that made the Beatles unique … "Ticket to Ride" is perfection all the way through." The music staff of "Time Out London" ranked it at number 11 on their 2018 list of the best Beatles songs.


title: Ticket to Ride (song)

text: The Beatles played "Ticket to Ride" throughout their June–July 1965 European tour. A live performance from the 1 August 1965 broadcast of "Blackpool Night Out" was included on the "Anthology 2" compilation and shown during "The Beatles Anthology" documentary. On 14 August, the group recorded a live performance of the song for "The Ed Sullivan Show", broadcast the following month.


title: Ticket to Ride (song)

text: "Ticket to Ride" was also included in the set list for the Beatles' 1965 US tour and their UK tour at the end of the year. The 15 August performance at Shea Stadium appears in the 1966 documentary "The Beatles at Shea Stadium", although the audio for the song was re-recorded in London prior to release. The group's 29 August performance at the Hollywood Bowl was chosen for the 1977 album "The Beatles at the Hollywood Bowl".


title: Ticket to Ride (song)

text: In the summer of 1969, "Ticket to Ride" was covered by American pop music duo the Carpenters for their debut studio album "Offering". Richard Carpenter recalled: "I happened to hear [the song] being played as an oldie one day in early 1969, and upon hearing it this particular time, decided the tune would make a nice ballad." As arranged by Richard Carpenter, the song became the plaint of a castoff lover, with the opening line: "I think I'm gonna be sad", being sung repeatedly as the track fades.


title: Ticket to Ride (song)

text: The musicians on the recording were Karen Carpenter (lead and backing vocals, drums), Richard Carpenter (backing vocals, piano, Wurlitzer electric piano, orchestration), Joe Osborn (bass guitar), David Duke (French horn), Herb Alpert (shaker) and uncredited contributors on bell tree and tubular bells.


title: Ticket to Ride (song)

text: Released as the duo's first single – without the album track's introductory twelve measures – "Ticket to Ride" became the Carpenters' first charting single, peaking at number 54 on the "Billboard" Hot 100 in May 1970, reaching number 19 on the same magazine's Adult Contemporary chart, and number 24 on the Canadian AC chart in February. The single's success led to its parent album being reissued as "Ticket to Ride". The first Carpenters' retrospective, "", issued in 1973, featured an amended version of "Ticket to Ride" with a new lead vocal by Karen Carpenter. Other amendments were a new drum track by Karen to replace her drumming on the original track, and the addition of guitar work by Carpenters regular sideman Tony Peluso (who had not been attached to the group in 1969).


title: Ticket to Ride (song)

text: The song was covered by former Motown artist Mary Wells, a favourite of the Beatles, who had invited her to open their concerts during a 1964 UK tour. Wells' recording appeared on her 1965 album "Love Songs to the Beatles". Brian Wilson appropriated part of the melody and vocal intonation from "Ticket to Ride" into the Beach Boys' song "Girl Don't Tell Me". Later that same year, George Martin covered "Ticket to Ride" on his album of orchestral instrumentals titled "Help!", producing a version that "Billboard"s reviewer admired as being "worth the price of the album".


title: Ticket to Ride (song)

text: Mezzo-soprano singer Cathy Berberian opened her 1967 album "Beatles Arias" with a baroque interpretation of "Ticket to Ride" arranged by Luciano Berio. Late the previous year, Berberian had surprised her Carnegie Hall concert audience by performing this and two other well-known Beatles songs – a gesture that musicologist Kate Meehan cites as reflecting the band's elevated status among many classical musicians and composers from mid 1965 onwards.


title: Ticket to Ride (song)

text: English singer Alma Cogan, with whom Lennon had an extramarital affair, covered "Ticket to Ride" in the style of Dionne Warwick for her final album, "Alma", released a year after her death in 1966. Vanilla Fudge recorded what Paul Collins of AllMusic describes as a "stoned-out, slowed-down" version of the track for their 1967 self-titled debut album. The 5th Dimension included "Ticket to Ride" on "The Magic Garden", an album that, according to Ken Shane of Popdose, "tells the story of a love affair from its rapturous beginning, through trials and tribulations to its end, and beyond".<ref name="Shane/Popdose"></ref> While Unterberger dismisses it as "a misfired cover", Shane describes the song as "a terrific version" that complements the Jimmy Webb-written song cycle that fills the rest of the album.


title: Ticket to Ride (song)

text: "Ticket to Ride" was also covered by the Bee Gees, whose version appeared on their limited-release rarities compilation "Inception/Nostalgia" (1970), and by the New Seekers, who combined it in a medley with "Georgy Girl" for their 1972 UK album "We'd Like to Teach the World to Sing". Punk band Hüsker Dü contributed a cover of "Ticket to Ride" to "NME's Big Four", an EP distributed free with the 1 February 1986 issue of "NME" magazine. Johnny Black paired this version with the Carpenters' hit recording as examples of how the Lennon–McCartney song continues to endure. Echo & the Bunnymen recorded "Ticket to Ride" in 2001, creating a version that Vulture.com later included among its ten best Beatles covers. That same year, Beatallica parodied the song on their "A Garage Dayz Nite" track "Everybody's Got a Ticket to Ride Except for Me and My Lightning". Kids Incorporated covered "Ticket to Ride" in 1993 in the Season 9 episode "Face Your Fears".


title: Ticket to Ride (song)

text: In Pink Floyd's eighth studio album, "The Dark Side of the Moon," specifically at the end of the closing track "Eclipse," a brief orchestral sample of "Ticket to Ride" can be heard faintly in the background on some releases of the album.


title: Cory Michael Smith

text: Cory Michael Smith (born November 14, 1986) is an American actor, known for his role as Edward Nygma / The Riddler in the Fox television drama series "Gotham". He appeared in "Camp X-Ray" in 2014. He appeared in 2013 in "Breakfast at Tiffany's" on Broadway, which starred Emilia Clarke.


title: Cory Michael Smith

text: Smith grew up in Columbus, Ohio, and graduated from Hilliard Darby High School in 2005. He had aspirations ranging from becoming a concert pianist to a lawyer. While at Otterbein University, he was cast in such plays as "The Scene", "The Caucasian Chalk Circle", "Who's Afraid of Virginia Woolf?", and "Tartuffe". He majored in art musical theater and minored in jazz piano, although he considered dropping out of art musical theater for philosophy or pre-law.


title: Cory Michael Smith

text: In 2011, Smith was seen in the New York City premiere of "The Shaggs: Philosophy of the World" at Playwrights Horizons and in 2009 to early 2012 could be seen in various regional theatre productions for the likes of New York Stage and Film. He starred in "The Fantasticks" at both Barrington Stage Company and The Repertory Theatre of St. Louis. He was also seen in "Edith Can Shoot Things and Hit Them".


title: Cory Michael Smith

text: Smith made his Broadway debut in "Breakfast at Tiffany's" in 2013. In the same theatre season, he also starred Off-Broadway in both the U.S. premiere of "Cock" a.k.a. "The Cockfight Play" by Mike Bartlett and "The Whale" by Samuel D. Hunter, which had its world premiere at Denver Center for the Performing Arts with the New York premiere at Playwrights Horizons. His first feature film was "Camp X-Ray", which premiered at the 2014 Sundance Film Festival in January. He appeared in a short horror movie, "Dog Food", co-starring Amanda Seyfried and premiered at the 2014 South by Southwest in March. Smith also appeared in the HBO mini-series "Olive Kitteridge" and the film "Carol". In 2018, he starred in his first leading role in the independent drama "1985".


title: Cory Michael Smith

text: Smith has also narrated an episode of "The New York Times" Modern Love Podcast, for which he read Kalle Oskari Mattila's essay about catfishing.


title: Cory Michael Smith

text: He appears in "Gotham" as Edward Nygma. Of playing the character, Smith said in an interview: "What I'm really excited about is the bottom of that curve. Going from this quite innocent, well-intentioned, joyful person to starting to find this other part of him that he didn't know he had — accessing this place where he responds to the unfortunate things that people are doing to him, and starting to realize how cruel people are to him and how they mistreat him, and then doing that back to them. He's a person who's constantly abused, and to finally reach a part of himself where he just can't take it anymore and starts doing it to other people — and it's out of anger and exhaustion, and then realizing that when you start taking control of situations like that, you can gain power that way — it'll be something that he can start to enjoy." "[The Penguin] and I could not have more different trajectories," Smith tells Yahoo TV. Cobblepot is "a very sadistic bully" from the beginning. Ed, by contrast, is "way, way out in left field," just "hanging out, doing his job, loving his work, loving science, having a good time, getting a little weird, being a little off the wall, a little eccentric." He's not really a bad guy — in fact, he's really more of an overgrown boy. His journey, Smith says, will be to "claim his identity and claim his power and perhaps finally become someone that is a player in the field and not just this irritating, flimsy young lad."


title: Cremation of Care

text: The Cremation of Care is an annual ritual production written, produced, and performed by and for members of the Bohemian Club. It is staged at the Bohemian Grove near Monte Rio, California, in front of a 40-foot tall image of an owl, at a small artificial lake amid a private old-growth grove of Redwood trees.


title: Cremation of Care

text: The dramatic performance is presented on the first night of the annual encampment as an allegorical banishing of worldly cares for the club members and "to present symbolically the salvation of the trees by the club", but the secretive nature of the Bohemians and the political power of some of its members have been criticized.


title: Cremation of Care

text: In 1878, the Bohemian Club of San Francisco first took to the woods in Taylorville, California (present-day Samuel P. Taylor State Park) for a summer celebration that they called Midsummer High Jinks. Poems were recited, songs were sung, and dramatic readings were given; the practice was repeated each summer in other areas, primarily near the Russian River in Sonoma County. In 1881, the ceremony of the "Cremation of Care" was first conducted after the various individual performances, with James F. Bowman as Sire. The ceremony was further expanded in 1893 by a member named Joseph D. Redding, with a Midsummer High Jinks entitled "The Sacrifice in the Forest", or simply "Druid Jinks", in which brotherly love and Christianity battled and won against paganism, converting the druids away from bloody sacrifice. Redding formed the framework of the ceremony but the main actors, including George Tisdale Bromley as High Priest, were asked to supply their own major speeches. In 1904, the prologue to William Henry Irwin's Grove Play "The Hamadryads" included text such as "Touch their world-blind eyes with fairy unguents." The play depicted the intrusion, the battles, and the symbolic death of the maleficent Spirit of Care.


title: Cremation of Care

text: In the earliest productions of the Grove Play, several restrictions were imposed upon the Sire (host, chief planner, and master of ceremonies) including that the stage setting be the natural forest backdrop and that the "malign character Care" be introduced in the plot, to wreak havoc with the characters and then be faced down and vanquished by the hero. In these early productions, the "Cremation of Care" immediately followed, and lasted until midnight. The end of the ceremony was signaled by a lively Jinks Band rendition of "There'll Be a Hot Time in the Old Town Tonight", and the club members sat down to a late dinner and revelry.


title: Cremation of Care

text: From 1913, the "Cremation of Care" was disengaged from the Grove Play, and rescheduled for the first night of the summer encampment. The Grove Play was set for the final weekend. A different Sire was appointed for the Cremation, and some concerns were raised in subsequent years that the "Cremation of Care" was growing into its own secondary Grove Play. Some Sires experimented with a satirical treatment, or topical themes such as a patriotic World War I treatment in 1918 and an unpopular Prohibition script in 1919. "Care" was not killed, let alone cremated, in the 1922 version. In response to member complaints about the unpredictable quality of the opening night fare, Charles K. Field was asked in 1923 to standardize the script for what became the basis for every subsequent "Cremation of Care" ceremony.


title: Cremation of Care

text: The ceremony involves the poling across a lake of a small boat containing an effigy of Care (called "Dull Care"). Dark, hooded figures receive from the ferryman the effigy which is placed on an altar, and, at the end of the ceremony, set on fire. This "cremation" symbolizes that members are banishing the "dull cares" of conscience. At the time the script was developed, the primary meaning of the word 'care' (< O.E. "cearu", "anxiety, anguish") was synonymous with 'worry', having more negative connotations than in modern times when it tends to be associated more positively with compassion.


title: Cremation of Care

text: The ceremony takes place in front of the Owl Shrine, a hollow owl statue made of concrete over steel supports. The moss- and lichen-covered statue simulates a natural rock formation, yet holds electrical and audio equipment within it. During the ceremony, a recording is used as the voice of The Owl. For many years the recorded voice was club guest Walter Cronkite. Music and pyrotechnics accompany the ritual for dramatic effect.


title: Cremation of Care

text: On July 15, 2000, radio host Alex Jones and his cameraman, Mike Hanson, infiltrated the Bohemian Grove and filmed the "Cremation of Care" ceremony with a hidden camera. The footage was the centerpiece of Jones' documentary "Dark Secrets: Inside Bohemian Grove". Jones claimed that the "Cremation of Care" was an "ancient Canaanite, Luciferian, Babylon mystery religion ceremony". The Grove and Jones' investigation were covered by Jon Ronson in Channel 4's four-part documentary "Secret Rulers of the World". Ronson documented his view of the ritual in his book "", writing: "My lasting impression was of an all-pervading sense of immaturity: the Elvis impersonators, the pseudo-pagan spooky rituals, the heavy drinking. These people might have reached the apex of their professions but emotionally they seemed trapped in their college years."


title: Cremation of Care

text: Outside of the main entrance to the Bohemian Grove, protesters against club members and their guests have held a ceremony called the "Resurrection of Care", intended to symbolically reverse the effects of the Cremation of Care, to prevent the attendees from temporarily abandoning their cares. The counter ceremony was first held in 1980, organized by Mary Moore, a former beauty queen turned left-wing activist. Moore was less concerned about the Cremation of Care ceremony than with the likelihood that club members with corporate interests would gain influence in government.


title: Grace in Christianity

text: In Western Christian theology, grace is created by God who gives it as help to one because God desires one to have it, not necessarily because of anything one has done to earn it. It is understood by Western Christians to be a spontaneous gift from God to people – "generous, free and totally unexpected and undeserved" – that takes the form of divine favor, love, clemency, and a share in the divine life of God. In the Eastern Orthodox Church, grace is the uncreated Energies of God. Among Eastern Christians generally, grace is considered to be the partaking of the Divine Nature described in 2 Peter 1:4 and grace is the working of God himself, not a created substance of any kind that can be treated like a commodity.


title: Grace in Christianity

text: As an attribute of God it manifests most in the salvation of sinners and Western Christianity holds that the initiative in the relationship of grace between God and an individual is always on the side of God.


title: Grace in Christianity

text: The question of the means of grace has been called "the watershed that divides Catholicism from Protestantism, Calvinism from Arminianism, modern [theological] liberalism from [theological] conservatism." The Catholic Church holds that it is because of the action of Christ and the Holy Spirit in transforming into the divine life what is subjected to God's power that "the sacraments confer the grace they signify": "the power of Christ and his Spirit acts in and through [each sacrament], independently of the personal holiness of the minister. Nevertheless, the fruits of the sacraments also depend on the disposition of the one who receives them." The Sacred Mysteries (sacraments) are seen as a means of partaking of divine grace because God works through his Church. Catholics, Eastern Orthodox and Protestants agree that faith is a gift from God, as in Ephesians 2:8: "For by grace you have been saved through faith, and that not of yourselves; it is the gift of God." Lutherans hold that the means of grace are "the gospel in Word and sacraments." That the sacraments are means of grace is also the teaching of John Wesley, who described the Eucharist as "the grand channel whereby the grace of his Spirit was conveyed to the souls of all the children of God". Calvinists emphasize "the utter helplessness of people apart from grace." But God reaches out with "first grace" or "prevenient grace". The Calvinist doctrine known as irresistible grace states that, since all persons are by nature spiritually dead, no one desires to accept this grace until God spiritually enlivens them by means of regeneration. God regenerates only individuals whom he has predestined to salvation. Arminians understand the grace of God as cooperating with one's free will in order to bring an individual to salvation. According to Evangelical theologian Charles C. Ryrie, modern liberal theology "gives an exaggerated place to the abilities of people to decide their own fate and to effect their own salvation entirely apart from God's grace."


title: Grace in Christianity

text: "Grace" is the English translation of the Greek () meaning "that which brings delight, joy, happiness, or good fortune."


title: Grace in Christianity

text: The Septuagint translates as the Hebrew word () as found in Genesis 6:8 to describe why God saved Noah from the flood. The Old Testament use of the word includes the concept that those showing favor do gracious deeds, or acts of grace, such as being kind to the poor and showing generosity. Descriptions of God's graciousness abound in the Torah/Pentateuch, for example in Deuteronomy 7:8 and Numbers 6:24–27. In the Psalms, examples of God's grace include teaching the Law (Psalm 119:29) and answering prayers (Psalm 27:7). Another example of God's grace appears in Psalm 85, a prayer for restoration, forgiveness, and the grace and mercy of God to bring about new life following the Exile.


title: Grace in Christianity

text: In the definition of the Catechism of the Catholic Church, "grace is favour, the free and undeserved help that God gives us to respond to his call to become children of God, adoptive sons, partakers of the divine nature and of eternal life". Grace is a participation in the life of God, which is poured unearned into human beings, whom it heals of sin and sanctifies.


title: Grace in Christianity

text: The means by which God grants grace are many. They include the entirety of revealed truth, the sacraments and the hierarchical ministry. Among the principal means of grace are the sacraments (especially the Eucharist), prayers and good works. The sacramentals also are means of grace. The sacraments themselves, not the persons who administer or those who receive them, are "the means of grace", although lack of the required dispositions on the part of the recipient will block the effectiveness of the sacrament.


title: Grace in Christianity

text: The Catholic Church holds that "by grace alone, in faith in Christ's saving work and not because of any merit on our part, we are accepted by God and receive the Holy Spirit, who renews our hearts while equipping and calling us to good works." Both the Council of Orange (529) and the Council of Trent affirmed that we are "justified gratuitously, because none of the things that precede justification, whether faith or works, merit the grace of justification".


title: Grace in Christianity

text: The Council of Trent declared that the free will of man, moved and excited by God, can by its consent co-operate with God, who excites and invites its action; and that it can thereby dispose and prepare itself to obtain the grace of justification. The will can resist grace if it chooses. It is not like a lifeless thing, which remains purely passive. Weakened and diminished by Adam's fall, free will is yet not destroyed in the race (Sess. VI, cap. i and v).


title: Grace in Christianity

text: According to a commonly accepted categorization, made by St. Thomas Aquinas in his , grace can be given either to make the person receiving it pleasing to God () – so that the person is sanctified and justified – or else to help the receiver lead someone else to God (). The former type of grace, , in turn, can be described as sanctifying (or habitual) grace – when it refers to the divine life which, according to the Church, infuses a person's soul once they are justified; or else as actual grace – when it refers to those punctual (not habitual) helps that are directed to the production of sanctifying grace where it does not already exist, or its maintenance and increase it where it is already present. According to the Catechism of the Catholic Church:


title: Grace in Christianity

text: The infusion of sanctifying grace, says the Church, transforms a sinner into a holy child of God, and in this way a person participates in the Divine Sonship of Jesus Christ and receives the indwelling of the Holy Spirit. Sanctifying grace remains permanently in the soul as long as one does not reject one's adopted sonship by committing a mortal sin, which severs one's friendship with God. Less serious sins, venial sin, although they "allow charity to subsist, they offend and wound it." However, God is infinitely merciful, and sanctifying grace can always be restored to the penitent heart, normatively in the Sacrament of Reconciliation (or Sacrament of Penance).


title: Grace in Christianity

text: In the early 5th century, Pelagius, an ascetic who is said to have come from Britain, was concerned about the moral laxity of society that he witnessed in Rome. He blamed this laxity on the theology of divine grace preached by Augustine of Hippo, among others. He strongly affirmed that humans had free will and were able to choose good as well as evil. Augustine, drawing on the exaggerated statements of the followers of Pelagius rather than on Pelagius' own writings, began a debate that was to have long-reaching effects on subsequent developments of the doctrine in Western Christianity. Pelagianism was repudiated by the Council of Carthage in 418, largely at Augustine's insistence. However, what Pelagius taught was likely what has come to be called semi-pelagianism.


title: Grace in Christianity

text: In semi-Pelagian thought, both God and the human person always participate in the salvation process. Humans make free will choices, which are aided by God through creation, natural grace, "supernatural" grace, and God's restrictions on demonic influences. God continually brings the human person to real choices, which God also aids, in the process of spiritual growth and salvation. Semi-Pelagianism is similar to synergism, which is the traditional patristic doctrine. John Cassian, in continuity with patristic doctrine, taught that though grace is required for persons to save themselves at the beginning, there is no such thing as total depravity, but there remains a moral or noetic ability within humans that is unaffected by original sin, and that persons must work together (synergism) with divine grace to be saved. This position is held by the Eastern Orthodox Church and by many Reformed Protestants, and in the Catholic Church has been especially associated with the Society of Jesus.


title: Grace in Christianity

text: In 1547, the Council of Trent, which sought to address and condemn Protestant objections, aimed to purge the Roman Catholic Church of controversial movements and establish an orthodox Roman Catholic teaching on grace and justification, as distinguished from the Protestant teachings on those concepts. It taught that justification and sanctification are elements of the same process. The grace of justification is bestowed through the merit of Christ's passion, without any merits on the part of the person justified, who is enabled to cooperate only through the grace of God. The grace of justification may be lost through mortal sin, but can also be restored by the sacrament of Penance. The sacraments are, together with revealed truth, the principal means of the grace, a treasury of grace, that Christ has merited by his life and death and has given to the Church. This does not mean that other groups of Christians have no treasury of grace at their disposal, for, as the Second Vatican Council declared, "many elements of sanctification and of truth are found outside of (the Catholic Church's) visible structure".


title: Grace in Christianity

text: At about the same time that Calvinists and Arminians were debating the meaning of grace in Protestantism, in Catholicism a similar debate was taking place between the Jansenists and the Jesuits. Cornelius Jansen's 1640 work sought to refocus Catholic theology on the themes of original sin, human depravity, the necessity of divine grace, and predestination, as he found them in the works of Augustine. The Jansenists, like the Puritans, believed themselves to be members of a gathered church called out of worldly society, and banded together in institutions like the Port-Royal convents seeking to lead lives of greater spiritual intensity. Blaise Pascal attacked what he called moral laxity in the casuistry of the Jesuits. Jansenist theology remained a minority party within Catholicism, and during the second half of the 17th and 18th centuries it was condemned as a heresy for its similarities to Calvinism, though its style remained influential in ascetic circles.


title: Grace in Christianity

text: In the Eastern Orthodox Church, grace is identified with the uncreated Energies of God. Among Eastern Christians generally, grace is considered to be the partaking of the Divine Nature described in 2 Peter 1:4. The Holy Mysteries (Latin, "sacraments") are seen as a means of partaking of divine grace because God works through his Church, not just because specific legalistic rules are followed; and grace is the working of God himself, not a created substance of any kind that can be treated like a commodity.


title: Grace in Christianity

text: Orthodox theologians reject Augustine's formulation of original sin and actively oppose the content and implications of John Calvin's conceptions of total depravity and irresistible grace, characteristic of Reformed Protestantism, as well as the Thomistic and scholastic theology which would become official Roman Catholic pedagogy until the Second Vatican Council. Eastern Christians typically view scholasticism and similarly discursive, systematic theologies as rationalistic corruptions of the theology of the Cappadocian and early Desert Fathers that led the Western Church astray into heresy. Orthodoxy teaches that it is possible and necessary for the human will to cooperate with divine grace for the individual to be saved, or healed from the disease of sin. This cooperation is called synergism (see also semipelagianism and monergism), so that humans may become deified in conformity to the divine likeness – a process called "theosis" – by merging with the uncreated Energies of God (revealed to the senses as the Tabor Light of transfiguration), notably through a method of prayer called hesychasm.


title: Grace in Christianity

text: The Protestant Reformation reacted against the concepts of grace and merit as they were understood in late medieval Catholic theology.


title: Grace in Christianity

text: Martin Luther's posting of his ninety-five theses to the church door in Wittenberg in 1517 was a direct consequence of the perfunctory sacramentalism and treasury doctrines of the medieval church. The act was precipitated by the arrival of Johann Tetzel, authorized by the Vatican to sell indulgences.


title: Grace in Christianity

text: The effectiveness of these indulgences was predicated on the doctrine of the treasury of grace proclaimed by Pope Clement VI. The theory was that merit earned by acts of piety could augment the believer's store of sanctifying grace. Gifts to the Church were acts of piety. The Church, moreover, had a treasury full of grace above and beyond what was needed to get its faithful into heaven. The Church was willing to part with some of its surplus in exchange for earthly gold. Martin Luther's anger against this practice, which seemed to him to involve the purchase of salvation, began a swing of the pendulum back towards the Pauline vision of grace, as opposed to James's.


title: Grace in Christianity

text: Luther taught that men were helpless and without a plea before God's justice, and their acts of piety were utterly inadequate before his infinite holiness. Were God just, and not merciful, everyone would go to hell, because everyone, even the best of mankind, deserves to go to hell. Mankind's inability to achieve salvation by its own effort suggests that even the best intentions are somehow tainted by mankind's sinful nature. This doctrine is sometimes called total depravity, a term derived from Calvinism and its relatives.


title: Grace in Christianity

text: It is by faith alone () and by grace alone () that men are saved. Good works are something the believers should undertake out of gratitude towards their Savior; but they are not sufficient for salvation and cannot earn anyone salvation; there is no room for the notion of "merit" in Luther's doctrine of redemption. (There may, however, be degrees of reward for the redeemed in heaven.) Only the unearned, unmerited grace of God can save anyone. No one can have a claim of entitlement to God's grace, and it is only by his generosity that salvation is even possible.


title: Grace in Christianity

text: As opposed to the treasury of grace from which believers can make withdrawals, in Lutheranism salvation becomes a declaration of spiritual bankruptcy, in which penitents acknowledge the inadequacy of their own resources and trust only in God to save them. Accepting Augustine's concern for legal justification as the base metaphor for salvation, the believers are not so much made righteous in Lutheranism as they are considered covered by Christ's righteousness. Acknowledging that they have no power to make themselves righteous, the penalty for their sins is discharged because Jesus has already paid for it with his blood. His righteousness is credited to those who believe in and thus belong to him.


title: Grace in Christianity

text: Calvin and Luther believed free will does not co-operate with God's grace which, according to them, cannot be rejected (see monergism). The Lutheran Augsburg Confession says of baptism, "Lutherans teach that it is necessary to salvation and that by baptism the grace of God is offered and that children are to be baptized, who by baptism, being offered to God, are received into God's favor." The French reformer John Calvin expanded and further developed these Augustinian themes in his systematic "Institutes of the Christian Religion" in 1536.


title: Grace in Christianity

text: The logical structure of Calvinism is often expressed as an acronym. These five categories do not comprise Calvinism in its entirety. They simply encapsulate its central, definitive doctrines.


title: Grace in Christianity

text: The notion that God has foreordained who will be saved is generally called predestination. The concept of predestination peculiar to Calvinism, "double-predestination", (in conjunction with limited atonement) is the most controversial expression of the doctrine. According to Reformed theology, the "good news" of the gospel of Christ is that God has freely granted the gift of salvation to those the Holy Spirit causes to believe; what he freely grants to some (the "elect" individuals), he withholds from others (the "reprobate" individuals).


title: Grace in Christianity

text: Calvin sought to provide assurance to the faithful that God would actually save them. His teaching implied what came to be known as the doctrine of the perseverance of the saints, the notion that God would actually save those who were his Elect. The actual status and ultimate state of any man's soul were unknown except to God. When assurance of election was rigorously pressed as an experience to be sought, especially by the Puritans, this led to a legalism as rigid as the one Protestantism sought to reject, as men were eager to demonstrate that they were among the chosen by the conspicuous works-righteousness of their lives.


title: Grace in Christianity

text: The relatively radical positions of Reformed theology provoked a strong reaction from both Roman Catholics and Lutherans.


title: Grace in Christianity

text: In the beginning of the 17th century, the Dutch theologian James Arminius formulated Arminianism and departed from Calvin's theology in particular on election and predestination. Arminianism affirms the compatibility between human free will and divine foreknowledge, but its incompatibility with theological determinism. Predestination in Arminianism is based on divine foreknowledge, unlike in Calvinism. Thus, the offer of salvation through grace does not act irresistibly in a purely cause-effect, deterministic method but rather in an influence-and-response fashion that can be both freely accepted and freely denied. In Arminianism, God takes initiative in the salvation process and his grace comes to all people, based on Jesus unlimited atonement. This is done through prevenient grace which acts on all people to convince them of the Gospel, draw them strongly towards salvation, and enable the possibility of sincere faith. As Roger Olson put it: "[Arminius]' evangelical synergism reserves all the power, ability and efficacy in salvation to grace, but allows humans the God-granted ability to resist or not resist it. The only "contribution" humans make is nonresistance to grace."


title: Grace in Christianity

text: Later, John Wesley also rejected the Calvinist doctrine of predestination, and had the same Arminian understanding as expressed in Wesleyan theology. It remains the standard teaching of Methodist churches. Wesley also appealed to prevenient grace, stating that God makes the initial move in salvation, but human beings are free to respond or reject God's graceful initiative. The doctrine of prevenient grace remains one of Methodism's most important doctrines.


title: Grace in Christianity

text: John Wesley distinguished three kinds of divine grace in the process of salvation: 1. "Prevenient grace" which is an enabling grace preceding regeneration ("prevenient" means preceding). 2. "Justifying grace" which can bring regeneration but which is resistible. 3. "Sustaining grace" which helps a person to remain into regeneration, and to reach sanctification and final salvation. In particular Wesley taught that Christian believers are to participate in the means of grace and to continue to grow in the Christian life, assisted by God's sustaining grace.


title: Grace in Christianity

text: Protestantism in all three major schools of theology – Lutheran, Calvinist, and Arminian – emphasize God's initiative in the work of salvation, which is achieved by grace alone through faith alone, in either stream of thinking – although these terms are understood differently, according to the differences in systems.


title: Grace in Christianity

text: Classical Calvinism teaches that the sacraments are "signs and seals of the covenant of grace" and "effectual means of salvation", and Lutheranism teaches that new life, faith, and union with Christ are granted by the Holy Spirit working through the sacraments. However, for a large portion of the Protestant world, the sacraments largely lost the importance that Luther (and to a slightly lesser degree, Calvin) attributed to them. This happened under the influence of ideas of the Anabaptists which were ideas also seen in the Donatists in North Africa in 311 AD, and these ideas then spread to Calvinists through the Congregationalist and Baptist movements, and to Lutherans through Pietism (although much of Lutheranism recoiled against the Pietist movement after the mid-19th century).


title: Grace in Christianity

text: Where the sacraments are de-emphasized, they become "ordinances", acts of worship which are required by Scripture, but whose effect is limited to the voluntary effect they have on the worshipper's soul. This belief finds expression in the Baptist and Anabaptist practice of believer's baptism, given not to infants as a mark of membership in a Christian community, but to adult believers after they have achieved the age of reason and have professed their faith. These ordinances are never considered works-righteousness. The ritual as interpreted in light of such ideas does not at all bring about salvation, nor does its performance bring about the forgiveness of sins; the forgiveness which the believer has received by faith is merely pictured, not effectively applied, by baptism; salvation and participation in Christ is memorialized ("this do in remembrance of me" in the Lord's Supper and baptism picturing a Christian's rebirth as death to sin and alive in Christ), not imparted, by the Eucharist. The Church to the Baptists becomes an assembly of true believers in Christ Jesus who gather together for worship and fellowship and remembering what Christ did for them.


title: Grace in Christianity

text: The Churches of Christ believe that the grace of God that saves is the plan of salvation, rather than salvation itself. This plan includes two parts, 1) the perfect life, death, burial, and resurrection of Jesus the Christ, 2) the gospel/New Testament/the faith.


title: Grace in Christianity

text: Concerning Ephesians 2:8 which states: "For by grace are ye saved through faith; and that not of yourselves: it is the gift of God", it is noted that the word "it" is a pronoun and refers back to a noun. As the word "saved" is a verb, "it" does not refer to "saved" but to grace, giving the definition of grace as "the gift of God". Furthermore, as the Book of James distinguishes between a dead faith (a faith without works) and a living faith (a faith accompanied by works of obedience), it is believed that God's gift operates through an individuals living faith resulting in that individual being saved.


title: Grace in Christianity

text: The Galatians were removed from the calling of the gospel (Galatians 1:6,7; 2 Thessalonians 2:14) unto another gospel (another message) which verse 7 says is not a gospel at all but a perversion.


title: Grace in Christianity

text: The Church of Christ believes that grace provides the following plan, which, if followed, results in salvation:


title: Personal Taste

text: Personal Taste (; lit. "Kae-in's Taste" or "Kae-in's Preference"; also known as Personal Preference) is a 2010 South Korean television series, starring Son Ye-jin and Lee Min-ho. It is adapted from Lee Se-in's 2007 novel of the same name about a furniture designer, Park Kae-in, who lives together with architect Jeon Jin-ho under the mistaken assumption that he's gay. It aired on MBC from March 31 to May 20, 2010, on Wednesdays and Thursdays at 21:55 (KST) time slot for 16 episodes.


title: Personal Taste

text: Furniture designer Park Kae-in (Son Ye-jin) is kind, impulsive, clumsy, and is a complete slob in her personal habits. She lives in "Sanggojae" (meaning "a place for mutual love"), a modernized hanok (traditional Korean house) designed by her father, a famous and reclusive architecture professor (Kang Shin-il). As an independent furniture designer, she struggles to produce successful products and is constantly trying to impress her father with her works. Her long-time boyfriend, Han Chang-ryul (Kim Ji-seok), breaks up with her, the reason being Kae-in is an easy woman and a pushover. Despite being upset, Kae-in attends the wedding of her friend and roommate, Kim In-hee (Wang Ji-hye), only to discover that she is marrying Chang-ryul; and that the two had been seeing each other behind her back for a while. After she finally comes face-to-face with them, the wedding ceremony turns chaotic and is cancelled. Kae-in is heartbroken and determined to never take a chance on love again.


title: Personal Taste

text: Meanwhile, to keep his small firm afloat, architect Jeon Jin-ho (Lee Min-ho) is desperately trying to win a project bid for the Dam Art Center against Future Construction, the company owned and operated by Chang-ryul's father (Ahn Suk-hwan). Chang-ryul's father was originally an employee under Jin-ho's father, who stole the latter's company. In order to win the project of Dam Arts Center, Jin-ho has to find a way to dig up more information about the tentative theme of project: "Sanggojae", which has never been opened to the public.


title: Personal Taste

text: Jin-ho decides to rent a part of Sanggojae to get access into the house while Kae-in rents the place to him believing that he is homosexual due to misunderstandings from their previous encounters. After knowing the reason behind his approval, Jin-ho decides to leave Sanggojae to avoid being misunderstood further but is stopped by his assistant, Noh Sang-jun, who convinces him otherwise by reminding him that their chance at revival of their sinking firm lies on their success in Dam Arts Center Project.


title: Personal Taste

text: After starting to live together, Jin-ho tells Kae-in that she's miserable only because of herself and the lack of concreteness in her personality. He then encourages and helps her transform from an inveterate slob into a better version of herself, who is confident and strong-willed. Amidst the transformation and hidden truths, Kae-in and Jin-ho start developing feelings for each other which they constantly deny.


title: Personal Taste

text: The DAC director, Choi Do-bin (Ryu Seung-ryong), impressed by Jin-ho's presentation, offers his support to him in the upcoming project. He also finds Kae-in's ideas creative and hires her to design a recreation centre for children. Do-bin, who is homosexual, later finds himself attracted to Jin-ho, which leaves Jin-ho in a tight spot.


title: Personal Taste

text: What will happen when the man who's pretending to be gay and the woman who thinks he's gay develop feelings for each other?


title: Personal Taste

text: One of the production's main sponsors was Design and Arts Arcadia of Myungseung, and the storyline contains many references to DAAM as the project that all the architectural firms are competing to design for.


title: Personal Taste

text: The hanok used in the drama series (called "Sanggojae" in the script) is actually Rakgojae, a traditional guest house in Bukchon Hanok Village, Gye-dong, Jongno District. Meaning "a place to enjoy tradition", Rakgojae was renovated by master carpenter Chung Young-jin. It offers a glimpse of the lifestyle of Joseon-era scholars by incorporating fine art, music, dance and poetry through colorful cultural programs such as a tea ceremony, ink-and-wash painting lessons, Korean musical instrument lessons and kimchi-making classes.


title: Personal Taste

text: One of the locations frequented by the main characters is Kring art gallery, in Gangnam District, southern Seoul. The creative cultural space showcases a variety of arts ranging from architecture and fashion to installations and digital art. The unique facade of the building is itself a large-scale urban sculpture. Circles are a theme throughout the building, but the front wall is reminiscent of stereo speakers, hinting at the name of the building. "Kring" means "circle" in Dutch.


title: Personal Taste

text: The series was a mid-level hit in South Korea. Overseas rights were sold to the Philippines, Japan, China, Taiwan, Singapore, Hong Kong, Indonesian, and Thailand.


title: Anabolism

text: Anabolism () is the set of metabolic pathways that construct molecules from smaller units. These reactions require energy, known also as an endergonic process. Anabolism is the building-up aspect of metabolism, whereas catabolism is the breaking-down aspect. Anabolism is usually synonymous with biosynthesis.


title: Anabolism

text: Polymerization, an anabolic pathway used to build macromolecules such as nucleic acids, proteins, and polysaccharides, uses condensation reactions to join monomers. Macromolecules are created from smaller molecules using enzymes and cofactors.


title: Anabolism

text: Anabolism is powered by catabolism, where large molecules are broken down into smaller parts and then used up in cellular respiration. Many anabolic processes are powered by the cleavage of adenosine triphosphate (ATP). Anabolism usually involves reduction and decreases entropy, making it unfavorable without energy input. The starting materials, called the precursor molecules, are joined using the chemical energy made available from hydrolyzing ATP, reducing the cofactors NAD, NADP, and FAD, or performing other favorable side reactions. Occasionally it can also be driven by entropy without energy input, in cases like the formation of the phospholipid bilayer of a cell, where hydrophobic interactions aggregate the molecules.


title: Anabolism

text: The reducing agents NADH, NADPH, and FADH, as well as metal ions, act as cofactors at various steps in anabolic pathways. NADH, NADPH, and FADH act as electron carriers, while charged metal ions within enzymes stabilize charged functional groups on substrates.


title: Anabolism

text: Substrates for anabolism are mostly intermediates taken from catabolic pathways during periods of high energy charge in the cell.


title: Anabolism

text: Anabolic processes build organs and tissues. These processes produce growth and differentiation of cells and increase in body size, a process that involves synthesis of complex molecules. Examples of anabolic processes include the growth and mineralization of bone and increases in muscle mass.


title: Anabolism

text: Endocrinologists have traditionally classified hormones as anabolic or catabolic, depending on which part of metabolism they stimulate. The classic anabolic hormones are the anabolic steroids, which stimulate protein synthesis and muscle growth, and insulin.


title: Anabolism

text: Photosynthetic carbohydrate synthesis in plants and certain bacteria is an anabolic process that produces glucose, cellulose, starch, lipids, and proteins from CO. It uses the energy produced from the light-driven reactions of photosynthesis, and creates the precursors to these large molecules via carbon assimilation in the photosynthetic carbon reduction cycle, a.k.a. the Calvin cycle.


title: Anabolism

text: All amino acids are formed from intermediates in the catabolic processes of glycolysis, the citric acid cycle, or the pentose phosphate pathway. From glycolysis, glucose 6-phosphate is a precursor for histidine; 3-phosphoglycerate is a precursor for glycine and cysteine; phosphoenol pyruvate, combined with the "3-phosphoglycerate"-derivative erythrose 4-phosphate, forms tryptophan, phenylalanine, and tyrosine; and pyruvate is a precursor for alanine, valine, leucine, and isoleucine. From the citric acid cycle, α-ketoglutarate is converted into glutamate and subsequently glutamine, proline, and arginine; and oxaloacetate is converted into aspartate and subsequently asparagine, methionine, threonine, and lysine.


title: Anabolism

text: During periods of high blood sugar, glucose 6-phosphate from glycolysis is diverted to the glycogen-storing pathway. It is changed to glucose-1-phosphate by phosphoglucomutase and then to UDP-glucose by UTP--glucose-1-phosphate uridylyltransferase. Glycogen synthase adds this UDP-glucose to a glycogen chain.


title: Anabolism

text: Glucagon is traditionally a catabolic hormone, but also stimulates the anabolic process of gluconeogenesis by the liver, and to a lesser extent the kidney cortex and intestines, during starvation to prevent low blood sugar. It is the process of converting pyruvate into glucose. Pyruvate can come from the breakdown of glucose, lactate, amino acids, or glycerol. The gluconeogenesis pathway has many reversible enzymatic processes in common with glycolysis, but it is not the process of glycolysis in reverse. It uses different irreversible enzymes to ensure the overall pathway runs in one direction only.


title: Anabolism

text: Anabolism operates with separate enzymes from catalysis, which undergo irreversible steps at some point in their pathways. This allows the cell to regulate the rate of production and prevent an infinite loop, also known as a futile cycle, from forming with catabolism.


title: Anabolism

text: The balance between anabolism and catabolism is sensitive to ADP and ATP, otherwise known as the energy charge of the cell. High amounts of ATP cause cells to favor the anabolic pathway and slow catabolic activity, while excess ADP slows anabolism and favors catabolism. These pathways are also regulated by circadian rhythms, with processes such as glycolysis fluctuating to match an animal's normal periods of activity throughout the day.


title: Cosmo the Spacedog

text: Cosmo the Spacedog () is a fictional character, appearing in American comic books published by Marvel Comics. Cosmo, a telepathic Soviet space dog, is the security chief of the space station Knowhere and a member of the Guardians of the Galaxy. The character was created by Dan Abnett and Andy Lanning as a reference to Laika and first appeared in "Nova" vol. 4 #8 (Jan. 2008).


title: Cosmo the Spacedog

text: A female version of Cosmo the Spacedog appeared in a cameo role in the Marvel Cinematic Universe films "Guardians of the Galaxy" (2014) and "Guardians of the Galaxy Vol. 2" (2017), as well as in the Disney+ animated series "What If…?" (2021). She is voiced by Maria Bakalova in "The Guardians of the Galaxy Holiday Special" (2022) and "Guardians of the Galaxy Vol. 3" (2023).


title: Cosmo the Spacedog

text: Cosmo was a Soviet space dog during the 1960s. He was launched into Earth's orbit by the Soviet space program as part of an experiment but was lost in space, arriving in Knowhere and at some point being mutated by cosmic rays, he eventually came to serve as the station's security chief. Cosmo met a distraught Nova shortly after he witnessed Suspensor turn into a zombie. He tells Nova that he's on Knowhere, a city right inside the severed head of a giant Celestial. Beings from all over the galaxy come to Knowhere waiting for the end of the universe.


title: Cosmo the Spacedog

text: When the Luminals bring something in a large box, the city's population has to go into hiding. The Xandarian Worldmind then informs Rider that he had deciphered the writing on the wall, which is a countdown to a timer.


title: Cosmo the Spacedog

text: Suspensor attacks them and Nova is forced to kill her in self-defense only to have her allies Cynosure, Crater and Discharge blame him for her death. Unable to fight the three aliens, he retreats and discovers a talking dog. However, Cosmo gained Nova’s trust and friendship, and the two set out to find the fiend responsible for all the recent deaths on Knowhere. Cosmo brought Nova up to speed on when the events started, and the Xandarian Worldmind added any data he had at his disposal.


title: Cosmo the Spacedog

text: Cosmo was mainly concerned with the safety of the remaining citizens of Knowhere who were safely hidden away in a dimensional envelope he wore on his collar. It was not long before Cosmo and Nova were ambushed by more zombies including the surviving members of Suspensor's former team; the Luminals, and determined that the creature known as Abyss was behind the mayhem. Together, they fought off the attacks, and sealed Abyss inside his prison.


title: Cosmo the Spacedog

text: Cosmo then charted a course to the birthplace of the Phalanx, the planet Kvch, in hopes that he can find a way to cure himself of the Transmode Virus that is slowly killing him. Then, alarms were triggered when a murderous Gamora and Drax the Destroyer (now under the control of the Phalanx) slaughtered many residents in search of Nova. Cosmo arrived too late to stop them before they could follow the same path as Nova through the Continuum Cortex.


title: Cosmo the Spacedog

text: Peter Quill's original Guardians team operated out of Knowhere for some time, thus dragging Cosmo into many of their adventures. In one, he and other Guardians bounce around the time stream in an attempt to stop a tear in the universe, 'The Fault', from eliminating all of reality. This adventure includes Cosmo de-ageing to puppy status for some time.


title: Cosmo the Spacedog

text: During "The Thanos Imperative" storyline, the true nature of the Fault began to reveal itself and the corrupted beings of the Cancerverse began their invasion. The Guardians of the Galaxy allied with Thanos to stop the evil Lord Mar-Vell. In the end, the team disbanded, losing Adam Warlock, Phyla-Vell, Drax and their leader Starlord. But before he died, Starlord left Cosmo with the task of trying to collect the greatest heroes in the universe to form a band of Annihilators, the team Starlord believed was what the Guardians of the Galaxy should have been. One by one Cosmo convinced The Silver Surfer, Gladiator, Beta Ray Bill, Quasar and Ronan the Accuser to team up and protect the universe together, as was Starlord's final wish.


title: Cosmo the Spacedog

text: Cosmo was seen injured after Captain Skaarn's takeover of Knowhere. Skaarn had poisoned Cosmo and shot him with something that dampened Cosmo's psychic telepathy. Using the Nova Force, the young Nova tried to push the poison out of his body. In the process, he found the foreign body inside of the psychic dog that disrupted his powers and thus, saved Cosmo's life.


title: Cosmo the Spacedog

text: Cosmo is seen with several new Knowhere enforcement allies called the Knowhere Corps. They assist him in capturing a violence-loving gangster called Yotat.


title: Cosmo the Spacedog

text: In addition to a dog's standard enhanced sense of hearing and smell, Cosmo has psionic abilities, including high-level telepathy and telekinesis. He has shown to be capable of creating defensive shields strong enough to deflect energy blasts, as well as project mind blasts of tremendous force. His exact power levels are unknown, but he has shown to be strong enough to take on a being such as Adam Warlock by himself, and powerful enough to unleash a telekinetic blast able to disable two separate teams of superhumans.


title: Cosmo the Spacedog

text: In addition to these abilities, Cosmo seems to have a considerably extended lifespan as well — especially for a dog since he has been around since the time of the Soviet Union.


title: Cosmo the Spacedog

text: Cosmo the Spacedog appears in media set in the Marvel Cinematic Universe, physically portrayed by dog actors Fred and Slate, with Maria Bakalova providing her voice and additional motion capture. Unlike the comics and other media, the MCU version of Cosmo is female like her original inspiration Laika. Similarly to the comics, this version is a test animal selected to take part in a Soviet space program experiment before she drifted off into space and eventually ended up at Knowhere, where Taneleer Tivan added Cosmo to his collection. Later, she becomes a member of the Guardians of the Galaxy.


title: Cosmo the Spacedog

text: Cosmo the Spacedog appears as an exhibit of the Collector's Museum in the Disney California Adventure attraction


title: Morgana King

text: Maria Grazia Morgana Messina (June 4, 1930 – March 22, 2018), known as Morgana King, was an American jazz singer and actress. She began a professional singing career at sixteen years old. In her twenties, she was singing at a Greenwich Village nightclub when she was recognized for her unique phrasing and vocal range, described as a four-octave contralto range. She was signed to a label and began recording solo albums. She recorded dozens of albums well into the late 1990s.


title: Morgana King

text: King had her debut and breakout role in film as Carmela Corleone in "The Godfather" (1972) and "The Godfather Part II" (1974). She had roles in three additional films including her last performance in "A Brooklyn State of Mind" in 1997.


title: Morgana King

text: She was twice married to fellow jazz musicians, first to Tony Fruscella and later to Willie Dennis. Morgana died on March 22, 2018, in Palm Springs, California.


title: Morgana King

text: King was born Maria Grazia Morgana Messina in Pleasantville, New York. Her parents were from Fiumefreddo di Sicilia, Province of Catania, Sicily, Italy. She grew up in New York City with five siblings. Her father, who owned a coal and ice business, played the piano and guitar by ear. Her family experienced a difficult financial period after her father died.


title: Morgana King

text: Around the age of thirteen her vocal gifts were recognized when she was overheard singing the aria "I'll See You Again" from Noël Coward's operetta "Bitter Sweet". At age 16 she developed a love for big bands. A scholarship to the Metropolitan School of Music soon followed.


title: Morgana King

text: Her professional singing career began at age sixteen as Morgana King. When she sang in a Greenwich Village nightclub in 1953, a record label executive took an interest after being impressed with the unique phrasing and multi-octave range. Three years later in 1956, her first album, "For You, For Me, For Evermore", was released.


title: Morgana King

text: In the first appearance of Leonard G. Feather's "Encyclopedia of Jazz" (1960), Morgana King stated that her ambition was "… to become a dramatic actress." She began her acting career in "The Godfather", directed by Francis Ford Coppola, as Carmela Corleone, wife of Don Vito Corleone. In the film, she sang the song "Luna mezzo mare". King appeared as herself in the television documentary "The Godfather: Behind the Scenes" (1971). She reprised the role in "The Godfather Part II" (1974), where her character dies aged 62, due to natural causes.


title: Morgana King

text: King headlined clubs, concert halls and hotels, and toured throughout the United States, Europe, Australia and South America; e.g.: Basin Street; bla-bla café; Blue Note; Blue Room at the Supper Club; Café Leon; Club Bali; Cotton Club; Fat Tuesday's; Jilly's; Joe Howard's Place; Kenny's Castaways; Lainie's Room; Les Mouches; Lush Life; Mr. Sam's; Rainbow Grill; Reno Sweeney; Scullers; Sniffen Court; Sweet Basil; The Metropole; Town Hall; the Waterbury Hotels; and Trude Heller's.


title: Morgana King

text: A few of the venue performances during her active career: the March 1956 "Easter Jazz Festival" at Town Hall in New York City; she opened Trude Heller's in July 1957 and returned throughout her career for anniversary performances; four months later, in November 1957, along with seven female jazz instrumentalists, she performed at the "Jazz Female concert" held at Carnegie Recital Hall; the "Schaefer Music Festival" in June 1976; "A Tribute to Billie Holiday" at the Hollywood Bowl in July 1979; the "AIDS Research – Benefit Bash" in 1983, the "Benefit for the Theater Off Park" in May 1988; the "2nd annual WPBX Jazz Festival" at the Fine Arts Theater in August 1989. While performing in Lisbon, Portugal, she was interviewed by the television show host at the television station RTP (the sole television station at that time)."


title: Morgana King

text: A limited list of artists who performed and/or recorded with Morgana King over the years of her career are Ben Aronov, Ronnie Bedford, Ed Caccavale (drums), Clifford Carter, Don Costa, Eddie Daniels, Sue Evans, Larry Fallon, Sammy Figueroa, John Kaye (percussion), Helen Keane, Art Koenig, Steve LaSpina, Scott Lee, Jay Leonhart, Ray Mantilla, Bill Mays, Charles McCracken, Ted Nash, Adam Nussbaum, Warren Odze, Joe Puma, Don Rebic, Jack Wilkins, Joe Williams (bass), and Torrie Zito.


title: Morgana King

text: Her repertoire contains more than two hundred songs on more than thirty albums. Most of her recordings and re-issues have not remained in the catalogs.


title: Morgana King

text: The UCLA Music Library's Jimmy Van Heusen papers include a letter dated September 5, 1965 pertaining to "songs… to be given to Morgana King." She recorded three songs by Van Heusen: "Here's That Rainy Day" (on "It's a Quiet Thing", 1965), "Like Someone in Love" (on "Stardust", 1986; and "Another Time, Another Space", 1992) and "Imagination" (on "Looking Through The Eyes Of Love", 1998). King's 1967 single "I Have Loved Me A Man" appeared in the US "Easy Listening" survey and the Australian Top 20, according to the Kent Music Report.


title: Morgana King

text: Beginning with "The Andy Williams Show" and "The Hollywood Palace" in 1964. For more than a decade she performed on television talk and variety shows including "The Mike Douglas Show", "The Dean Martin Show" and "The David Frost Show".


title: Morgana King

text: King announced her retirement from performing during an engagement at the Cotton Club in Chicago on Friday, December 10, 1993, and added that her recording would not be affected by the decision. She continued to perform after that date at the Ballroom, Maxim's, Mirage Night Club (a benefit jazz session), and Roosevelt Hotel's Cinegrill. Her last film appearance was in the film "A Brooklyn State of Mind" (1997).


title: Morgana King

text: Morgana King married twice. Her first marriage (when she was 17 years old) was to jazz trumpeter Tony Fruscella (1927–1969), which ended in divorce after nine years; they had a daughter, Graysan (1950–2008). During their marriage, the couple frequently had "Sunday dinner with Charlie Parker and his family."


title: Morgana King

text: Her second marriage, in 1961, was to jazz trombonist Willie Dennis (né William DeBerardinis; 1926–1965), whom she met during an off-night visit to the "Birdland Jazz Club" where she went to hear Sam Donahue's group. He had performed with both Gerry Mulligan and Charles Mingus and recorded the 1953 album release, "Four Trombones" on Mingus' record label, Debut Records. He had toured extensively with Benny Goodman, Woody Herman and Buddy Rich.


title: Morgana King

text: She traveled to Brazil with Dennis to experience this "new" music style when he toured with Rich in 1960. She said the experience was "an introduction to myself." Their close collaboration was suddenly shattered in 1965 with his death from an automobile accident in New York's Central Park. "It's a Quiet Thing" (Reprise, 1965) is a memorial to him.


title: Morgana King

text: After Dennis's death, King relocated and lived for more than two decades in Malibu, California. She accepted Frank Sinatra's offer to record three albums on his record label Reprise Records ("It's a Quiet Thing" (1965), "Wild Is Love" (1966) and "Gemini Changes" (1967)).


title: Morgana King

text: King owned a condo in Palm Springs, California. She died, aged 87, of non-Hodgkin's lymphoma in Palm Springs on March 22, 2018.


title: Morgana King

text: There have been reports that, as a child, King lived near a synagogue and was intrigued by the singing of the cantor. Some have theorized that King's unique singing style was due, in part, to the singing of a cantor that she carried in her memories. King's voice is notable for its four-octave contralto range. She continued to pursue new forms of expression and presentation by exploring current music trends, which can be heard and read from the list of songs and composers on more than thirty albums. She ventured into new creative areas throughout her career, all the while keeping contact with her musical point of origin in jazz. Her distinctive sound has its criticism and detractors.


title: Morgana King

text: In literature, the "Library of Jazz Standards" by Ronny Schiff (2002) recognizes Morgana King as one of the performers who made famous the songs "Imagination" (Van Heusen, Burke), "Like Someone in Love" (Van Heusen, Burke) and "Will You Be Mine" (Adair, Dennis). Also, there is the occasional mention of her in fiction.


title: Morgana King

text: King has been credited with composing "Moe's Blues", a song recorded by Beverly Kenney on "Beverly Kenney Sings for Johnny Smith" (1955), and "Simply Eloquent", with Monte Oliver, which appears on an album of the same title, initially released in 1986 by Muse Records. In 1991, she produced a set of seminars called "Morgana King Fine Arts Series". The seminars brought together small groups for recurring meetings every few months held at select venues including Lincoln Center. One of the functions of the series was to familiarize participants with performance methodologies. There was a panel available to critique the performances.


title: Morgana King

text: Her signature song is "A Taste Of Honey", originally released on the album "With A Taste of Honey" (Mainstream Records, 1964). Her most re-issued songs are "My Funny Valentine", from "Everything Must Change" (Muse, 1978), and the title track of "For You, For Me, For Evermore" (EmArcy Records, 1956).


title: Kenneth Connor

text: Kenneth Connor, (6 June 1918 – 28 November 1993) was a British stage, film and broadcasting actor, who rose to national prominence with his appearances in the "Carry On" films.


title: Kenneth Connor

text: Connor was born in Highbury, Islington, London, the son of a naval petty officer who organised concert parties. He first appeared on the stage at the age of two as an organ-grinder's monkey in one of his father's shows, in Portsmouth. By the age of 11 he had his own act. He attended the Central School of Speech and Drama, where he was a Gold Medal winner. Connor made his professional debut in J. M. Barrie's "The Boy David", at His Majesty's Theatre, London, in December 1936.


title: Kenneth Connor

text: During the Second World War he served as an infantry gunner with the Middlesex Regiment, but continued acting by touring Italy and the Middle East with the Stars in Battledress concert party and ENSA. Earlier in the war, in 1941, he was apparently performing as a comedic entertainer in a concert party named the "Tam o Shanter's", as evidenced by a programme from the concert at the Summer Theatre at Felixstowe, dated Saturday 5 July 1941. The full cast autographed the programme, suggesting a final performance for the concert party, with Kenneth signing it "All the best Ken Connor". While waiting to be demobbed in Cairo, Connor received a telegram from William Devlin asking him to join the newly formed Bristol Old Vic, where he gained a solid grounding in the classics.


title: Kenneth Connor

text: He moved on to the London Old Vic Company for a 1947–48 season at the New Theatre. His most notable performances there were as Chaplain de Stogumber in "Saint Joan" and Dobchinsky in "The Government Inspector", which starred Alec Guinness. Realising he was not a "tall, impressive juvenile lead or a young lover type", he decided to specialise in comedy. He appeared in Talbot Rothwell's farce "Queen Elizabeth Slept Here" in the West End in 1949.


title: Kenneth Connor

text: He took over from Peter Sellers in Ted Ray's radio show "Ray's a Laugh" – launched by the BBC in 1949 as a successor to Tommy Handley's "ITMA". He played the brother-in-law and other oddball characters such as Sidney Mincing. Ray took Connor with him to his TV shows, and the pair would star together in the third "Carry On" film, "Carry On Teacher".


title: Kenneth Connor

text: On occasion, he appeared in "The Goon Show", standing in for regular cast members struck down by illness. He also appeared in the anarchic, Goon-style TV series "The Idiot Weekly, Price 2d" (1956) and "A Show Called Fred" (1956).


title: Kenneth Connor

text: Connor gained a small role in the film "The Ladykillers" (1955) as a taxi driver. In 1958, he was cast in the first "Carry On" film, "Carry On Sergeant", and became one of the regular cast in the series, appearing in seventeen of the original thirty films and many of the associated television productions. Alongside Kenneth Williams and Eric Barker, Connor was one of only three actors to appear in both the first and last of the original sequence of "Carry On" films ("Carry On Sergeant" and "Carry On Emmannuelle").


title: Kenneth Connor

text: In his earlier "Carry On" appearances, Connor frequently played the romantic lead or other sympathetic roles (typically with an element of comically neurotic anxiety), while later appearances saw him play less sympathetic characters such as married men with wandering eyes who made lascivious remarks. In "Carry On Nurse" (1959), his real-life son Jeremy appeared as his character Bernie Bishop's son. In 1961, he starred with fellow "Carry On" stars Sid James and Esma Cannon in the comedy film "What a Carve Up!" In fact, in the 1959–61 period, he was one of the most prominent leading men in British comedy films. As well as "What a Carve Up!" and the "Carry On" films, other films he starred in during this period included "Watch Your Stern" (1960), "Nearly a Nasty Accident" (1961) and the "Dentist" films. In 1960, he did the voices of the horse and dog in the "Four Feather Falls" puppet series.


title: Kenneth Connor

text: Connor had a good tenor voice, which he occasionally used to good effect, such as in the 1962 movie "Carry On Cruising".


title: Kenneth Connor

text: In contrast with some of his "Carry On" co-stars, Connor found further success on the London stage. He starred in the revue "One Over The Eight" (1962), at the Duke of York's Theatre, the original London West End production with Frankie Howerd of the Stephen Sondheim musical "A Funny Thing Happened on the Way to the Forum" (1963), as Hysterium – and directed the show when it went on tour – "The Four Musketeers" (1967), with Harry Secombe at the Theatre Royal, Drury Lane, playing King Louis XIII, and the revue "Carry On London" (1973) at the Victoria Palace.


title: Kenneth Connor

text: Between 1971 and 1973, Connor joined "Dad's Army" stars Arthur Lowe and Ian Lavender in the BBC radio comedy "Parsley Sidings". On television, he appeared in "The Black and White Minstrel Show", as Whatsisname Smith in the children's show "Rentaghost" (1983–84), and as Monsieur Alfonse in "'Allo 'Allo!" (1984–1992) and Uncle Sammy Morris in "Hi-de-Hi!" (1986–88). He also made guest appearances in sitcoms including "That's My Boy" and "You Rang, M'Lord?" and he also appeared in the episode "Sense and Senility" of "Blackadder the Third" in 1987, alongside fellow veteran comic star Hugh Paddick.


title: Kenneth Connor

text: In 1991, he was honoured by the Queen with appointment as a Member of the Order of the British Empire (MBE).


title: Kenneth Connor

text: He was still working just two days before his death, with an appearance on "Noel Edmonds' Telly Addicts". His final TV appearance, as Mr Warren in "The Memoirs of Sherlock Holmes" episode "The Adventure of the Red Circle", was broadcast posthumously in 1994.


title: Kenneth Connor

text: Connor died at the age of 75 from the effects of cancer at his home in Harrow in Middlesex on 28 November 1993. His body was cremated at Breakspear Crematorium in Ruislip, Middlesex.


title: Hohenstaufen

text: The Hohenstaufen dynasty (, , ), also known as the Staufer, was a noble family of unclear origin that rose to rule the Duchy of Swabia from 1079, and to royal rule in the Holy Roman Empire during the Middle Ages from 1138 until 1254. The dynasty's most prominent rulers – Frederick I (1155), Henry VI (1191) and Frederick II (1220) – ascended the imperial throne and also reigned over Italy and Burgundy. The non-contemporary name of 'Hohenstaufen' is derived from the family's Hohenstaufen Castle on the Hohenstaufen mountain at the northern fringes of the Swabian Jura, near the town of Göppingen. Under Hohenstaufen rule, the Holy Roman Empire reached its greatest territorial extent from 1155 to 1268.


title: Hohenstaufen

text: The name Hohenstaufen was first used in the 14th century to distinguish the 'high' ("hohen") conical hill named Staufen in the Swabian Jura (in the district of Göppingen) from the village of the same name in the valley below. The new name was only applied to the hill castle of Staufen by historians in the 19th century, to distinguish it from other castles of the same name. The name of the dynasty followed suit, but in recent decades, the trend in German historiography has been to prefer the name 'Staufer', which is closer to contemporary usage.


title: Hohenstaufen

text: The name 'Staufen' itself derives from "Stauf" (OHG "stouf", akin to Early Modern English stoup), meaning 'chalice'. This term was commonly applied to conical hills in Swabia during the Middle Ages. It is a contemporary term for both the hill and the castle, although its spelling in the Latin documents of the time varies considerably: , etc. The castle was built or at least acquired by Duke Frederick I of Swabia in the latter half of the 11th century.


title: Hohenstaufen

text: Members of the family occasionally used the toponymic surname "de Stauf" or variants thereof. Only in the 13th century does the name come to be applied to the family as a whole. Around 1215, a chronicler referred to the "emperors of Stauf". In 1247, the Emperor Frederick II himself referred to his family as the "domus Stoffensis" (Staufer house), but this was an isolated instance. Otto of Freising (d. 1158) associated the Staufer with the town of Waiblingen, and around 1230, Burchard of Ursberg referred to the Staufer as of the "royal lineage of the Waiblingens" ("regia stirps Waiblingensium"). The exact connection between the family and Waiblingen is not clear, but as a name for the family, it became very popular. The pro-imperial Ghibelline faction of the Italian civic rivalries of the 13th and 14th centuries derived its name from Waiblingen.